This chapter contains sections titled: Naturalism versus Theism The Physical World Cross‐Cultured Inquiry Value Inquiry.

The text of “The Four Premises” (Muqaddimāt al-Arba‘a), which began with Sadr al-Sharī‘ah (d. 747/1346), centralizes on the actions of human beings by connecting it with the problem of good and evil in the field of kalām, Islamic philosophy and logic, and fıqh. It was also commented in with incisive and critical footness by Sa‘d al-Dīn al-Taftāzānī (d. 791/1390). In Ĥāshiya ‘alā Muqaddimāt al-Arba‘a, al-Kastalī (d. 901/1496) discusses the two main issues. One of them is good/husn-evil/qubh, the other is human (...) actions. Good-evil dichotomy here is axiological, whereas the human actions are examined within an ontological structure. The quest for the origin of moral values is a husn-qubh debate. Identifying the hierarchy of human actions in ontology is another problem. The main purpose of this study is to investigate the theological discussions in the Ĥāshiya ‘alā Muqaddimāt al-Arba‘a which were written following the order of Sultan Mehmed the Conqueror/Fatih. This text addresses the origin of moral judgment and the question of freedom and destiny in human actions linked to the problem of good and evil. Discussing these two fundamental issues, has made it necessary to thoroughly investigate perhaps all the subheadings which concern the entire paradigm that falls under the framework of understanding the God, nature, and humanity. By looking at the treatise, the main sources of the issues being discussed are mostly generated from an Islamic jurisprudence works, entitled Tawḍīḥ and Talwīḥ. It can easily be discerned that the direct quotations that were made or taken indirectly were from these two sources. References to other sources were quite seldom. However, the excerpts that were taken from primary sources were interpreted and expounded by the author and amended anew. In this article al-Kastalī’s comments will be analyzed. He’s work Ĥāshiya ‘alā Muqaddimāt al-Arba‘a will be analyzed in depth and will be published for the first time with a critical edition. Text of Muqaddimāt al-Arba‘a is a product of a culture of criticism and critical thinking has two foundations: Disproval and verification. Critical thinking is then bidirectional. It is wrong to carry out the criticism activity in only one direction. It is insufficient to simply refute the opposing idea. It is not enough to show the wrong. The so-called right idea also needs to be justified. In the Tawdīh, Sadr al-Sharī‘ah criticizes al-Ashʿarī in the issues of husn-qubh and human actions. According to this criticism, good and evil should be based on the reason. On the other hand, human is free in his actions. As it is known, goodness and badness was based on religion according to al-Ashʿarī. Acquisition (kasb) given to man was unclear. It is al-Taftāzānī who wrote an annotation on Tawḍīḥ with the name of Talwīḥ. He’s comments are successful in terms of theology. However, these interpretations do not mean that he accepted the Muqaddimāt al-Arba‘a. In terms of al-Taftāzānī, proofs of Sadr al-Sharī‘ah is weak. The theological disputes in Tawḍīḥ and Talwīḥ have reached the level of tension in the following works. The origins of the divergence are based on the differentiation between the schools of al-Māturīdi and al-Ashʿarī. In fact, these schools are not different from each other in terms of the method they use. Although the roads walked were the same, the results achieved were different. The main reason for this is that the issue is ambiguous and the problem of good and evil is multidimensional. It is directly related to God and human. It is also connected with ontology and epistemology together. The position on the husn-qubh issue is also decisive for other theological problems. The root of the evil problem or theodicy is mostly based on this problem in Islamic thought. The actions of God and human are questioned here. The value judgments that actions will take are examined. Which action is more moral and better? Another major problem discussed in this article is human actions. It is a matter of freedom of human volition. The volition of man before the absolute God is a problem. Because God has absolute power, will and knowledge. On the other hand, God imposes responsibility on man. But what are the limits of this responsibility? Al-Kastalī discusses all these problems in the context of Sadr al-Sharī‘ah and al-Taftāzānī. In the big picture there are representatives of the schools of al-Māturīdi and al-Ashʿarī. Al-Kastalī doesn’t paint a new picture, rather makes the lines in the picture clear. In this article, the texts will be analyzed mutually. The content and uses of the concepts will be given importance. Ideas will be discussed from their main sources and the roots and different reach of the issues will be touched. The interactions of different schools of thought will also be included. (shrink)

continent. 2.1 (2012): 6–21. The French philosopher and novelist Tristan Garcia was born in Toulouse in 1981. This makes him rather young to have written such an imaginative work of systematic philosophy as Forme et objet , 1 the latest entry in the MétaphysiqueS series at Presses universitaires de France. But this reference to Garcia’s youthfulness is not a form of condescension: by publishing a complete system of philosophy in the grand style, he has already done what none of us (...) in the older generation of speculative realists has done so far. His book is sophisticated, erudite, rigorous, imaginatively rich, and abundant in worldly wisdom– despite the author’s conclusion that wisdom does not exist. The quality and scope of Forme et objet took few observers by surprise, since Garcia has been treated as an emerging philosopher to watch across half a decade of Parisian oral tradition. But Garcia was not just the subject of rumor, being already well known to the French public as a writer of fiction. His debut novel, La meilleure part des hommes , 2 was awarded the 2008 Prix de Flore 3 and has already appeared in English as Hate: A Romance . 4 His follow-up novel, Mémoires de la jungle , 5 made clever use of a chimpanzee narrator. Nor was Garcia only published as a novelist before last November: his philosophical study L’Image 6 had already appeared when the author was just twenty-six, a year before he was crowned by the muses at the historic Café de Flore. And then in 2011, just months before the appearance of Forme et objet , Garcia published a widely distributed work entitled Nous, animaux et humains , 7 with its focus on Jeremy Bentham’s ideas about animals. Given this prolific and versatile track record, an optimistic scenario might envisage the young Garcia as one of those combined literary/philosophical talents who appear intermittently in France across the centuries: Jean-Paul Sartre is merely the most famous recent case. While more time is needed to see how Garcia will channel his impressive mental energies, Forme et objet displays such breadth of insight that its author has a good chance to emerge as one of the leading philosophers of his generation. If we accept Aristotle’s dictum that the peak mental age is fifty-one, then to read Garcia’s massive book is to gain some idea of what European philosophy might look like in the futuristic-sounding 2030’s. The present article is confined to Forme et objet . At 486 pages, the work is obviously daunting in size. Indeed, it is even longer than it sounds, given that many of its early sections are printed in a smaller typeface to designate them as supplemental commentary to the main flow of the argument. But while the length of the book reportedly led to delays in French publication, and will probably slow the inevitable appearance of an English translation, the length of the book should not deter interested readers– much of it results from Garcia’s teacherly writing style. Whereas Quentin Meillassoux’s prose displays an arctic economy of means, Garcia’s style is reminiscent of the repeated lessons of oral classroom proceedings. Rarely is the reader given fewer than three or four chances to master an idea before the author moves on to the next. In practice, the style feels welcoming rather than long-winded. Otherwise, the structure of Forme et objet is surprisingly simple. There is a useful Introduction of less than twenty pages. Then comes Book I: Formally , running to approximately 135 pages. Here Garcia outlines the most basic features of a thing “no matter what it is,” or n’importe quoi , an everyday phrase that Garcia shapes into a technical term. This part of the book feels at times like a more amiable version of Hegel’s Science of Logic , a parallel emphasized further by the threefold articulation of its theme: 1. Thing; 2. Thing and World; 3. Being and Understanding. This is followed by the much longer Book II: Objectively , totaling more than 300 pages. It contains sixteen essay-like meditations on specific kinds of objects—including time, animals, humans, history, gender, and death. Here each chapter rolls smoothly into the next, making this second part of the book feel more like a different work of Hegel: The Phenomenology of Spirit . But these are merely analogies. Garcia is no Hegelian, even if the book contains a few dialectical flourishes that seem to reflect his early enthusiasm for the Frankfurt School. Forme et objet ends with a six-page Coda, followed by the usual page of acknowledgments. In what follows, I will briefly summarize each of these four parts of the book before ending with some more general remarks. Before doing so, it will be useful to situate Garcia biographically (as much as I am able) and philosophically. Though Toulouse is his native city, his formative years were spent largely in Algeria, where his family has deep roots. During our sole private conversation, Garcia mentioned that his parents are professors of literature. 8 As a student of philosopher Garcia flourished so early that many of his current ideas date to his teenaged years: “There are sentences in Forme et objet that I wrote when I was seventeen,” he said in response to a question on that cold night on the Canal St.-Martin. I recalled that remark when reading his brilliant account, late in the book, of the central role of adolescence in contemporary culture. While many prodigies blow through their formal academic training without serious obstruction, Garcia’s student memories are rich in tales of isolation and struggle, though equally rich in gratitude for a half-dozen or so exceptional teachers who provided the intellectual space he needed: Meillassoux and Alain Badiou are simply two of the most prominent figures on that list. Though there are many points of agreement between Garcia’s philosophical position and my own, he not only reached his position years before reading my work, 9 he arrived along a rather different path: not through phenomenology, but via the Frankfurt School, which may be one of the reasons for his profound fascination with aesthetics. Garcia’s cultural background is as broad as one could wish: he is no less informed about punk rock and European football leagues than about the spiritualist roots of Bergson’s philosophy. Curious about everything and contemptuous towards nothing, Garcia can be expected to write insightfully on dozens of topics in the years to come. Given that his philosophy is so personally tantalizing in its agreements and disagreements with my own, and given the great internal richness of Forme et objet itself, the present review is no better than a first effort at coming to terms with the challenges posed by this minstrel from the rising generation. This is especially intriguing for older Generation X’ers like me, since confrontation with the younger generation is one of the many themes treated insightfully in Garcia’s book. 1. Introduction Garcia begins in defense of a so-called “flat ontology,” in which all things are equally things. While Roy Bhaskar 10 used this term pejoratively to refer to anti-realist philosophies that flatten everything onto an epistemic plane of human access, Manuel DeLanda 11 (an admirer of Bhaskar) reversed it into the positive principle that all realities are equally realities. Similar notions can be found in the “absistence” of Alexius Meinong, 12 the “irreduction” of Bruno Latour, 13 and my own critique 14 of the undermining/overmining pair. Also noteworthy is Levi Bryant’s use of the term “flat ontology” throughout The Democracy of Objects 15 and his earlier essay “The Ontic Principle.” 16 But for Garcia, flatness is only one face of the cosmos, and one that he ultimately declares to be rather impoverished. Even so, he always remains an advocate of a flat ontology. Insofar as everything is equally something, no matter what it is ( n’importe qui ), everything is equally a thing, equally solitary in its relation with world. This is why his book abounds in those long lists of random, ontologically equivalent entities that Ian Bogost has playfully termed “Latour Litanies.” 17 The first litany in Garcia’s book runs as follows: “We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things.” (7) Yet Garcia is frankly dualistic; his flat ontology only lasts until page 159 and the end of Book I (entitled “Formally”), which deals entirely with things that are equally things. Thereafter Garcia turns his attention from things to objects, which are not flat in the least, but engage in hierarchical relations with one another. In agreement with both DeLanda and the speculative realists, Garcia proclaims that his book “proposes to put to the test a thought about things rather than a thought about our thought about things .” (8) Just as ducklings are “imprinted” (9) after hatching and treat the first creature they see as their mother, philosophers are imprinted by the idea with which they begin. Hence, philosophies that begin with human access will never truly find their way back to things. This makes Garcia rather suspicious of twentieth century philosophy, since “the twentieth century—to which in some way this work proposes to bid adieu—has been a period of theorizing modes of access to things rather than things...” (9) Among other possible benefits of the philosophy of things that Garcia proposes, it is fully able to account for thought as a special variant of things, while the reverse is not possible.(10) In Book I of Forme et objet , Garcia’s “things” are so flat, so de-determined, that he is forced to renounce some of the most basic features ascribed to things by most realists. As he tells us in his foreboding third footnote: “We will maintain that the solitude [of things] is less than unity, less than identity, and that it does not imply acceptance (any more than refusal) of the principle of non-contradiction.” (11) In a contemporary world cluttered with too many things, Garcia’s flat and formal plane provides us with some breathing room: “The formal plan of thought enables or re-enables us to cut short all accumulation—whether of knowing, experience, or action—by a simplicity, an impoverished surface...” (13) As Garcia says elsewhere in responding to a Deleuzian critic of the book, his starting point in flat ontology is designed to obstruct the claims of both analytic philosophy and Hegelianism: “Hence, this work seeks to protect each thing—real, imaginary, inconsistent, contradictory—both against Ockham’s Razor and against the Aufhebung or dialectical process.” 18 Yet contrary to the equalizing spirit of many flat ontologies, “we will add to our formal ontology of the equal, an objective ontology of the unequal.” (13) But initially, Garcia joins all flat ontologists in holding that everything is irreducible: “this irreducibility, which we will term the ‘chance’ of each thing... also marks the refusal of a positive thought that reduces things exclusively to natural things, or social things, or historical things, etc.” (15) This irreducible “chance” of a thing emerges as an important technical term in the book, always paired with its inverted brother, the “price to pay” ( prix à payer ). On pages 17-19, we find the only diagrams in the book. What they illustrate is that Garcia wishes to avoid two equally dangerous extremes. The first is the philosophy of substance, featuring the thing-in-itself as a mighty river fed by attributes as if by subordinate tributary streams. This model can be found in many of the classic thinkers of West and East alike. In it, “there is obviously a hierarchization between that which is dragged towards something other than itself, and this other which serves it as an ontological support while supporting its proper being.” (16) For Garcia, the second extreme worth avoiding is the philosophy of events: “One thus conceives trajectories of being, identified as events, facts, powers, intensities, or intentionality. These vectors of being come first, bearing and supporting being, displacing it, but without ever finding a stopping point, a buffer, an objective consistency.” (17) The first model gives us a thing too wrapped up in itself, too compact . This word “compact” (the French and the English are the same) is another technical term for Garcia. But if the “compact” model of things leads us to something more than things, the philosophy of events gives us less than things, by dissolving them into a play of vectors. Garcia’s alternative lies midway between these two extremes: Being enters the thing, being comes out of it. And a thing is nothing other than the difference between the enters and the being that comes out. Thus, the circuit of being is never halted. In the thing, there is never the thing-in-itself. And the thing is never in-itself, but outside of itself. Nonetheless, being is not eventally “pollinated” by vectors: it possesses an objecting halting-point... (19) This single idea is the key to Garcia’s book: the thing is neither a self-contained durable lump nor some sort of evental flux. Instead, the thing is the difference between its various components and its relations with its environment. Or stated differently: “the price to pay for this disposition is a circulation of being that systematically distinguishes two senses of things: that which is in the thing , and that in which the thing is , or that which encompasses it and that which it encompasses,” (19) translating comprendre here as “encompass.” 19 In a beautiful description of a piece of black slate, Garcia sums up the various minerals, qualities, and shapes that compose [ comprend ] it, and calls them “that which is in the thing,” (20) noting that this tells us nothing about “that in which [the slate] is”—namely, all the various situations in which the black slate can be found. Instead, the slate is the difference between these two: the most characteristic principle of Garcia’s philosophy. 2. Formally Book One of Forme et objet , “Formally,” is concerned with the formal equality of all things in a flat world. “Two questions mark the boundaries of reflection: of what is everything composed [ composé ], and: what do all things compose?” (27) Looking downward, we wish to know what everything is made of; looking upward, we want to know the ultimate result of the combination of all things. Here we must turn our attention to the thing n’importe quoi— no matter what it is. (30) Anything with finite qualities is obviously too specific to be relevant to global ontological questions. To an equal degree, something possessing all qualities (think of Whitehead’s God) 20 would not be n’importe quoi either, since it would still be too definite, even if incredibly vast. The same holds for contradictions, since these all differ from each other. The square circle, the non-white black white, and the non-city city are all too distinct to count as the thing no matter what it is. The n’importe quoi must be devoid of all specific qualities, including contradictory ones. In one of the more intriguing points in his book, so reminiscent of Meinong, Garcia proclaims that “the ‘no matter what it is’ is neither a reality nor an abstract construction, nor both of these at once; the ‘no matter what it is’ is simply the plane of equality of that which is real, that which is possible, that which is inexistent, that which is past, that which is impossible, that which is true, that which is false, that which is bad.”(39-40) Since everything has two faces, it would be a grievous mistake to focus on just one of them at the expense of the other, as physicalism or materialism do when reducing the world to minuscule physical underpinnings. For scientistic materialism, “it is either atoms, particles, or fields of force... which are the things.” (47-48) Moreover, “these more-than-things are accompanied by less-than-things: for example, ideas or facts of consciousness are determined by the state of matter and are not autonomous things, but manifestations reduced to secondary effects of material processes...” (48) On this point, Garcia’s position is in complete accord with my own critique of undermining and overmining. 21 Where we disagree is that Garcia is more deeply suspicious of the notion of substance, which I view as salvageable with a few needed changes, while Garcia sees this operation as hopeless: “A substance, in the history of philosophy, is the more-than-thing par excellence.” (51) Another agreement between our positions is visible when Garcia claims (correctly, in my opinion) “that it is vain to distinguish between things which are material and those which are not.” (52) Yet we also find an even more important disagreement, since for Garcia withdrawal cannot be the quality of a thing. Instead, the absence of a thing is simultaneous with it, embodied in all that is not it– the absence of the sculpture of a woman is to be found in the mold that appears at the same time as it, and thus withdrawal must be viewed as an “event” rather than as something pertaining to an object. For Garcia, nothing withdraws beyond access. Since we must distinguish between “that which is something” and “that which something is,” and since the former is identified with “no matter what it is is” and the latter with “ not no matter what it is,” we can say that “everything is thus a milieu, a fragile link between ‘no matter what it is’ and ‘ not no matter what it is.’” (62) And here we find Garcia’s critique of the thing-in-itself: “A thing is never defined en bloc . We can affirm that a thing is this or that, but that does not suffice. It is still necessary to state precisely that which is this thing .” (62) Stated differently, “something is not in itself : for that which is in the thing is not the thing, and that in which the thing is is not the thing.” (62) And here Garcia and I, facing the same evidence, draw opposite conclusions. For me, the fact that nothing can be identified with either its components or its concrete location means that the thing must be something in-itself distinct from both of these. Yet for Garcia, to be in-itself would mean to be identified with just one of these two extreme terms, and hence the thing can only be the difference between them. Garcia is equally suspicious of the classical tendency to view “unity” as a property of the thing, since in his eyes unity is too relational a property to belong to things. (65) While specific things are situated determinately with respect to other things, we are still speaking here about the thing no matter what it is, and this can be viewed only in terms of solitude, which all things share: a human being, a hand, or a chair or all equally things insofar as they are on their own , not insofar as they are one . (64) A thing is alone, and relates only to the one thing that is not another thing: world. In a striking parallel to my own argument for a partial revival of occasionalism, Garcia tells us that “the things communicate only by their solitude: it is because everything is equally on its own in the world that things can be together, enmeshed in one another.” (67) Alone in their solitude, things all relate to world, which serves as a mediator allowing them to become mixed up in one another. As we have seen, one reason that nothing can be in itself is because everything is in something else. For Garcia, “to be in something and to be something are equivalent.” (69) Stated more broadly, “being is thus the difference between the two aspects of each thing: that which is it, and that which it is.” (70) And even more vividly: “a thing is almost like a sack: there is that which one puts in the sack and that which remains outside the sack.” (70) But not quite like a sack, “since a thing is not a thin skin or film. Instead, a thing is comparable to a sack that is immaterial and without thickness: it is nothing other than the difference between that which is this thing and that which thing is, between content and container.” (71) Nothing can be in-itself because everything is two selves at once. For example, we cannot say that our self is defined by our consciousness: “Everything has a self because nothing is in itself. The self is not the quality of that which is related to itself (which is conscious, for example) or which thinks itself related to itself. Nonetheless, for an entity called ‘conscious’ to be related to itself, it is necessary that this very relation should be another thing than the self to which it is related.” (71) Consciousness cannot be the self, precisely because it is other than that of which it is conscious. Nothing is able to grasp itself. The self is “the function by which being and composition [ compréhension ] are mutually excluded...” (72) The self is “the point of shadow of everything that projects some light...” (72) The in-itself faces two opposite dangers: “For something to be in-itself is to be a self. Something which is a self flies out through one of its two sides... Stated differently, being in-itself is simply the possibility of a double failure.” (73) The in-itself can be termed compact : “There remains to us a means of thinking that which does not fully enter into the world, though without exiting from it. This means is what we call the compact.” (76) In a sense, the compact is the opposite of the world. For in the case of the world, everything enters it and it enters nothing; as for the compact, it enters the world (since it is something, after all) while nothing enters it. (77) The compact marks the presence of the impossible in the world. (78) It is not impossible, but possible only on the condition that it fails. (78) The time has come to speak of where a thing is located. “The sole condition of a thing is that of being in another thing than itself, and thus in another thing than something.” (78) A condition is “that which determines something, that which forms something, that in which something is.” (78) As for humans, “the condition of someone is his situation; my social condition is that which socially determines me, my place and my function...” (79) More generally, “to be conditioned is to find oneself reduced to that in which one is.” (79) Everything is conditioned, but nothing is reducible to this condition. To determine the condition of something is to determine in what it is. A thing is located in that which contradicts it, just as a statue exists in its mold, which is precisely that which it is not. Since the thing is finite and definite, its condition or form must be infinite and indefinite. That in which all things are is the world, which Garcia also terms “the whole.” (81) “To try to be in-itself is to attempt to remain outside the world. And indeed, to try to be in-itself is only a path of entry into the world.” (83) For Garcia, “the world is not the pre-existent container of the things it contains, a priori , nor the construction by the mind of a fictional ensemble of all things, a posteriori .” (85) Instead, the world is simultaneous with all things; the two always go together. The world cannot be a determinate world, such as the physical universe or mathematical space, since these are already too specific and limited. “Every determinate world, which is in fact a universe , is a ‘big thing’ [ grosse chose ]: it is a set, however vast, of composite things which itself embodies a thing.” (85) Every determinate world is really just a “big thing.” Stated differently, “it is nothing other than a balanced milieu between the things that compose it and the thing that it composes.” (85) We generally picture the world as a physical univer. (shrink)

One of the outstanding achievements of recent cosmology has been to offer some prospect of a unified explanation of temporal asymmetry. The explanation is in two main parts, and runs something like this. First, the various asymmetries we observe are all thermodynamic in origin – all products of the fact that we live in an epoch in which the universe is far from thermodynamic equilibrium. Second, this thermodynamic disequilibrium is associated with the condition of the universe very soon after (...) the Big Bang – the essential point being that in the rapidly expanding universe of the time, gravity is able to create organisation much faster than other processes can destroy it. The stars, galaxies and other forms of organisation we find in the present universe are all products of this early period. Such concentrated energy sources themselves make possible the kinds of asymmetric phenomena with which we are most familiar, such as life itself. If this explanation proves to be right it will surely rank as one of the most impressive achievements in the whole of natural philosophy. Where else do we find this breathtaking scale, this extraordinary conjunction of fundamental physics, the first moments of Creation, the possibility of life and the basic character of human experience? And it is very much a contemporary achievement: even if its roots go back on one side to the investigation of time asymmetry in nineteenth century statistical mechanics, and on the other to Hubble's discovery in the 1920's of the expansion of the universe, the body of the picture has only begun to be filled in in the last twenty or thirty years. This fascinating story has recently been given some well-deserved publicity in Stephen Hawking's bestseller, A Brief History of Time – well-deserved, not least, because Hawking himself is responsible for a considerable part of the story as it presently stands. (shrink)

I discuss "Poetic Naturalism" -- there is only one world, the natural world, but there are many ways of talking about it -- both as a general concept, and how it accounts for our actual world. I talk about emergence, fundamental physics, entropy and complexity, the origins of life and consciousness, and moral constructivism.

In this dissertation, I evaluate the coherence of Nietzsche's thought given a logical elaboration of the implications entailed by his embryonic insights into perspectivism, genealogy, and differential analysis. I argue that, given these, Nietzsche's critique of western culture is flawed in that it is based on two assumptions which the above show to be illegitimate: that life has certain perspective-independent features that can function as transcultural standards by which to measure the biological worth of any given form and of their (...) respective values; and that he has privileged access to these features. I go on to argue that this conflict between the critical/epistemic dimension of his thinking--i.e., those elements that elaborate his anti-dogmatism--and that forming his cultural criticism--in fact, a distinctly apocalyptic, salvational and thus dogmatic dimension--is not only irreducible, but severely compromises the integrity of his thought. Furthermore, I argue that, under the assumption that dogmatic positions are internally compromised if one is interested in generating a philosophically defensible point of view out of Nietzsche's thought, rather than examine it as a piece of intellectual history, one must move to excise from it those elements which are inconsistent with its anti-dogmatic, anti-metaphysical, and anti-foundational elements. This, I argue, generates a philosophical position which, though limited in scope, provides one with a justifiable account of the human world, one which in many respects reflects the self-understanding of postmodern microcommunitarian. (shrink)

The use of metaphors and analogies was widespread in English political literature during the sixteenth and early seventeenth centuries, and for contemporary readers they were more than merely rhetorical artifices – they were used to illustrate and, in some cases, even to provide evidence. In this regard, none was more apt than the most prominent of these analogies: that between the human body and the state. The political thought of the time established an unshakeable connection between the two, building an (...) argument for how their structures and ways of functioning mirrored each other. This paper examines one of the most extensive and thorough examples of corporal analogies in early modern English political literature – that of Edward Forset’s A Comparative Discourse of the Bodies Natural and Politique (1606) – and shows how such corporal analogies were used to construct an absolutist political model wherein the king was depicted as the soul, the head and the heart of the body politic. The paper integrates Forset’s A Comparative Discourse within the context of the ideological struggles from the end of the sixteenth century and the beginning of the seventeenth, while its place within the larger picture of the medieval and early modern metaphor of the body politic is also examined, in order to assess the lineage and originality of Forset’s ideas and point out how the same kind of analogies could be used to provide significantly different political interpretations. (shrink)

"Legend is overdue for replacement, and an adequate replacement must attend to the process of science as carefully as Hull has done. I share his vision of a serious account of the social and intellectual dynamics of science that will avoid both the rosy blur of Legend and the facile charms of relativism.... Because of [Hull's] deep concern with the ways in which research is actually done, Science as a Process begins an important project in the study of science. It (...) is one of a distinguished series of books, which Hull himself edits."—Philip Kitcher, Nature "In Science as a Process, [David Hull] argues that the tension between cooperation and competition is exactly what makes science so successful.... Hull takes an unusual approach to his subject. He applies the rules of evolution in nature to the evolution of science, arguing that the same kinds of forces responsible for shaping the rise and demise of species also act on the development of scientific ideas."—Natalie Angier, New York Times Book Review "By far the most professional and thorough case in favour of an evolutionary philosophy of science ever to have been made. It contains excellent short histories of evolutionary biology and of systematics (the science of classifying living things); an important and original account of modern systematic controversy; a counter-attack against the philosophical critics of evolutionary philosophy; social-psychological evidence, collected by Hull himself, to show that science does have the character demanded by his philosophy; and a philosophical analysis of evolution which is general enough to apply to both biological and historical change."—Mark Ridley, Times Literary Supplement "Hull is primarily interested in how social interactions within the scientific community can help or hinder the process by which new theories and techniques get accepted.... The claim that science is a process for selecting out the best new ideas is not a new one, but Hull tells us exactly how scientists go about it, and he is prepared to accept that at least to some extent, the social activities of the scientists promoting a new idea can affect its chances of being accepted."—Peter J. Bowler, Archives of Natural History "I have been doing philosophy of science now for twenty-five years, and whilst I would never have claimed that I knew everything, I felt that I had a really good handle on the nature of science, Again and again, Hull was able to show me just how incomplete my understanding was.... Moreover, [Science as a Process] is one of the most compulsively readable books that I have ever encountered."—Michael Ruse, Biology and Philosophy. (shrink)

June 2022 A Revolutionary New Metaphysics, Based on Consciousness, and a Call to All Philosophers We are in a unique moment of our history unlike any previous moment ever. Virtually all human economies are based on the destruction of the Earth, and we are now at a place in our history where we can foresee if we continue on as we are, our own extinction. As I write, the planet is in deep trouble, heat, fires, great storms, and record flooding, (...) weather patterns drastic everywhere. Capitalism has been so successful in supplying us with an endless array of consumer items, that we have never noticed there is a cost. But there is a cost, the cost is the very life of the Earth herself, and now the day of reckoning is here. Days of reckoning are most often days of rath. But I am hoping that this is a day of major Awakening over the entire planet. We have caused a crisis so great for the Earth we can hardly get our minds around it. But I am proposing that deeply embedded in the crisis are ideas, about who and what the Earth is, Ourselves, and what we are here for. I am proposing that this is a call to all philosophy and philosophers to rethink ourselves from the ground up. The human race has never gotten the Earth right and now we must, for the Earth is the true foundation for civilization. We are in deep trouble with the Earth, and it owes to the fact that the great male thinkers never got the Earth right, they could never make the connection between the life of mind and the life of the Earth. I am proposing that deeply embedded in the crisis we are in are ideas. And that in fact the planet is in the grip of a false metaphysics, and scientific image of nature that really comes most recently from Descartes. His conviction that matter, and with it the Earth, are simply the weighable, the measurable the extended in space and time, utterly devoid of any inner life of mind thoughts or Consciousness. This view of matter and the Earth goes back to the very dawn of thought, Descartes is just its most recent and comprehensive version of things. This view of matter is really a false metaphysics that dominates most of the modern world and underpins the whole scientific image of nature itself. I am proposing this is a false metaphysics and offering a new version of things based on Consciousness. If there is a single idea fueling and driving the destruction of the planet, it is the conviction that the Earth is something without Consciousness. When you intend to ravage and savage the planet, turn it into consumer items to be converted into money in the bank, first pretend that all of the bright beings in the natural world are devoid of Consciousness, just “things” you do not have to have any conscious about destroying them. I am proposing that this term Consciousness, that has appeared as term and a problem for modern science, is the key to getting ourselves right with the Earth. I propose this new theory for science will ramify into every other disciplines as well, and the ways we think just about everything. This old paradigm based on a false theory of matter, has run its course, it has brought us to the brink of our own extinction. We need new ideas, and we need them now. You will find my recent work in the Scientific God Journal under the title: Consciousness as the Organizing Principle, and a very complete version of my arguments for this term Consciousness, along with radical reinterpretation of modern science itself, on the Galileo Commission site. It is a radical moment for all of the thinkers among us, take this as my small contribution to rethinking ourselves in new terms, based on my understanding that the true basis for the whole of Being, the Universe, the Cosmos, and with them Ourselves, is this term Consciousness. And unpack it. And I predict that with this term Consciousness every intractable human problem in both science and the modern world will go down like a line of dominos before it. And so, here are a few new ideas I would offer you. These are the times of the Reappearance of the Feminine, a great Awakening as of Springtime after a long dark and lonely Winter. We are leaving behind us an old civilization based on male dominance, fear lies and control, now in decay, disease, and death disintegrating all around us. We are moving into a whole new civilization based on Love and Truth. A new civilization requires new basic terms values and first principles. And so, I return to Descartes. 1. Just over 300 years ago a young man travelling with the army found himself stranded in a foreign town in a bare room lit by a candle with nothing to do but think. And in a couple of nights Descartes laid the entire thought foundations for modern science and most of the modern world. It isn’t clear that modern philosophers with their funding sources of grants, their graduate students, their reputation and all the perks and privileges of academia can do any better. Descartes claimed there are just two principles in the Universe, Matter and Mind. God was pure mind; human beings were mind and matter. And we are the only ones on the planet with mind. Everything else all of the bright array of beings who share the planet with us are simply matter. And matter? The weighable the measurable the extended in space and time utterly devoid of any inner life of thoughts, feelings, or Consciousness This classification was a boon for developing science. Scientists did not have to worry about any inner life in nature, ideas or Consciousness, they could just set about weighing and measuring, as they have until the present day. But it was a disaster for the Earth. Earth was once worshiped as a Goddess. With Descartes she became almost overnight “things.” Simply commodities and resources, an endless of supply of consumer items, to be turned into money in the bank. And now Descartes concept of matter is up for us. If there is a single idea that is enabling and driving the destruction of the Earth, it is the conviction that Earth is something without Consciousness. This whole scientific image of nature as something devoid of Consciousness is driving the destruction of the Earth, and driving us all insane, and it needs to change. Ever since Descartes formulated Dualism, scientists and philosophers have been trying to get rid of it. They have done this by attempting to make matter the fundamental term of reality, and to explain mind or Consciousness in terms of matter. And now, Consciousness has emerged as term and a problem for modern science. 2. The prevailing Universe picture has been mainly based on the belief that Consciousness appears only at the end of evolution in ourselves and some of the higher animals when matter attains “a certain state of complexity” and it is produced by neurons in the brain. But Consciousness is nothing real in itself, the neurons are doing the work, Consciousness is simply a byproduct of neural activity. As William James summed up this position, not his: Consciousness is to the brain as a shadow to the runner, it runs beside him but never influences his stride. And so, the great problem of neuroscience: How do neurons produce Consciousness? So far, no one has been able to say how. All we have is parallelism. Two processes are running in parallel a train of neural events and a train of Consciousness events. And so, which one is primary? The face of neuroscience and much of the modern world is that the neural events are what is really real, Consciousness is secondary. The conviction that Consciousness is something produced by neurons is so deeply held and has been so for so long, that it seems like an obvious fact. It is in fact an assumption and a theory, and it could all well be the other way around. The scientific image of nature as something devoid of Consciousness is now up for us. It has enabled the destruction of the Earth, and we are now at a unique place in our own evolution where we can foresee if we continue on as we are, our own extinction. And so, there are the best reasons for rethinking Descartes concepts of matter. Scientists and philosophers have been trying to escape dualism by making matter the fundamental term. And now, this has not worked. In a nutshell: The mind body problem, the “hard problem of Consciousness” ---how do neurons in the brain, atoms and molecules give rise to ideas thoughts and feelings and who what and where is the “I” who sees them? And then, the near-death experience. I remind you of the truth of the near-death experience. The body in the bed is brain dead eeg flat, but the patient, pure Consciousness is hovering at the ceiling watching the doctors work over the body below, able to read dials he could not have seen from the bed, sometimes able to events in the corridor beyond the room, all subsequently confirmed by the doctors. Evidence as good as it gets that the patient really was out of his body. And so, the patient is able to see without eyes, hear without ears and to think and remember without a brain. There is not a single scientific principle that can account for this. And I am proposing that the near-death experience is a threshold and a key for a much deeper understanding of the Universe. These three problems are so hard they cannot be solved by present scientific principles and therefore call all present principles and ways of thought into question. When your axioms cannot account for the data, it is time to drop them and find better fundamental terms. We have not been able to solve the problems of Consciousness with the assumption that matter is the most basic and fundamental term. And so, if Cartesian dualism is to be overcome at all, we need to try it the other way around. 3. We are in the position of Copernicus. Remember Copernicus? He was making his calculations on the assumption that the Earth was the center of the Universe until they became so unwieldy that he decided to try it all the other way around. To make the sun the center, the Earth revolving around it. And lo, all of his data fell neatly into place. I am proposing a whole new Universe picture. Evolution makes us continuous with every other being, Consciousness would not be in us if it were not in them also, and then, in the atoms and molecules and cells that make up living beings. I propose to make Consciousness the most basic term and see what follows. I am in fact, proposing a new Copernican Revolution, that Consciousness is the true basis for the Universe and the right fundamental term, for science itself all other disciplines as well, and the whole of the modern world. And I predict that every intractable problem in science or the modern world, will go down like a line of dominos before it. In a nutshell: Consciousness and not matter is “first and fundamental” in the Universe, it is there from the very “Beginning” everything has it and all of the true causalities, the explanatory principles belong to it. Not to matter. What then is matter? All matter is an Appearance of something much more real, Consciousness. All matter is an expression of Consciousness, even the least little bit of matter contains Consciousness, and is an expression of Consciousness. And so, we revise the scientific image of nature. Science at present is two termed, matter/energy. It needs to become three termed: Matter/energy/Consciousness, with the recognition that all of the basic principles, the true causalities of events, and of the Universe belong to Consciousness. And now physics. To accommodate this new Universe picture physics needs to alter just one term, energy. All energy contains Consciousness, that idea alone will change our world forever. The animals the trees the plants are just as conscious as we are, as is the Earth herself, a continuum of many forms of Consciousness of which our own is one. The Earth consists of interacting and intersecting forms of Consciousness, Consciousness within Consciousness within Consciousness within Consciousness. A remarkable work has just appeared entitled “Beyond Words What Animals Feel and Think.” Describing in detail how like ourselves all of the animals are. And the more we can see how like us everything else really is, the harder it will be for us to do them all in, in the interest of turning them into consumer items. And so, here is a new principle of understanding, that entails completely new forms of explanation, and a whole new Universe picture to be spelled out in terms of Consciousness and its various properties. This is a Universe that is aware awake and Enspirited throughout. And so, there is only one principle, not two. And so, how does Consciousness work? There is “no mind/body problem.” My Consciousness is aligning the Consciousness of neurons in the brain, that aligns the Consciousness of all other cells in the body, that aligns the Consciousness of molecules and atoms themselves. Mainly from the top down, but also interactive, and not reduction to the purely physical forces. 4. And so, here is a radical new Universe picture, and with it a new way to think about the Universe itself, the Earth, Ourselves, and Spirit. It requires a complete revision of both of the terms of modern science itself. The problem of the modern world owes in deep measure to Descartes concept of matter as something devoid of interior life. But he is only the most powerful and simple expression of a whole tradition of thought that predates him, that goes back to the very dawn of thought itself. It owes to the conviction of both Plato and Aristotle that the Earth was something devoid of reason, or mind, and therefore something to be held in complete contempt. We are emerging from a civilization based on contempt for the Earth, and down the road, it will become contempt for the body, sex, women, the Native people, and people of color everywhere. And so, this entire tradition is now up for us, it has brought us to the brink of our own extinction, and we need to get beyond it. I am proposing that this term Consciousness is the way out. The missing piece of the puzzle and the idea whose time has come. And it will enable us to move into a completely new civilization based on respect for the Earth, women, sex, people of color, that honors everyone and has a place for all. Revolutions in science occur when new data show up that cannot be accounted for by existing paradigms (Thomas Kuhns: The Structure of Scientific Revolutions). Consciousness, and all the properties and problems of Consciousness are just such data, and they compel a new scientific revolution. But we are a scientific age. A new Copernican revolution in science is such as revolution everywhere. And Consciousness is the key to getting every other reality at all levels and depths right as well. It will enable us finally to get the Earth right, get ourselves right with the Earth, and with one another. Archimedes: Give me a place to stand, and I will move the world. I am proposing a new synthesis among our fundamental terms in which this term Consciousness is the new lynchpin. And so, I return once more to Descartes. Descartes in the Mediations was a dualist, they were two realities interacting in the pineal gland mind and body. But Descartes age was high on “Cartesianisms,” on Descartes concept of matter. Animals were simply cleverly wired machines (Hobbes called them automata). Rumor had it that Descartes followers went about kicking dogs reasoning that their howls were not due to any feelings of pain, but simply the wiring of the machine. We have been doing this to the Earth ever since, and now the Earth is not going to stand for it any longer. It is time we all woke up. There is no matter in Descartes sense of it, or in Plato and Aristotle’s sense of it. This old concept of matter is embedded in all of the crisis and catastrophes---fires, drought, pandemics, over population, the disintegrating economies, our ways of life, capitalism and consumerism themselves. All matter is Enspirited, contains Consciousness, and is an expression of Consciousness. Now I tell you something about Descartes you may not know. In the Mediations was a dualist, there are minds and bodies. But by the end of his life, he knew the truth. Descartes guided his whole life by these vivid dreams, and toward the end of his life he had this dream: He saw the Universe as a giant machine and in the heart of the machine propelling the whole, was Consciousness. And so, out of the shades and shadows and into the light of day. Here is a renewed and a new science, a new cosmology. And with it, a revolutionary new metaphysics. The whole of the modern world is in the grip of a false metaphysics, based on Descartes theory of matter. Here is a new, and finally true metaphysics based on the single term, Consciousness. 5. And in all my works, I spell out this new metaphysics based on Consciousness, and what it means for how we think about virtually everything: The Universe, the Earth, Ourselves, and Spirit. Of who, what and where Spirit is, that we may connect with Spirit everywhere. There is only one term for the Universe, and not two, this single term Consciousness, that manifests itself in two modes: Consciousness in Form, Consciousness Formless. And so, here is a sketch of what this new term Consciousness really means. For four great aspects of the real, four new cornerstones for a whole new civilization on Earth, based on Love and Truth. A. For the Universe: New causalities, all matter is an expression of Consciousness, awake and aware, Enspirited throughout, which has a place for the causalities of love ideas intent plan and purpose, what Aristotle called final causality, that for the sake of which. And it has a place for subjectivity, the greatest mystery in the whole of the Universe, knowable only in ourselves, but there in everything else as well, bedrock in the chain of causalities. The buck stops here. Here are two very different Universe pictures. The Cartesian Universe consists of things, pushed, and pulled around by the physical forces that function blind. The true Universe consists of selves and not things. Selves at least in ourselves, are organized and focused about an I, an I am, or a sense of self in everything, ever other being dear to itself. Just one aspect of subjectivity. And so, it is Consciousness all the way down, and subjectivity all the way down. Science proceeds on the basis of the negligible of what it can leave out as unimportant. Subjectivity is the ultimate animating principle of the Universe. What Descartes really did was to strip from nature what is most essential about it, its animating principle Consciousness. And so, we come out of a long history of “clunk.” The great male thinkers have killed creation. First in concepts and now in the lived life. And so, after centuries of fruitless search, not all of it in vain, finally, and just in time the true basic principle for the Universe has shown up in virtually all disciplines, this term Consciousness. B. And so, the Earth: What does this term Consciousness really mean for the Earth? It means that all of the bright array of beings around us have Consciousness. And the more we can realize how like us they are, the harder it will be to do them all in. Is this what it really means to be “made in the image of Spirit?” To destroy ever other living being? The god of Genesis is a creator god who has created billions and billions of living forms. Man, taking himself to be made in the image of Spirit has destroyed virtually all of it. The Earth is not things, not commodities and resources, not an endless array of consumer goods. The Earth consists of conscious living spiritual beings like ourselves, who need to be honored and respected, nurtured and cared for, to be Loved. And if the human race can finally pull it off and bring Love here and start helping the Earth rather than destroying her, even our vast numbers now at 8 billion, may not matter. Deeply embedded in the modern world is a false cosmology based on the hitherto useful but ultimately false metaphysics of Descartes. In particular it owes to Descartes concepts of matter, and of the Earth, as something devoid of Consciousness. And now this concept is up for us. If there is a single idea enabling and driving the destruction of the planet, it is the conviction that the Earth is something devoid of Consciousness. And we all have a vested interest in keeping this false concept in place. When you intend to ravage and savage the Earth, to turn it into consumer items, and money in the bank, first pretend she has no Consciousness that way we need not have any conscious about it. We are in deep trouble with the planet. Virtually all human economies are based on the destruction of the Earth, and we are now at a place in our history where we can foresee if we continue on as we are, our own extinction. And so, here are a few new guiding principles for the planet, based on Consciousness. Consciousness has field properties. The Earth is Consciousness throughout, connected and interconnected throughout, intersecting and interacting fields of Consciousness of which our own is one. To harm one is to harm all. Only this understanding of the Earth can set our destructive technologies, and capitalism, their goals, and their limits. The real problem with capitalism, and with civilization itself is it has no true understanding of the Earth, all the exquisite networks and webworks that connect all beings with one another. Nor it is about to admit that the Earth is our “life support system,” reason gone insane in the modern world. We are destroying our life support system, capitalism is the full expression of the human death wish in the modern world, and it needs to change. And now, let the barriers between ourselves and all other beings go down. C. And so, Ourselves. This new Universe picture based on Consciousness opens into and has a place for new concepts of human identity. In particular, it has a place for reincarnation, a process whereby one Consciousness dons’ bodies again and again and lays them down. This is a process wholly impossible on materialistic theories. This new view of things puts a higher perspective on Freudian determinism, which is a partial knowing in a greater account. We are something more than the victims of genes drives and childhood. We are immortally eternal evolving spiritual beings who take on a cycle of earthly lives in order to achieve certain goals and abilities, and then, our earthly cycle complete, we depart the Earth plane for other areas of the Universe physical or purely spiritual, to continue our evolution elsewhere. The scientific evidence for reincarnation is increasing on all sides, see for example the work of Michael Newton, a mainstream scientist forced to confront the fact of reincarnation. A completely new reincarnational picture is now emerging everywhere. We choose our parents for abilities we could acquire through them. We all come here with reasons for being here, and we all have free will, an original property of Consciousness, and we work out our issues accordingly. We all come here with the same reason for being here. It is to experience the Earth plane and human society at all levels and depths, in every social role, every climate, both sexes male and female and in all races. We are all here to acquire a deep understanding of the Earth plane with all its challenges and all of its present problems. We are not here to devour and consume the Earth, but to honor her for the learning experience she makes available for us. And so, reincarnation is the great equalizer, the fundamental basis for any bill of rights. Many of the problems of the modern world owe to the fact that reincarnation has not been taught in the West. Reincarnation was the center piece of Jesus teachings. It was banned by a fourth century council that decided the populous could best be controlled through fear. They edited all mention of reincarnation from the scriptures, and inserted fear terms instead, a judgmental god, and so on. If reincarnation had been taught, there would have been no suppression of women, but the gift of both sexes would have been honored and developed. And there would have been no reason for contempt for people of color because who they are, we have been or will be. There is no reason to look down on anyone when we know that our own identity includes membership in theirs. The truth of reincarnation needs to be the foundation for getting ourselves right with the Earth, and with one another. D. And so, Spirit. This new Universe picture, based on Consciousness, has a place for Spirit as simply Infinite Consciousness. All universes all worlds are formed out of this Consciousness, divine and sacred throughout. And Spirit is everywhere in the Earth and can be connected everywhere. And the Native North American people had things right. Everything has its own Spirit, and without contradiction is also an expression of Spirit. And what I am really doing in terms of concepts of modern science is presenting the Native North American version of the Real. And this new Universe picture has a place for the essential insight of all religions almost smothered by church tradition: Love. Not an emotion but a great Oneness, that can be found everywhere, even in a busy city street. But especially in the Earth, that is levels and depths of Oneness everywhere. And so, for the first time in their long and bitter antagonistic history, science and religion now share a common base with this term Spirit, the lynchpin in a new conceptual framework. And I offer an interpretation of where we are in our history, this present moment of historical grace, and these tumultuous times in which we live, the return of the Goddess and the Divine Feminine, the Reappearance of the Feminine in history, the Advent of Women, this great Awakening, as of Springtime after a long dark Winter, the Awakening, the Second Coming. And so, stay tuned! (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teleology in Natural Theology and Theology of Nature:Classical Theism, Science-Oriented Panentheism, and Process TheismMariusz Tabaczek, O.P.IntroductionThe world is full of teleological dimensions. When we search for them, we can easily see that virtually any of the main aspects of our world can be taken as a particular case of teleology. Although this holds especially for living beings, the physicochemical world also exhibits many directional features that acquire a (...) special meaning when seen as necessary conditions for the existence of living beings. Directionality indicates the existence of tendencies toward goals, which is the hallmark of natural teleology.... It is not difficult to find examples of directionality and cooperativity. If we begin with the most elementary components of the world, we find out that subatomic particles and the four basic interactions behave according to well-known specific patterns and collaborate to build up successive levels of organization—atoms, molecules, macromolecules, and the bigger inorganic and organic beings. The entire construction of our world is the result of the deployment of tendencies that collaborate to make up unitary systems.1If Mariano Artigas is right in his assertion—and many seem to agree that he is2—it seems reasonable to ask about the ways in which the notion of [End Page 1179] teleology may inspire theology, especially in the context of the ongoing dialogue between science and theology. We may think about at least two possible answers to this question, in reference to two related, yet distinctive strategies pursued in theological reflection, (1) the approach of natural theology and (2) the approach of theology of nature. What brings them together is their close attention to nature and our attempts to understand it. Avoiding theological and spiritual escapism and dismissive detachment from nature and natural phenomena, both natural theology and theology of nature point toward their ultimate grounding in God. While doing so, both approaches strive to remain free from the errors of panpsychism, vitalism, and pantheism, thus enabling nature to be natural, available to a thorough and meaningful analysis and description at the level of the research pursued by natural sciences and philosophy of nature and of science. What differentiates these theological approaches are their starting and ending points.Natural theology departs from the observation of natural phenomena. In a search for their ultimate explanation, in reference to philosophy of nature and metaphysics, it arrives at the theological conclusion that only the existence of God offers a satisfying and conclusive answer to the human search for understanding and meaning of the reality that surrounds us. Consequently, one may say that natural phenomena, or at least some of their most fundamental aspects such as teleology, can be used as a basis for arguing in favor of the existence of God.The advantage of such an approach—notes Ian Barbour—is that "it starts from scientific data on which we might expect agreement despite cultural and religious differences."3 However, taken alone, it may reduce the notion of God to the God of philosophers, the unmoved mover, [End Page 1180] or even a deistic Creator, remote and not engaged in his relation to the created reality. Moreover, although we know many examples of people who actually did go through a conversion and discovered the existence of God following the path of natural theology, one might ask whether at least some of the arguments developed within it do not presuppose God's existence as rhetorical exercises for the expression of religious faith, compromising thus its principal commitment.In contrast to natural theology, theology of nature begins with a firm belief in God, based on historical revelation—codified in the Scriptures and reflected upon within theological Tradition—and religious experience (personal and communal). It applies this perspective as an explanatory tool, providing a definitive answer to the questions of origin and ultimate fulfillment of natural phenomena observed in the universe. Hence, while it would be rather strange to claim that the existence of God proves the existence of the natural world—which is better known to us (quoad nos) than the principles of theology—we may still argue that, from the point of view of theology of nature, our knowledge... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toleration and Justice in the Laozi:Engaging with Tao Jiang's Origins of Moral-Political Philosophy in Early ChinaAi Yuan (bio)IntroductionThis review article engages with Tao Jiang's ground-breaking monograph on the Origins of Moral-Political Philosophy in Early China with particular focus on the articulation of toleration and justice in the Laozi (otherwise called the Daodejing).1 Jiang discusses a naturalistic turn and the re-alignment of values in the Laozi, resulting in a naturalization (...) of justice (impartiality) by rejecting artificial humaneness and rigid hierarchical moral-political structures. In this Laozian just world, there is no room for human intervention and rigid top-down enforcement of values, thus leaving justice to naturalized Heaven or Dao as the ultimate source of the cosmos.Based on Jiang's interpretative context, I show that there is a twofold justification for the "paradoxical" and "elusive"2 value of political toleration.3 A negative expression of toleration focuses on non-interference with choices, and non-enforcement of values toward those whom one reasonably disagrees with and regards as morally wrong. Such an attitude of toleration results in practical advantages such as avoiding entrenchment in bloodshed, abandonment, and deprivation.A positive expression of toleration operating in the Laozian ideal world requires equal protection of people as capable knowers, including those to whom we object. Such protection includes their ways of expression and an unbiased recognition of them as equally capable knowers so that they are heard without bias and prejudice. Such a kind of toleration is revealed as a constituent component of justice since it enables equal contribution toward the shaping of society without discrimination. In other words, toleration is seen as naturalized justice in a Laozian world within which no one is "being wronged with the capacity as a knower"—a kind of epistemic justice articulated by Miranda Fricker (Fricker 2007).4 [End Page 466]This article discusses how Jiang's political reconstruction of Laozian philosophy contains the seeds for a discussion of toleration, a value associated with distributive justice and against epistemic injustice. First, it introduces Jiang's arguments on a naturalization of justice and impartiality as Heavenly attributes in the Laozi. Second, it articulates the value of tolerance in the Laozi. Finally, I compare Laozian toleration with Confucian toleration using youwei- wuwei metaethical criticism.Moral-Political Philosophy in the LaoziJiang's interpretative framework about the origins of distributive justice in the Laozi starts with a discussion of the cosmogonic-mystical worldviews that signal "a new understanding of the nature of the cosmos, as well as a broad reorientation in the Heaven-human relationship in the mid-Warring States period" (p. 192). Differing from the interests in the origins of human culture or civilization in the Ru and Mo traditions, Jiang agrees with Franklin Perkins and identifies a "cosmogonic turn" in the late fourth century b.c. that reveals a demotion of anthropomorphic Heaven. By paring Heaven with earth and accordingly decentering human beings in the intellectual discourse, the Laozi directs equal values to the ten thousand things, with humans as just one among them (Perkins 2016, quoted in Jiang 2021, p. 196).5 Laozi's philosophy thus stands out by rejecting Heaven as caring for human affairs while taking Dao as the ultimate origin of the cosmos, as claimed in chapter 5 of the received text: "Heaven and earth are not humane; they treat ten-thousand things in the world as straw dogs; the sage is not humane; he treats people as straw dogs" (p. 199).With Jiang's reading of a naturalistic heaven, we see a re-alignment between cosmos and the human since sage-rulers follow the Heaven-Dao. The Laozian Dao is "self-so-ing" (ziran 自然), "accommodating" (rong 容), and "impartial" (gong 公), and thus marks a sharp contrast to Confucian familial bias resulting in "actively intervening in human affairs on behalf of the (certain) humans by appointing them to carry out its mission" (p. 200). With the sage emulating the ultimate Dao, the Laozi replaces the Confucian anthropocentric Heaven, which focuses on partiality (qin 親) and humaneness (ren 仁).This Laozian understanding of the cosmos also grounds its philosophical departure from Mohism despite both having a political... (shrink)

"The debate recorded in al-Ghazālī's Incoherence of the Philosophers, and Ibn Rushd's response in Incoherence of the Incoherence, is one of the most philosophically interesting events in the history of classical Islamic thought. Here, the cutting edge of Ghazālī's searching critique meets the depth of Ibn Rushd's philosophical insight in a clash over the innovative synthesis of Aristotelian and Neo-Platonic thought represented chiefly by Ibn Sīnā. This critical commentary closely analyses and evaluates the arguments deployed by all three parties in (...) the debate, wherein are raised questions about the origin of the universe and the reality of time, possibility, causality, and nature. Where opportunities arise, it actively engages in the discussion by suggesting alternative arguments and philosophical directions. It goes beyond the cliché construal of the Incoherence debate as simply a conflict between faith and reason, exposing it as a genuinely philosophical enterprise and a potential source of fresh perspectives on contemporary discussions in metaphysics and analytic theology"--. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Matter and Mathematics: An Essentialist Account of the Laws of Nature by Andrew YOUNANDominic V. CassellaYOUNAN, Andrew. Matter and Mathematics: An Essentialist Account of the Laws of Nature. Washington, D.C.: The Catholic University of America Press, 2023. xii + 228 pp. Cloth, $75.00Andrew Younan’s work situates itself between two opposing philosophical accounts of the laws of nature. In one corner, there are the Humeans (or (...) Nominalists); in the other, the Anti-Humeans (or Platonists). The goal of the book is to find an explanation for the orderliness of the natural world that avoids falling into the difficulties of the two opposing philosophies. For example, the Humeans treat “events” as fundamental, and the laws of nature follow from these “events.” For the Humeans, reality is essentially random, with any order being something of our own contrivance. Whereas for the Anti-Humeans, the laws of nature are fundamental and are treated as causing events, turning the effect of necessity into the cause of material [End Page 166] characteristics. Looking to Aristotle and Thomas Aquinas, Younan proposes the recovery of a third option, the Essentialist position. This Essentialist position understands substances, that is, individual beings, as fundamental and all else (for example, events and laws of nature) follow from these individual beings. The thesis of the book, generally understood, is that Essentialism evades the critiques that the Humeans and Anti-Humeans put against one another while retaining what is right in each approach.The book is divided into two parts. The book’s first part deals with general objections and replies and is divided into three chapters. Chapters 1 and 2 address the two opposing accounts of nature mentioned, while chapter 3 argues for the benefits of recovering an Essentialist position. Chapter 1 examines the objection that Aristotelian natural philosophy is incompatible with modern science, an objection raised by Descartes. Chapter 2 addresses the objections of the Humeans, namely, that natural philosophy and, with it, causality and induction have been debunked. Chapter 3 looks at the fathers of quantum theory, specifically Heisenberg, and argues that a return to Aristotle’s understanding of nature would benefit the modern scientific project. The book’s second part is an argument for the Essentialist position and is divided into three chapters. Chapters 4 and 5 are the foundation for chapter 6. Chapter 4 is an abstractive account of mathematics, differing from Descartes and his conceptions, which draws on the texts of Aristotle and Aquinas’s Division and Methods. Chapter 5 situates necessity and its role in Aristotelian natural philosophy. Chapter 6 is the author’s attempt at defining what it is to be a law of nature.Younan argues that adopting an essentialist understanding of nature in a system where all knowledge begins in the senses has three significant “payoffs.” The first is that it avoids governance language, that is, it avoids making laws themselves causes of necessity; the second is that it avoids the assertion of a priori knowledge; the third is that it understands individual things as the fundamental primitives in nature, restoring the substance to its proper place as the thing that “stands under” accidental being.The book is concluded with an appendix that explores and rearticulates Thomas Aquinas’s fifth way under the consideration of everything the author had argued for in the book’s main text. Taking as established by the rest of the book that necessity and teleology go hand in hand, Younan argues for a creator God who establishes a universe freely but within certain parameters that follow upon being itself. Younan concludes, with Thomas Aquinas, that laws of nature are “ordinances of reason” that must come from a rational mind. To be as consistent as they are, the laws of nature must be promulgated by God, and they are discoverable within the nature of matter itself.Younan’s book often engages its interlocutors on the big-picture scale, frequently giving generalizations and not going into details to avoid getting bogged down in the weeds. The author is very aware of what he is doing. [End Page 167] It is appropriate since engaging the multiheaded hydra of the schools of thought that Younan... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the understanding (...) of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the understanding (...) of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

This is the first in a seven-volume series, to be based on The Jerusalem Conferences. Each volume is devoted to a specific topic, the first five following the division of Spinoza's "Ethics, the sixth dealing with Spinoza's social and political thought and the concluding one with the philosopher's life and origins. All papers are in English, yet present a wide-ranging picture of contemporary study of Spinoza's philosophy worldwide. Among the contributions to the present volume are Alan Donagan's "Substance, Essence and (...) Attribute in Spinoza," Edwin Curley's "On Jonathan Bennett's Interpretation of Spinoza's Monism," followed by Bennett's "Reply," Alexandre Matheron's "Essence, Existence and Power in Spinoza" and Herman De Dijn's "Metaphysics as Ethics." Papers are also presented by Margaret D. Wilson, Emilia Giancotti, Yirmiyahu Yovel, Jean-Luc Marion, Pierre Macherey, Jacqueline Lagrie, Don Garrett, Yosef Ben-Shlomo and Sylvain Zac. All participants present major papers, the book thus being the outcome of a long-standing interest in Spinozistic thought by a group of first-rate scholars. The book includes an index of subjects and proper names. (shrink)

The paper discusses this year’s Nobel Prize in physics for experiments of entanglement “establishing the violation of Bell inequalities and pioneering quantum information science” in a much wider, including philosophical context legitimizing by the authority of the Nobel Prize a new scientific area out of “classical” quantum mechanics relevant to Pauli’s “particle” paradigm of energy conservation and thus to the Standard model obeying it. One justifies the eventual future theory of quantum gravitation as belonging to the newly established quantum information (...) science. Entanglement, involving non-Hermitian operators for its rigorous description, non-unitarity as well as nonlocal and superluminal physical signals “spookily” (by Einstein’s flowery epithet) synchronizing and transferring some nonzero action at a distance, can be considered to be quantum gravity so that its local counterpart to be Einstein’s gravitation according to general relativity therefore pioneering an alternative pathway to quantum gravitation different from the “secondary quantization” of the Standard model. So, the experiments of entanglement once they have been awarded by the Nobel Prize launch particularly the relevant theory of quantum gravitation grounded on “quantum information science” thus granted to be nonclassical quantum mechanics in the shared framework of the generalized quantum mechanics obeying rather quantum-information conservation than only energy conservation. The concept of “dark phase” of the universe naturally linked to the very well confirmed “dark matter” and “dark energy” and opposed to its “light phase” inherent to classical quantum mechanics and the Standard model obeys quantum-information conservation, after which reversible causality or the mutual transformation of energy and information are valid. The mythical Big Bang after which energy conservation holds universally is to be replaced by an omnipresent and omnitemporal medium of decoherence of the dark and nonlocal phase into the light and local phase. The former is only an integral image of the latter and borrowed in fact rather from religion than from science. Physical, methodological and proper philosophical conclusions follow from that paradigm shift heralded by this year’s Nobel Prize in physics. For example, the scientific theory of thinking should originate from the dark phase of the universe, as well: probably only approximately modeled by neural networks physically belonging to the light phase thoroughly. A few crucial philosophical sequences follow from the break of Pauli’s paradigm: (1) the establishment of the “dark” phase of the universe as opposed to its “light” phase, only to which the Cartesian dichotomy of “body” and “mind” is valid; (2) quantum information conservation as relevant to the dark phase, furthermore generalizing energy conservation as to its light phase, productively allowing for physical entities to appear “ex nihilo”, i.e., from the dark phase, in which energy and time are yet inseparable from each other; (3) reversible causality as inherent to the dark phase; (4) the interpretation of gravitation only mathematically: as an interpretation of the incompleteness of finiteness to infinity, for example, following the Gödel dichotomy (“either contradiction or incompleteness”) about the relation of arithmetic to set theory; (5) the restriction of the concept of hierarchy only to the light phase; (6) the commensurability of both physical extremes of a quantum and the universe as a whole in the dark phase obeying quantum information conservation and akin to Nicholas of Cusa’s philosophical and theological worldview. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 21-39 [Access article in PDF] Capability and Language in the Novels of Tarjei Vesaas Catherine Wilson I THOUGH RELATIVELY UNKNOWN to English-speaking readers, Tarjei Vesaas (1897-1970) is recognized as one of the great Scandinavian novelists and literary innovators of the last century. His oeuvre is substantial, extending to thirty-four volumes published between 1923 and 1966, many of them translated into English and European languages. (...) He was one of four nominees for the 1964 Nobel Prize in literature, and he received a number of other awards and citations in the course of his life. At the same time, his work has failed almost entirely to generate a secondary literature going beyond plot summary, stylistics, and moral approval, and even that literature remains strongly regionalized. 1 Vesaas wrote in nynorsk or "New Norwegian," the minority language of the country created from south-central dialects and distinct from the official, bureaucratic bokmal. He settled permanently on a farm in the remote Telemark district of Norway and assumed no role in European culture as critic or essayist, refusing to discuss his own work in literary or philosophical terms. As a result, analytic and comparative studies have proved difficult to launch.The present essay is intended to provide one such analytical study, addressed specifically to the philosophical themes of ethical resignation, the precariousness of communication, and inwardness. These are familiar themes in twentieth-century literature. In his study of the "literary conquest of the void," R. M. Adams shows how Moravia, Musil, and Beckett amongst others make use of devices of paralysis, immobility, exhaustion, and incomprehension that have their origins in the romantic literature of the nineteenth century, notably in Baudelaire [End Page 21] and Gogol. 2 Literary modernism rejected certain nineteenth-century conventions of plot and character, but did not abandon the fascination of the preceding century with nihilistic themes. Vesaas's work demands to be read in this literary context. The novels, at once semirealistic and highly stylized, deal almost exclusively with rural people and their struggles against the elemental forces of nature. The main characters are often children and adolescents who suffer some degree of helplessness. Simple contrasts are posed: warmth and cold; loss and retrieval, childbirth and death. Agricultural cycle motifs abound. The choice of protagonists and the dominance of vitalistic and biological themes pose the threat of sentimentality and preciousness, but it is avoided by the ubiquity of devastation and destruction in the moral landscape. According to Randi Brox's note in the Dictionary of Scandinavian Literature, the early novels in particular "advocate as the highest goal in life an accepting, contented attitude toward the human condition." 3This judgment reflects what might be termed a judicial-theological picture of fiction. On this view, a novel constitutes a testing ground for discovering what sort of world we live in and what pursuits are possible and worthwhile. Various alternatives are set up as hypotheses, and novels prove and disprove them through narrative demonstrations of the causal effects of adopting them. False theories of the human world and untenable values are subject to refutation. This template is surprisingly useful, not only with respect to the nineteenth-century novel, with its apparent tendency to confident judgment, but even to modern fiction. Moravia, for example, can be seen to be awarding divergent roles to characters and allowing the qualities they represent to struggle for supremacy. 4Yet poststructuralist and postmodernist criticism have cast doubt on the notion that, to the extent that they are important, such contests can ever be decided, and it is increasingly clear that the greatest nineteenth-century novelists, Hardy and Eliot, did not regard the hierarchy of values as settled and demonstrable. Persons, we are coming to understand, are more plausibly seen as sites of conflict; thus fictional representations of persons are repositories of opposing values. Vesaas's novels reflect such an understanding of persons and values, and so the judicial-theological template is inapplicable.The critical view that Vesaas's novels are essentially instructions in adaptation is untenable, because the goal of... (shrink)

By a thorough study of the Posterior Analytics and related Aristotelian texts, Richard McKirahan reconstructs Aristotle's theory of episteme--science. The Posterior Analytics contains the first extensive treatment of the nature and structure of science in the history of philosophy, and McKirahan's aim is to interpret it sympathetically, following the lead of the text, rather than imposing contemporary frameworks on it. In addition to treating the theory as a whole, the author uses textual and philological as well as philosophical material (...) to interpret many important but difficult individual passages. A number of issues left obscure by the Aristotelian material are settled by reference to Euclid's geometrical practice in the Elements. To justify this use of Euclid, McKirahan makes a comparative analysis of fundamental features of Euclidian geometry with the corresponding elements of Aristotle's theory. Emerging from that discussion is a more precise and more complex picture of the relation between Aristotle's theory and Greek mathematics--a picture of mutual, rather than one-way, dependence. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 523-541 [Access article in PDF] Antiquarianism, the History of Objects, and the History of Art before Winckelmann Thomas DaCosta Kaufmann [Figures] To the Memory of Franklin LeVan Baumer. In light of postmodernist and poststructuralist trends in the humanities which have contested notions of originality and of authorship, it might seem surprising that one outstanding myth of the eighteenth century has not (...) yet been thoroughly challenged. This is the claim made by Johann Joachim Winckelmann in the foreword to the Geschichte der Kunst des Altertums, originally published in 1764, that he had created a new history of art which was distinct from a history of artists and also different from what had previously been written about antiquities (Altertümer): The history of the art of antiquity, which I have undertaken to write, is no mere account of the chronological order and change of art, but I take the word history in the wider sense, that it has in the Greek language, and my intention is to offer an attempt at a system.... But the essence of art is in every part the most eminent aim, in which the history of artists has little influence, and this [sort of history of artists], which has been compiled by others, is therefore not to be sought here... those who have treated antiquities, examine either only such where erudition was to be applied, or, if they speak of art, this happens in part with common eulogies, or their judgment is built on peculiar, false grounds. 1 [End Page 523]Wolf Lepenies once described this claim as one of the many foundational myths of the Enlightenment and presented instead some parallels between the writing of art history and natural history in the eighteenth century. 2 As interest in the historiography of art has revived, publications have continued to pour forth on Winckelmann. 3 Yet the critique suggested by Lepenies has largely not been followed. Winckelmann's claim to originality remains a starting or major turning point for most accounts of the history of the discipline of art history. 4 [End Page 524]It may be that Winckelmann's claim has remained largely unchallenged because his differentiation of his accomplishment from that of Gelehrsamkeit in particular coincides with and helps to support another distinction made at his time, that between "philosophy," or criticism, and erudition, the latter being at best necessary but inferior. 5 This distinction, which was fostered by the philosophes and their counterparts in other countries, has been frequently heard in scholarly debates, and it is echoed in current discussions where empirical scholarship is disparaged in favor of what is often now called Theory. 6 Thus while in the twentieth century the Enlightenment came in for heavy going starting with at least the critique of Max Horkheimer and Theodor W. Adorno, 7 this is one Enlightenment opinion which, despite the rise of critical theory among other trends in recent scholarship, has gained in fashion, especially in the English-speaking world.But the contrast between philosophy, or critique, and erudition makes a distinction that is ultimately untenable, even if it is also one that has continued to dominate many views of the history of eighteenth-century scholarship. The case at hand suggests that supposed innovations of the eighteenth century in the historiography of art, as in many other fields of study, are much more bound up with late humanism and encyclopedism than their promulgators might have wished to admit. Scholars of a number of disciplines have begun to revise interpretations of the role of the so-called antiquarians of the sixteenth to eighteenth centuries--those who dealt with Altertümer. 8 Some recent studies of the historiography of art have pointed to some connections between the antiquarian tradition and that of the historiography of art. 9 These approaches, however, have primarily dealt with Italian and French writers and, moreover, have left Winckelmann's position largely untouched. 10 Winckelmann's situation in the [End Page 525] broader European historical and geographical context also remains... (shrink)

This is a big-picture book, 2 written with a breadth of focus which I find admirable. It exhibits what's come to be known as the ‘intersubdiscplinary’ approach to philosophy, which is not restricted by traditional boundaries within the discipline but rather proceeds with an eye to all sorts of areas of philosophy where relevant arguments, results, analogies and strategies might be lurking. I approve of this way of doing philosophy; it seems to me that all too often that wheels are (...) reinvented, or crucial points missed, because of a lack of this sort of intersubdisciplinarity.To help guide us through such a broad landscape, this book needed to be well-signposted and clearly written, and it is. It cannot be denied, however, that the ambitious scale of The Nature of Normativity won't be to every taste. For one thing, not everyone likes big pictures. For another, this is a deep, dense and in many ways difficult book, which can only really be appreciated by sitting down with it for hours on end. It will not repay the casual skim-reader, nor is it likely to appeal to those who prefer dipping into philosophy books over reading them wholesale.The book is also long . The view under construction has a great many interlocking elements, including non-reductive normative naturalism, normative realism, a priorist intuitionism, normative internalism, the normativity of intentionality, conceptual-role semantics, contextualism, possible-worlds semantics, and certain ideas about ‘planning’ derived from the recent work of Allan Gibbard. It will be a tough read for specialists who do not share Wedgwood's familiarity with a wide range of subdisciplines, who will either have to content themselves with a superficial reading of many passages or else hunt down the necessary background material to …. (shrink)

Love, fear, hope, calculus, and game shows-how do all these spring from a few delicate pounds of meat? Neurophysiologist Ian Glynn lays the foundation for answering this question in his expansive An Anatomy of Thought, but stops short of committing to one particular theory. The book is a pleasant challenge, presenting the reader with the latest research and thinking about neuroscience and how it relates to various models of consciousness. Combining the aim of a textbook with the style of a (...) popularization, it provides all the lay reader needs to know to participate in the philosophical debate that is redefining our attitudes about our minds. Drawing on the rich history of neurological case studies, Glynn picks through the building blocks of our nervous system, examines our visual and linguistic systems, and probes deeply into our higher thought processes. The stories of great scientists, like Ramon y Cajal, and famous patients, like Sperry's split-brained epileptics, illuminate the scientific issues Glynn selects as essential for understanding consciousness. Some might argue that his lengthy explorations of natural selection overemphasize evolutionary explanations of psychological phenomena, but they must also agree that evolutionary psychology has distanced itself mightily from social Darwinism in recent years and merits a reappraisal. The great consciousness debate may form the core of the 21st-century Zeitgeist; get ready for it with An Anatomy of Thought. -Rob Lightner From Publishers Weekly How do we know? What do we think? How could a philosophical problem-'the mind-body problem,' say-induce a headache? What can evolutionary theory, molecular biology, the history of medicine and experimental psychology tell us about the features of human consciousness, and (once again) how do we know? Glynn, a physician and Cambridge University professor, meticulously attempts to answer these questions and more, setting forth the results of all sorts of research relevant to our brains-from 19th-century dissections to Oliver Sacks-like case studies, work with monkeys and supercomputers, and the enduring puzzles of philosophy, which he rightly saves for near the end. After explaining evolution by natural selection and 'clearing away much dross,' Glynn lays out the experiments and theories that have shown 'how nerve cells can carry information about the body, how they can interact' and how sense organs work; demonstrates the 'mixture of parallel and hierarchical organization' in our brains and 'the striking localization of function within it'; considers where neuroscience is likely to go; and admits that, among the many fields of exciting research just ahead, 'we can be least confident of progress toward a complete, scientific explanation of our sensations and thoughts and feelings.' Other recent explaining-the-brain books have sometimes advanced simplistic, or implausibly grand, claims about the nature and features of consciousness in general. Instead, Glynn offers a patient, informative, well-laid-out researcher's-eye view of what we have learned, how we figured it out and what we still don't know about neurons, senses, feelings, brains and minds. (Apr.) Copyright 2000 Reed Business Information, Inc. From Library Journal The nature of consciousness, which perennially troubles the minds of scientists and philosophers, is the subject of an ever-growing body of literature. Two of the latest entries approach the topic from different perspectives. Glynn, a professor of physiology and head of the Physiological Laboratory at Cambridge, offers a comprehensive summary of what we know about the brain-both its evolution and its mechanisms. Among the topics he covers are natural selection, molecular evolution, nerves and the nervous system, sensory perception, and the specific structures responsible for our intellect. Using the mechanisms involved in vision and speech as models, Glynn skillfully describes various neurological deficiencies that can lead to 'disordered seeing' and problems with the use of language. He carefully distinguishes what we know through experimental evidence from what we know through the observation of patients with neurological damage. He also describes some of the major theories that attempt to explain why these structures arose. While his book concentrates on the structures that make up the mind, Glynn is well aware that some physical events appear explicable only in terms of conscious mental events-a situation that conflicts with the laws of modern physics. Only briefly, however, does he consider the various approaches that have been taken to deal with the issues of mind/body and free will. In contrast, this is the primary focus of The Physics of Consciousness. After reviewing the fundamentals of classic physics, Walker (who has a Ph.D. in physics) summarizes elements of the new physics in which our knowledge of space, time, matter, and energy are all dependent on the moment of observation. Walker explores the meaning of consciousness as a characteristic of the observer. In this context both the observer and the act of measurement are critical. In essence, Walker leads his reader on a journey through his concept of a 'quantum mind,' which can both affect matter (including other minds) and can be affected by other distant matter/minds. To break up what would otherwise be an extremely dense text, Walker also relates the very touching story of the loss of his high-school sweetheart to leukemia. Indeed, it is his memory of their relationship that drives Walker to seek an understanding of ultimate reality. At times, he has a tendency to be dogmatic-as when he concludes, 'our consciousness, our mind, and the will of God are the same mind.' While An Anatomy of Thought is appropriate for most academic libraries, the Physics of Consciousness will be most accessible to readers with some knowledge of advanced physics. -Laurie Bartolini, Illinois State Lib., Springfield Copyright 2000 Reed Business Information, Inc. From Booklist The codiscoverers of natural selection-Charles Darwin and Alfred Wallace-disagreed over the possibility of finding an evolutionary explanation for the human mind. Glynn here argues Darwin's side of the debate, tracing an eons-long path of development starting from simple amino acids floating in primal seas and extending through the erect hominids in which the powers of a massive brain first manifest themselves. Patiently adducing evidence of an evolutionary origin for the underlying molecular machinery, Glynn dissects the nerve centers that make possible speech and hearing, sight, and reading. Pressing deeper, he lays bare the cortical foundations of personality. But those who deal with the mind must attend also to the arguments advanced by philosophers. And it is when he turns from dendrites to syllogisms (especially the vexing mind-body paradox) that Glynn's empirical reasoning fails him. In the end, he concedes his perplexity in trying to conceive of an evolutionary origin for human consciousness. This concession may set the shade of Alfred Wallace to chortling, but it will draw readers into an honest confrontation with a profound enigma. Bryce Christensen. (shrink)

The purpose of this study is to provide a detailed exposition of Heidegger's conception of philosophy as "destruction [Destruktion]." My thesis is that the ultimate motivation for engaging in this practice of Destruktion is the value of an "authentic" way of life. That is, "destruction" is a philosophical practice that aims at cultivating authenticity as a concrete possibility for individual men and women. I argue for this claim by first of all examining the theological sources for Heidegger's notion of "destruction," (...) with a particular focus on Luther. Second, I provide a detailed exposition of the development of "destruction" in Heidegger's work from the 1920's, and of the ideas intimately linked with it. ;In Chapter One, I undertake to clarify Heidegger's philosophical position on the importance of religion and theology not only for Western intellectual history as a whole, but also for his own idiosyncratic philosophical project. In Chapter Two I explore the role that his study of Luther played in the development of Heidegger's conception of philosophy as "destruction." In Chapter Three, I lay some necessary groundwork for my later discussion by examining Heidegger's conception of human selfhood. In Chapter Four, I undertake to give a thorough account of Heidegger's conception of an "inauthentic" way of life. In Chapter Five, I examine Heidegger's views about the way public discourse, particularly intellectual discourse, is oftentimes complicit in an inauthentic way of life. In Chapter Six, I locate Heidegger's conception of authenticity within the tradition of Romantic personalism, and show how he investigates the roots of this tradition in primitive Christianity. In Chapter Seven, I present an explication of Heidegger's conception of an "authentic life" by focusing on his works before and including Being and Time. Having laid the groundwork for understanding the meaning of "destruction" in Chapters One through Seven, I begin an explicit examination of the nature of Heidegger's conception of philosophy in Chapter Eight. Chapter Nine is the culmination of my argument, in which I focus on the idea of "destruction," and show that it is everywhere linked with Heidegger's ideal of an authentic way of life. (shrink)

It is reported that in reply to John Wisdom’s request in 1944 to provide a dictionary entry describing his philosophy, Wittgenstein wrote only one sentence: “He has concerned himself principally with questions about the foundations of mathematics”. However, an understanding of his philosophy of mathematics has long been a desideratum. This was the case, in particular, for the period stretching from the Tractatus Logico-Philosophicus to the so-called transitional phase. Marion’s book represents a giant leap forward in this direction. In the (...) preface, Marion provides a diagnosis for why it has taken such a long time to obtain an accurate picture of Wittgenstein’s ideas in the foundations of mathematics. When the Remarks on the Foundations of Mathematics came out in 1956 the reception by specialists, such as Kreisel, was negative. This led many Wittgenstein scholars to set aside the issues in the foundations of mathematics and go on with the business of the day, focusing on Wittgenstein’s philosophy of language and psychology. However, these early negative appraisals were severely limited by two facts. First of all, the nature of the Remarks was a hindrance to an understanding of what Wittgenstein was up to. The book was edited by Wittgenstein’s literary executors by collating together passages from several manuscripts dating from 1937 to 1944, cutting, however, many passages in between remarks. Second, many of the original manuscripts and typescripts of the transitional phase were not available and thus it was virtually impossible to obtain a balanced picture of Wittgenstein’s development. Finally, a stark contraposition between the early and late Wittgenstein did not encourage people to work seriously on the development of Wittgenstein’s position from the Tractatus through the transitional period to the later writings. (shrink)

A lot of Indian research is replicative in nature. This is because originality is at a premium here and mediocrity is in great demand. But replication has its merit as well because it helps in corroboration. And that is the bedrock on which many a fancied scientific hypothesis or theory stands, or falls. However, to go from replicative to original research will involve a massive effort to restructure the Indian psyche and an all round effort from numerous quarters. The (...) second part of this paper deals with the essence of scientific temper, which need not have any basic friendship, or animosity, with religion, faith, superstition and other such entities. A true scientist follows two cardinal rules. He is never unwilling to accept the worth of evidence, howsoever damning to the most favourite of his theories. Second, and perhaps more important, for want of evidence, he withholds comment. He says neither yes nor no. Where will Science ultimately lead Man is the third part of this essay. One argument is that the conflict between Man and Science will continue till either of them is exhausted or wiped out. The other believes that it is Science which has to be harnessed for Man and not Man used for Science. And with the numerous checks and balances in place, Science will remain an effective tool for man's progress. The essential value-neutrality of Science will have to be supplemented by the values that man has upheld for centuries as fundamental, and which religious thought and moral philosophy have continuously professed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:336 BOOK REVIEWS The Nature of All Being: A Study of Wittgenstein's Modal Atomism. By RAYMOND BRADLEY. New York and Oxford: The Oxford University Press, 1992. Pp. xxi + 244. $39.95. Bradley offers as his point of departure this epigraph from Wittgenstein 's Notebooks 1914-1916, written 22 January, 1915: My whole task consists in giving the nature of the proposition. In giving the nature of all (...) being. (And here being does not stand for existence.) His aim in this contribution to the corpus of Wittgenstein scholarship is to " bring into sharp focus the crucial role which modal notions-the notions of necessity, contingency, possibility, impossibility, and so onplay in Wittgenstein's early thinking" (xiii). At this task the book is a clear success. I know of no other work on the Tractatus which is so thoroughly dedicated to the role of modal notions, nor of any which does so much to bring the early Wittgenstein into conversation with contemporary philosophers who work on modal logic and who talk about possible worlds. Bradley convincingly argues that Wittgenstein is not only the largely unrecognized Urvater of modal logic in the twentieth century, with a stature that ought to be equivalent to that of Leibniz, he also presented arguments that even now have an important role to play in contemporary debates among possible world theorists and practitioners of modal logic. Philosophers who are interested in modal logic, especially its history, or in the logical structures of the Tractatus, will find very much of interest in this book. Those who, on the other hand, are chiefly interested in Wittgenstein's views on ethics, the aesthetic, God, or the mystical, or who are interested in the relation between the Tractatus and his later work, will find little here to their taste. The book's structure perspicuously tracks Bradley's argument. Chapter One sets the reader straight on what modal atomism is, giving the history of Wittgenstein's association with Russell, and establishing that the atomism of the Tractatus is in fact modal in nature. Chapter Two argues that Wittgenstein is a possibilist, that is, that he asserts the reality of merely possible entities and that his work is consistent with the modern modal logic called SS. Chapter Three turns to the ontological side, showing how Wittgenstein's commitments to atomic objects as the " substance of the world " entails certain modal relations among objects and the complex facts which they may form. In Chapter Four logic and ontology are brought together in an account of the mirroring relation through which language depicts the world, with attention to a set of intricately argued principles that makes this relation possible. The final chapter brings Wittgenstein's thought to bear on the BOOK REVIEWS 337 whole range of contemporary problems and issues in modal logic, demonstrating by example the author's contention that the Tractatus, rightly attended to, contains important contributions, still unappre· ciated, to the field. Bradley's overall intentions could not be more clear. His strategy for each chapter is clear. Each chapter is divided into between ten and twenty short sections each of which has a specific and well-defined topic. The argumentation within each such section, with a pardonable lapse or two, is well-structured and easy to follow, even for one whose expertise in modal logic is not honed by regular practice. And yet the hook has, on reading, the feel of a very dense landscape of trees, with· out much overview of the forest. This impression is given, I believe, by the style of argumentation. While the topics are sequentially related and build to a general picture, the arguments that must be articulated and answered in each section have little relation, one to the next: a problem in this view, a contradiction or a paradox in that, a resolution, and then on to the next section, where an apparent inconsistency of some sort must be addressed, and so on. There is the feeling of dealing serially with connected topics, but not the feeling of cumulative argumentation building toward a conclusion. A conclusion, however, there is: that Wittgenstein was the modal logician par excellence of the early 20th century, who has much... (shrink)

Presocratic philosophy, for all its diverse features, is united by the quest to understand the origin and nature of the world. The approach of the Pythagoreans to this quest is governed by their belief, probably based on studies of the numerical relations in musical harmony, that number or numerical structure plays a key role for explaining the world-order, the cosmos. It remains questionable to what extent the Pythagoreans, by positing number as an all-powerful explanatory concept, broke free (...) from Presocratic ideas that certain stuffs or material elements sufficed to account for the source and constitution of the world, but apparently number found such a universal application with them that Aristotle could summarize the Pythagorean position as ‘numbers…are the whole universe’. Historians of Greek philosophy have generally accepted Aristotle's assessment. Of late, however, certain scholars have argued that the Pythagorean number doctrine is Aristotelian interpretation, unjustly foisted upon the Pythagoreans. Enlisted in support of their arguments are the fragments of Philolaus of Croton. Here we have the foremost representative of fifth-century Pythagoreanism, who states as his basic principles, not numbers exactly, but ‘limiters’ and ‘unlimiteds’, and who, it is argued, regards number solely as an epistemological aid for understanding the structure of reality. So Philolaus is called upon as a witness against Aristotle. The rationale goes something like this: Aristotle most likely had written sources for his knowledge of Pythagorean teachings; the only texts we know of with any certainty are Philolaus' book and the writings of Archytas; since Aristotle treats Archytas separately, he is mainly relying on Philolaus; because Philolaus does not expressly state that things are numbers, Aristotle's interpretation is wrong. (shrink)

Presocratic philosophy, for all its diverse features, is united by the quest to understand the origin and nature of the world. The approach of the Pythagoreans to this quest is governed by their belief, probably based on studies of the numerical relations in musical harmony, that number or numerical structure plays a key role for explaining the world-order, the cosmos. It remains questionable to what extent the Pythagoreans, by positing number as an all-powerful explanatory concept, broke free (...) from Presocratic ideas that certain stuffs or material elements sufficed to account for the source and constitution of the world, but apparently number found such a universal application with them that Aristotle could summarize the Pythagorean position as ‘numbers…are the whole universe’ . Historians of Greek philosophy have generally accepted Aristotle's assessment. Of late, however, certain scholars have argued that the Pythagorean number doctrine is Aristotelian interpretation, unjustly foisted upon the Pythagoreans. Enlisted in support of their arguments are the fragments of Philolaus of Croton. Here we have the foremost representative of fifth-century Pythagoreanism, who states as his basic principles, not numbers exactly, but ‘limiters’ and ‘unlimiteds’, and who, it is argued, regards number solely as an epistemological aid for understanding the structure of reality. So Philolaus is called upon as a witness against Aristotle. The rationale goes something like this: Aristotle most likely had written sources for his knowledge of Pythagorean teachings; the only texts we know of with any certainty are Philolaus' book and the writings of Archytas; since Aristotle treats Archytas separately, he is mainly relying on Philolaus; because Philolaus does not expressly state that things are numbers, Aristotle's interpretation is wrong. (shrink)

Modern biology has not yet come to terms with the presence of many organic codes in Nature, despite the fact that we can prove their existence. As a result, it has not yet accepted the idea that the great events of macroevolution were associated with the origin of new organic codes, despite the fact that this is the most parsimonious and logical explanation of those events. This is probably due to the fact that the existence of organic codes (...) in all fundamental processes of life, and in all major transitions in the history of life, has enormous theoretical implications. It requires nothing less than a new theoretical framework, and that kind of change is inevitably slow. There are too many facts to reconsider, too many bits of history to weave together in a new mosaic. But this is what science is about, and the purpose of the present paper is to show that it can be done. More precisely, it is shown that the whole natural history of the brain can be revisited in the light of the organic codes. What is described here is only a bird’s-eye view of brain macroevolution, but it is hoped that the extraordinary potential of the organic codes can nevertheless come through. The paper contains also another message. The organic codes prove that life is based on semiosis, and are in fact the components of organic semiosis, the first and the most diffused form of semiosis on Earth, but not the only one. It will be shown that the evolution of the brain was accompanied by the development of two new types of sign processes. More precisely, it gave origin first to interpretive semiosis, mostly in vertebrates, and then to cultural semiosis, in our species. (shrink)

Sixteenth-century Spanish thought is constitutive of an established, though insufficiently studied, tradition of European political theorizing. As against the politics of Machiavellism, the Spanish tradition argued in favor of an ethical perspective on statecraft. As an introduction to the subject, this article addresses key concepts set forth by the Dominican theologian-jurist Francisco de Vitoria regarding the natural foundations and teleology of the state and its coercive power. Terms such as "natural law", "dominium", and "perfect community" describe the Thomistic basis of (...) his political philosophy and illustrate the moral significance and legitimate basis of political society in early modern Spanish politico-theological thought. El pensamiento español del siglo XVI constituye una tradición establecida de teorización política europea poco estudiada en los círculos académicos angloparlantes. En contraste con el maquiavelismo, la tradición española argumentó a favor de una perspectiva ética en torno al arte de gobernar. Como introducción a dicha temática, se abordan los conceptos clave establecidos por Francisco de Vitoria res-pecto de los fundamentos naturales y la teleología del Estado y su poder coercitivo. Conceptos tales como "ley natural", "dominio" y "comunidad perfecta" describen la base tomista de su filosofía política e ilustran el significado moral y fundamento legítimo de la sociedad política en el pensamiento político-teológico de la época. (shrink)

The philosophical symbolism of H. Skovoroda’s works lies in wisdom, congenial work, seeing the big in the small, unveiling mysteries through the symbolic world. Skovoroda states that to be a human-being is to be a philosopher. The aim of philosophy is to reawaken the main mottos of the Age of Enlightenment (honor, dignity, freedom, justice, solidarity, morality). Creating open society in Ukraine on the basis of these mottos is the aim of the modern national state-building. The aim of the article (...) is to ascertain the influence and meaning of the philosophical and anthropological problems in the works of H. S. Skovoroda for building open society in the modern Ukraine. Methodology of the study is complex and based on the social-philosophical and historic-philosophical analysis of anthropological problems in the works by H. S. Skovoroda and its significance for finding personal freedom and building open society. The leading methodological tools are fundamental research basics of the scientific analysis – principles of objectivity, systematicity, integrity, unity of the historic and the logical, determinism, development, and interrelation. Methodology of social and symbolic representations, ethnic representations, and structural functionalism has been used. Results. As Ukraine is experiencing complex social and political processes, the philosophical works by H. S. Skovoroda acquires special importance: formation and preservation of the Ukrainian national identity, national values, morality, and culture. The society needs politically-minded citizens with clear ideas about the prospects of the state development. Researching works of Skovoroda, one can trace the development of the human spirit: an internally-devastated person devoid of life reference points is gradually adapting to the life in society, overcomes the discrepancies between the singular and the whole finding a compromise in the relations with the world around them. The fates of the people and the nation, language and the state were the key problems which H. S. Skovoroda thoroughly and passionately analyzed through the perspective of universal human values. Conclusions. The modern Ukrainian society needs people in harmony with themselves and the world who work on improving themselves and the society. Such people should be able to overcome both their own internal contradictions and the conflicts in society and the world. Putting significant hope on the human-being as the creator of the new morality, H. Skovoroda believed in the possibility of building solid foundations of the state. An internally rich person and citizen is going to contribute to harmony of the nature, the world, human relations focusing on the issues of good and love as integral attributes of the human existence. The writer considered such personalities to be able to carry peace and unity to the unstable reality full of life challenges and to oppose the alienation, absurdity, and insignificance of the human existence. (shrink)

Process philosophy was on the periphery of academic thinking for much of the twentieth century. Whereas the focus of intellectual development was for the most part on scientific analysis, process philosophy argued for a more encompassing synthesis as well. Although the drive — the corpus delecti of formal research assessment funding exercises — for separate, discrete and latterly measurable bodies of knowledge arrived at from within increasingly autonomous academic disciplines has undoubtedly led to significant advance in many areas it has, (...) at the same time, rendered opaque the interconnectedness of all things and thereby diminished the perceived value of ideas developed in one field, in terms of their relevance to others. At its heart, this trend has arisen from a reliance upon a metaphysics of stasis; things are constant and can thus be analysed and re-analysed into ever finite and thoroughly separate elements. In contrast, a metaphysics of process suggests that change and interconnectedness are the predominant characteristics of nature. As such, it provides new directions for contemporary thought by enabling the development of ideas via an otherwise unavailable framework of coherence and comprehensiveness. One area in which process thought has proved helpful is organisation studies. This paper examines the role of interpersonal trust in organisations from a Whiteheadian perspective. As such, it aims to show how Whitehead’s thinking can be applied to complex human experiences in such a way as to reveal the nature of the processes that go toward their development. The paper begins with a theoretical explication of trust derived from the contemporary social scientific literature. The development of trust, a key component of human society, is argued to be a subjective and processual phenomenon. In the light of this discussion the paper uses appropriate elements of Whitehead’s Philosophy of Organism to provide a description of trust’s development in an individual for another individual, and its consequent impact on their cooperative behaviour. It thereby attempts to uncover the hitherto inaccessible micro-processes that go towards the development and continuation of interpersonal trust in organisational settings. In so doing, the paper seeks to demonstrate the explanatory power of an aspect of Whitehead’s work, his elucidation of human ‘emotional experience’, that is perhaps too often overlooked as a comparatively minor and non-technical use of his categoreal scheme. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Kant's Tribunal of Reason: Legal Metaphor and Normativity in the Critique of Pure Reason. Cambridge: Cambridge University Press, 2020. Pp. 208. Hardback, $105.00. -/- Even those with a passing knowledge of Kant's system will recognize his sustained use of legal metaphor and his appeal to lawfulness as a beacon of philosophical progress. He famously begins one of the most important (and impermeable) sections of the Critique of Pure (...) Reason with the juridical distinction between quid juris (what is the law) and quid facti (what is the fact) (A 84/B 116), insisting—against the empiricists—that the critique of our cognitive faculty must speak to the former and requires a Transcendental Deduction of the categories. In her book, Sofie Møller delves into the historical context and philosophical significance of such legal metaphors to reveal that their roots spread to the deepest foundations of Kant's project. In doing so, she contends that we should understand "philosophical systematicity as legal systematicity" (15). According to Møller, to accept this reading of Kant is to acknowledge that the legal system provides not just one helpful type of metaphor to be appreciated alongside many others, but the only proper symbol of the abstract nature of reason itself (173).For those interested in Kant's engagement with the natural-rights theory that prevailed during his lifetime, or in his familiarity with the concrete legal practices of eighteenth-century European courts, Møller's book proves to be thoroughly researched and informative. As the first English-language book-length study providing a comprehensive account of the legal aspects influencing Kant's system, it should serve as a valuable catchall resource. There are limits to its accessibility, however, as familiarity with basic legal distinctions—e.g. between civil and criminal codes—is assumed, and Latin terms and phrases often go untranslated. At times, this makes for a difficult intersection between the arduousness of Kant's own prose and the equally technical legal terminology that is meant to explain it. However, this barrier is mitigated by Møller's own interpretive work, which cautions that we should not let indeterminate legal terminology fix too much in our reading of Kant's texts, especially when considering the Transcendental Deduction and its reliance on the quid juris/quid facti distinction. As she concludes at the end of chapter 3, the procedure of legal deduction that Kant invokes "could be an investigation, an exposition, a thorough consideration, a review, explanation, description, account, dispute or procedure" (64). Thus, despite Kant's historically demonstrable familiarity with legal-deduction writings, on their own, they "do not present a sufficiently uniform argument structure to settle the question of the structures of the two versions of the transcendental deduction" (64). This observation serves both as a general warning as well as a criticism of Dieter Henrich's approach to Kant's system, which popularized attention to legal metaphor in Kant scholarship in the twentieth century. For Møller, little philosophical insight is won through Henrich's approach, since it "places too much weight on the importance of an origin" (60), taking its cue from a particular type of legal deduction whose assumption is unsupported, and which cannot be accurately projected onto Kant's text. As Møller argues, "The validity of the categories is not only grounded in their origin in pure apperception but in their being the necessary structures in the synthesis which creates objects of experience, which is an act of pure apperception" (60). Møller's suggestion, instead, is to read the Deduction as adopting the twofold structure of "judicial imputation," which does a more faithful job of capturing the structuring activity that Kant accords to the understanding. With the latter reading, emphasis shifts from whether the categories' application to objects of experience is valid because of their a priori origin, to the spontaneous activity of the judging subject as the originator of experience (75). Part of what is unique about this approach is that it does not read the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Humaneness and Justice in the Analects:On Tao Jiang's Origins of Moral-Political Philosophy in Early ChinaHagop Sarkissian (bio)IntroductionOne of the central themes of Tao Jiang's Origins of Moral-Political Philosophy in Early China is the contestation of the values of partialist humaneness and impartialist justice across diverse thinkers and texts throughout the classical period. His departure point is the Analects, which displays a keen awareness of the difficulties in balancing these (...) opposing values. Jiang's analysis of this dynamic is skillful, filled with Sinological detail and philosophical analysis.Here, I hope to add to Jiang's discussion, focusing on two broad points. First, I suggest two different interpretations of Jiang's analysis of ren 仁 as preference for kin in the Analects, and argue that one of these interpretations is more successful than the other. Second, I argue that aligning humaneness with partiality on the one hand, and justice with impartiality on the other, may obscure some of the Analect's views on these topics, even while illuminating others. In particular, I try to argue that justice cannot be understood as consisting of impartiality alone.Humaneness and JusticeJiang provides "thin or baseline definitions" of the key values of humaneness and justice so as to "schematize … competing normative values operative in the moral-political project during the classical period while … leaving room for variations on these broad underlying values among different inherited texts and the thinkers they are attributed to" (p. 35). They are as follows:[H]umaneness is understood in this book as the … natural inclination to be partial toward those who are close to us, especially our family/kin members; justice is defined here as … our exercise of impartial judgment on the merits of persons and states of affairs, especially in lieu of articulated and publicized standards and codes, irrespective of their relations to us. In other words, humaneness is partialist in nature, whereas justice is impartialist. Humaneness is understood in relational terms, whereas justice is non-relational by contrast. More importantly, precisely because of the relational nature of humaneness, [End Page 429] agent and recipient cannot be switched or substituted, whereas in justice agent and recipient are switchable and substitutable.This framework is fruitful, allowing Jiang to draw connections across texts and thinkers, highlighting aspects of the debates that too often remain hidden from view. His detailed analyses of concepts such as xiao (filial piety), jianai (impartial care), fa (objective standards), tian (Heaven), and shu (conscientious perspective taking) show how they relate to these overarching values. The schematization works, and the book repays careful reading.There are also points, however, where the alignment of humaneness with partiality on the one hand, and justice with impartiality on the other, can lead those familiar with these texts to wonder whether the presentation has, as a result, oversimplified some complex issues. I discuss two of these in what follows.Ren and PartialityJiang claims that the concept of ren in the Analects has two components or elements to it. As he puts it,[T]he way ren is articulated by Confucius, it contains both a partialist element favoring one's family and an impartialist element when dealing with others. … To put it in terms of the central terminologies employed in this book, ren in the Analects is a comprehensive category that contains the elements of both humaneness and justice.Jiang 2021, p. 53)Jiang's analysis of ren in terms of impartiality is compelling, so I will focus on the other half of the analysis—specifically, the claim that the concept of ren itself is partialistic (or, more accurately, has a notable partialist element). This claim may surprise some readers. For example, ren has often been contrasted with the partialistic xiao (filial piety) as the more impartial, public-facing virtue in Confucianism. Indeed, this contrast has been the focus of a strenuous and strident debate in Confucian ethics in modern times (see, e.g., Guo 2007; Guo 2004; Liu 2003), and has a pedigree going at least as far back as the Hou Hanshu (Chan 2004). However, such debates span multiple texts and thinkers in the Confucian tradition. We can still ask the more pointed... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Augustinian Is Aquinas's Basic Account of Free Decision?Jamie Anne SpieringIntroductionQuestions about Augustine's influence on Thomas Aquinas are always interesting. In the previous century, leading Thomists such as Marie Dominic Chenu, Jean-Pierre Torrell, and Étienne Gilson wrote about the influence of one great master on the other. However, no one thinks the investigation is complete: the contributions of the new century have begun and are expected to continue.1 In (...) this article, I would like to consider how Augustine influenced Aquinas's account of something known to both authors as liberum arbitrium: free choice, or free decision.2 When we speak of grace and [End Page 435] human freedom, Aquinas's debt to Augustine and the extent of his fidelity to the master have been frequently explored.3 The same is true with regard to the fairly advanced question of the relation between human freedom and divine foreknowledge.4 But in this article I would like to consider Thomas's treatment of what we might call the basic questions surrounding man's ability to choose freely—questions about its essence and its existence. What is this liberum arbitrium, which Augustine repeatedly calls "a gift of nature"? How should we understand its activity? How should we understand its origin? Thomas Aquinas deals with liberum arbitrium as a power of the soul in question 83 of Summa theologiae [ST] I, in question 24 of De veritate, and in chapter 48 of Summa contra gentiles [SCG] II. These texts are not about the role of grace or the causality of God—though they prepare for the discussion—but simply about the powers of an intellectual nature. How Augustinian is Aquinas's account in these texts?5 [End Page 436] I will try to explore the question with reasonable thoroughness in this paper.6It will surprise no one to hear that my answer to "was Aquinas an Augustinian in his basic treatment of free decision?" is "in a way, no, and in a way, yes." It is both surprising and notable how significantly Aquinas departs from the Augustinian path. The first part of this paper will discuss three major ways in which Aquinas's account of liberum arbitrium breaks openly (by medieval standards) from the type of careful loyalty we see in earlier authors. In the second part of the paper, I will argue that Aquinas's account follows Augustine in distinctive ways: instead of prioritizing Augustine's context and preferred evidence for free decision, Aquinas does more to locate free decision within the quest for happiness which provided the ultimate pattern for Augustine's thought. He is an Augustinian, but of a very different kind.Aquinas's Treatment of Liberum Arbitrium Represents a Significant Break with the Augustinian TraditionIt simply was not Thomas's practice to write statements such as: "I am going to treat this topic in a way different from that of Augustine, and I plan to make significant improvements." How, then, can we understand whether, and to what extent, he made a break with Augustine's ideas? Direct comparison of the authors' works is the obvious strategy, but such comparison is complicated by our ignorance of whether Aquinas had actually seen the work in question or was only familiar with quotations from it. So I will employ an additional strategy to reveal Aquinas's breaks with Augustine: I will compare Thomas's work to that of Peter Lombard and Anselm of Canterbury. We know Aquinas had read Peter's work thoroughly, because [End Page 437] he wrote a commentary on it, and citations in De veritate reveal that Thomas knew at least the highlights of Anselm's work on free decision. Both Peter and Anselm are faithful to many aspects of Augustine's treatment: they follow him in the way they contextualize the topic, and they are careful to use Augustinian language in defining it. Aquinas does not. He radically shifts the context for the liberum arbitrium discussion and rejects definitions that use Augustine's formulations. He uses a boldly Aristotelian framework to replace a number of elements in Augustine's treatment. Finally, unlike Augustine, Peter, or Anselm, he asks about the... (shrink)

We barely talk about them and seldom know their names. Philosophy has always overlooked them; even biology considers them as mere decoration on the tree of life. And yet plants give life to the Earth: they produce the atmosphere that surrounds us and they are the origin of the oxygen that animates us. Plants embody the most direct, elementary connection that life can establish with the world. In this book, philosopher Emanuele Coccia argues that, as the very creator of (...) atmosphere, plants occupy the fundamental position from which we should analyze all elements of life. From this standpoint, we can no longer perceive the world as a simple collection of objects or a universal space containing all things, but as the site of a veritable metaphysical mixture. One implication of Coccia’s claim is that since the atmosphere of life is rendered possible through plants alone, life only perpetuates itself through the very circle of consumption undertaken by plants. In other words, life exists only insofar as it consumes other life, removing any moral or ethical considerations from the equation. In contrast to trends of thought which discuss nature and the cosmos in general terms, Coccia’s account brings the infinitely small together with the infinitely big, offering a radical redefinition of the place of humanity within the realm of life. Faced as we are with ever more complex and urgent ecological questions, this path-breaking account of the life of plants will appeal not only to students and scholars of philosophy but to a wide range of readers interested in our relation to the natural world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 407-436 [Access article in PDF] Dilthey's Epistemology of the Geisteswissenschaften: Between Lebensphilosophie and Wissenschaftstheorie James Reid A great part of my life's work has been devoted to formulating a universally valid science which should provide the human sciences with a firm foundation and a unified internal coherency.... I am neither an intuitionist, nor a historicist, nor a skeptic. Dilthey to Husserl, (...) 29 June 1911 To show life as it is, that is what we strive for. To describe life: that is our goal.... We want to make life visible in its unfathomable depths, and in its unfathomable nexus. Dilthey, Gesammelte Schriften 19: 330 In the dedication of the first volume of the Einleitung in die Geisteswissenschaften to his friend and philosophical interlocutor Count Yorck, Dilthey famously named what would become his lifelong philosophical preoccupation a Kritik der historischen Vernunft, the overarching aim of which is to provide "an epistemological foundation for the human sciences" that would "determine the interconnections among the particular human sciences, the limits within which knowledge is possible in these sciences, and the relation of their truths to one another." 1 For Dilthey, the liberation of historical consciousness from the "grey cobweb of abstract essences" spun by traditional metaphysics constituted one of the [End Page 407] major intellectual achievements of the nineteenth century. 2 However, as important as the concrete historical investigations of Ranke, Droysen, and Mommsen undoubtedly are, the Historical School nevertheless failed in Dilthey's eyes to grasp the essence of historical consciousness—its scope, limits and objective validity: Its study and evaluation of historical phenomena remain unconnected with the analysis of facts of consciousness; consequently, it has no grounding in the only knowledge which is ultimately secure; it has in short no philosophical foundation. 3A critique of historical reason, grasped as an epistemological analysis of "the capacity of man to know himself and the society and history which he has produced," is needed in order to provide for the Geisteswissenschaften a foundation equivalent to the one furnished by Kant for mathematical natural science in the Kritik der reinen Vernunft. 4The epistemological dimension of Dilthey's project took shape as the elaboration of a basic science (Grundwissenschaft) identified, in the Einleitung at least, with descriptive psychology. 5 In an effort to delimit the province of the Geisteswissenschaften, Dilthey came to distinguish between outer experience and its objects and various levels of inner experience. Although Dilthey's thought developed considerably in the years after 1900, most notably in the direction [End Page 408] of a refinement of the relation between inner and outer experience, the distinction between these two fundamental modes of givenness remained central to his conception of the structure and methodology of the human sciences. 6 In a number of manuscripts, some published in Dilthey's lifetime, others (by far the majority) published after his death by former students, Dilthey envisages a comprehensive theory of consciousness and its objectifications that would shed light on the origins and ultimate validity of our knowledge of the historical world.As several commentators have pointed out, however, the epistemological dimension of Dilthey's project fails to capture the entire breadth of his achievement. 7 Dilthey's interest in the objective validity of historical investigation was subservient to broader concerns about the nature of human existence and its historicity, what Dilthey often referred to simply as Leben. 8 Life as it is revealed in the human sciences is the medium in which self-consciousness and self-knowledge, scientific and practical activity originate, and remains the abiding concern of the human sciences. At the most fundamental level of epistemological reflection, we encounter life as it is lived in pre-scientific and pre-reflective experience (Erlebnis). 9 Life, Dilthey consistently maintained, is the "prius" of thought: Knowledge (Erkenntnis) cannot go behind life, of which it is a function. Life always remains the presupposition of knowledge, i.e., of the consciousness or knowledge (Wissen) contained in life. As a presupposition of knowledge (des Erkennens) itself, life is [End... (shrink)

This essay has two purposes—first, to identify Adam Smith as intervening in the debate between Montesquieu and Hume regarding the nature, age, and robustness of English liberty. Whereas Montesquieu took English liberty to be old and fragile, Hume took it to be new and robust. Smith disagreed with both: it was older than Hume supposed, but not fragile in the way Montesquieu claimed. The reason for this was the importance of the common law in England’s legal history. Seeing this (...) enables the essay’s second purpose: achieving a more thorough and nuanced understanding of Smith’s account of liberty. This requires us to go beyond repeating Smith’s famous claim that modern liberty was the result of the feudal barons trading away their wealth and power for inane status goods. As I demonstrate, this is only one part of a much wider story: of liberty requiring, and also being constituted by, the rise of the regular administration of justice, and ultimately the rule of law. Although Smith’s history of the English courts and common law has been almost entirely neglected by scholars, it is indispensable to understanding both his reply to Montesquieu and Hume and his wider political theory of modern freedom. (shrink)

This chapter is an invited contribution to a book on the naturalness of theistic belief. I start by considering ordinary usage of the term 'natural'. I then clarify how I shall use the terms 'naturalism', 'theism', 'worldview' and 'big picture'. I consider the demographic spread of commitment to theistic big pictures and naturalistic big pictures. I consider the distribution of happiness over those committed to theistic big pictures and naturalistic big pictures. I consider the distribution of reasons over those committed (...) to theistic big pictures and naturalistic big pictures. I consider whether intuitive considerations favour one kind of big picture over the other. As it often the case, I draw somewhat irenic conclusions from these considerations. (shrink)

The modern materialist approach to life has conspicuously failed to explain such central mind-related features of our world as consciousness, intentionality, meaning, and value. This failure to account for something so integral to nature as mind, argues philosopher Thomas Nagel, is a major problem, threatening to unravel the entire naturalistic world picture, extending to biology, evolutionary theory, and cosmology. Since minds are features of biological systems that have developed through evolution, the standard materialist version of evolutionary biology is fundamentally (...) incomplete. And the cosmological history that led to the origin of life and the coming into existence of the conditions for evolution cannot be a merely materialist history, either. An adequate conception of nature would have to explain the appearance in the universe of materially irreducible conscious minds, as such. Nagel's skepticism is not based on religious belief or on a belief in any definite alternative. In Mind and Cosmos, he does suggest that if the materialist account is wrong, then principles of a different kind may also be at work in the history of nature, principles of the growth of order that are in their logical form teleological rather than mechanistic. In spite of the great achievements of the physical sciences, reductive materialism is a world view ripe for displacement. Nagel shows that to recognize its limits is the first step in looking for alternatives, or at least in being open to their possibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gender Ideology and the “Artistic” Fabrication of Human Sex: Nature as Norm or the Remaking of the Human?Michele M. SchumacherUntil quite recently,” the famous English novelist C. S. Lewis remarked in 1959, “it was taken for granted that the business of the artist was to delight and instruct his public”: that is to say, to address simultaneously their passions and their intellects. “There were, of course, different publics.... (...) And an artist might lead his public on to appreciate finer things than they had wanted at first; but he could do this only by being; from the first, if not merely entertaining, yet entertaining, and if not completely intelligible, yet very largely intelligible.” This constraint—let us call it intelligent (or purposeful) design, in keeping with a basic analogy that we will draw upon in these pages—had however been lost, Lewis observed. Hence, even “in the highest aesthetic circles one now hears nothing about the artist’s duty to us. It is all about our duty to him. He owes us nothing; we owe him ‘recognition,’ even though he has never paid the slightest attention to our tastes, interests, or habits.”1 In short, the artist of modernity need not pay the slightest attention to an intention, not even his own. Modern art need not be an expression of intelligence or [End Page 363] understanding; it is expression as such (tout court): personal and autonomous.2Lewis’s remarks do not point merely to the increasingly relativist tendencies of art in the Western world, to the lack of objective criteria or norms governing the artistic disciplines. They also point to the growing disregard among artists for the sociocultural expectations of their publicum. Mediating between the two is, without a doubt, the basis upon which both artistic and social norms were traditionally founded: nature, which served as a classic analogy for both art (understood in the broad sense, so as to include not only the fine arts, but also technology and practical sciences) and ethics in virtue of nature’s intrinsic inclination towards its defining end and perfection.With regard to the first of these analogies (that of art and nature), Mark Schiefsky explains that although art does bring about “results that nature itself cannot,” it does so in the classic understanding “by acting in a natural way—the way nature would act if it could generate the products of art.”3 As for the difference between the two, nature is moved to its specifying end by way of intrinsic inclinations that are implicit to it, whereas a work of art is moved to its end extrinsically, and thus with more or less violence.4 A sculptor, for example, who introduces a form into a piece of marble, does so by chiseling [End Page 364] and hammering away at the fine stone.5 “Art is,” Aristotle explains, “the principle and form of the thing that comes to be [let us say, a sculpture]; but it is located elsewhere [in, for example, the artist’s mind or in a sketch that he has made] than in that thing, whereas the movement of nature is located in the thing itself that comes to be [a tree, for example, or a baby], and is derived from another natural organism [a tree or human parents] which possessed the form in actuality.”6This classic distinction between art and nature parallels the distinction between art and ethics. Ethics “does not affect human action in the same way as do art and technique,” Servais Pinckaers explains. Unlike art and technique, which are concerned with “the external work produced by human action”—this painting or that machine, for example—ethics is concerned with an immanent principle, qualifying the actor as such: the stable dispositions (or habitus: virtues or vices) at the origin of “the active willing that is the principle source of the action.”7 This immanent principle at the source of ethical action is—to complete our analogy—creative in only a limited sense. The human person is indeed free to choose, but he or she is not free to decide “what is good or evil” as such, nor what is “good or bad for... (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

This is the first critical edition of Epistles 15-21 of the Brethren of Purity, which explore the natural sciences and correspond to Aristotle's great works on philosophy of nature. Along with Epistle 22, "On Animals," Epistles 15-21 correspond to the corpus of Aristotle's great works on the philosophy of nature: Physica , De caelo , De generatione et corruption , and Meteorologica I-III . Meteorologica IV may correspond to Epistle 19 "On Minerals" (though no such Aristotelian work has (...) reached us), and Epistle 21 is a reminder of the works on plants written by Theophrastus, Aristotle's pupil, and onwards. Epistle 20, "On the Quiddity of Nature," is an exposition of Aristotelian doctrines, as well as of those of Neoplatonic origin; it opens the angelologic tradition, whose main representatives in Islamic philosophy were Ibn Sina (d. 1037) and Suhrawardi (d. 1191). Besides providing the necessary references to the works by Aristotle and other Greek authors, this book deals with various doctrines of Ismaili origin echoed in the treatises, foremost of which is the hierarchical representation of the three natural kingdoms, which corresponds to the hierarchy of human beings. The basis of human salvation is here seen in the relation between divine Artisan and human artisan, both of whom accomplish their works by actualizing their knowledge. As is known, although moral behaviour is one necessary condition, salvation cannot be reached without a thorough knowledge of the sciences described in the encyclopaedia. (shrink)

_ Source: _Volume 9, Issue 2, pp 196 - 219 In his 1978 On Human Nature, Edward Wilson defined the evolutionary epic as the scientific story of all life, a linear narrative beginning with the big bang and ending with the story of human history. Since that time several popular science writers have attempted to write that story of life producing such titles as The Universe Story and The Epic of Evolution. Historians have also gotten into the act under (...) the guise of “Big History,” which has resulted in a series of monographs and is taught at several universities and high schools throughout the world. While the evolutionary epic is often presented as a novel way of bringing the historical insights of modern science into a narrative form that transcends the humanities–natural science divide, the genre itself originates in the nineteenth century, just as new geological and cosmic timescales were being established and new sciences such as biology and anthropology were being formalized. Several German Naturphilosophen and Victorian naturalists imagined the history of life as one, as a “Cosmos,” and produced evolutionary epics that bare significant similarities with their more modern counterparts. By considering the various recurrences of the evolutionary epic, from its origins in early German Romanticism and Victorian naturalism to the degeneration narratives of the fin de siècle and on to the Wilsonian and Big History versions of the late twentieth century and beyond, this essay seeks to map out a shared intellectual genealogy while examining the genre’s conceptual commonalities. What is perhaps most compelling about the history of the genre is the striking persistence of non-Darwinian forms of evolution that are utilized to situate the emergence of humanity in these epic narratives of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 114-121 [Access article in PDF] TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff's book invites us on a journey into photography's multiple roles. Photographic images transform their subjects at the same time that they themselves are the results of transformations. They also (...) complicate comfortable distinctions between fact and fiction because the world from which they come is complicated.This book appears at a time full of fear (felt by some) and excitement (felt by others) sparked by digital image-making, in which the culture of photography is undergoing transformations of its own. It is a passionate time, with some unwilling to throw the still photograph into the "defunct" pile, while others are all too ready to do so. The limits and possibilities of the still photograph need to be redefined if it is going to have any meaning to anyone anymore.Through the din of voices, through the heated discussions, Savedoff's voice rings clear. Her meditations on the nature of still photography and its relation to the pictorial forms that preceded it (painting, drawing, printmaking) and proceed from it (film, digital photography) are written in a style that seeks to include, not exclude the reader. Art is complicated enough. Writing about art need not complicate it further.Savedoff focuses her inquiry on the way photographs transform works of art and other representations. From the insight that this specificity allows, she attempts to build a more general account of photographic transformation. First, she examines the fascination in Western painting — a fascination that has been influenced by legends and literature — with the idea that representations are alive or can come to life. She begins with paintings that actually illustrate such legends. Then she goes on to paintings where the distinction between the "real" and the "represented" is ambiguous. One such type she calls "gestural ambiguity," found frequently in Northern Renaissance and late Italian Renaissance paintings, "where figures that are given the placement and coloring of stone statues are at the same timegiven the expressive aspect or functions of living beings. Artworks are depicted as though they were alive" (p. 14). Another type, "perceptual ambiguity," is found in Postimpressionist paintings, when artworks and "real" things are painted in the same manner (p. 24). The latter type of ambiguity is created when paintings or sculptures within a painting are depicted in a styleand scale similar to their surroundings, blurring the distinction between what is "real" and what is "represented" in the painting.Savedoff uses some excellent examples in analyzing these ambiguities. And just when the reader begins [End Page 114] to question whether, if there are different ways of achieving ambiguity in paintings of artworks, there must also be different purposes for each, Savedoff addresses precisely this. "In paintings from the Renaissance to Impressionism," she writes, "ambiguity is used to further an ideal of illusionism in art: the artwork is shown as capable of life or at least of being confused with real things" (p. 30). Although this kind of ambiguity may animate representations within the painting, it does so without casting doubt on the status of the "real" things depicted. In contrast, ambiguity used in Postimpressionist paintings were done so for quite a different effect: "to undermine any tendency of the painting toward illusionism and to undercut the status of the 'real' things depicted" (p. 30).Although she critiques the nature and purpose of ambiguity in paintings thoroughly, when Savedoff addresses ambiguity in photography her conclusions are not as well defended. In photography, she writes, "perceptual ambiguity"— that is, the blurring of the distinctions between people and representations — can result from the nature of the medium itself: "the stillness, the flatness, and, in black and white photographs, the limitation of monochrome values" (p. 43). A deliberate choice of angle, framing, and lighting by the photographer can alsoreduce the differences. "Gestural ambiguity" in photography, she continues, can be created when the photographer juxtaposes... (shrink)

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical regimes. (...) Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

This book explores the evolving nature of objectivity in the history of science and its implications for science education. It is generally considered that objectivity, certainty, truth, universality, the scientific method and the accumulation of experimental data characterize both science and science education. Such universal values associated with science may be challenged while studying controversies in their original historical context. The scientific enterprise is not characterized by objectivity or the scientific method, but rather controversies, alternative interpretations of data, ambiguity, (...) and uncertainty. Although objectivity is not synonymous with truth or certainty, it has eclipsed other epistemic virtues and to be objective is often used as a synonym for scientific. Recent scholarship in history and philosophy of science has shown that it is not the experimental data but rather the diversity / plurality in a scientific discipline that contributes toward understanding objectivity. History of science shows that objectivity and subjectivity can be considered as the two poles of a continuum and this dualism leads to a conflict in understanding the evolving nature of objectivity. The history of objectivity is nothing less than the history of science itself and the evolving and varying forms of objectivity does not mean that one replaced the other in a sequence but rather each form supplements the others. This book is remarkable for its insistence that the philosophy of science, and in particular that discipline’s analysis of objectivity as the supposed hallmark of the scientific method, is of direct value to teachers of science. Meticulously, yet in a most readable way, Mansoor Niaz looks at the way objectivity has been dealt with over the years in influential educational journals and in textbooks; it’s fascinating how certain perspectives fade, while basic questions show no sign of going away. There are few books that take both philosophy and education seriously – this one does! Roald Hoffmann, Cornell University, chemist, writer and Nobel Laureate in Chemistry. (shrink)

Like it or not, a big picture of the history of science is something which we cannot avoid. Big pictures are, of course, thoroughly out of fashion at the moment; those committed to specialist research find them simplistic and insufficiently complex and nuanced, while postmodernists regard them as simply impossible. But however specialist we may be in our research, however scornful of the immaturity of grand narratives, it is not so easy to escape from dependence – acknowledged or not – (...) on a big picture. When we define our research as part of the history of science, we implicitly invoke a big picture of that history to give identity and meaning to our specialism. When we teach the history of science, even if we do not present a big picture explicitly, our students already have a big picture of that history which they bring to our classes and into which they fit whatever we say, no matter how many complications and refinements and contradictions we put before them – unless we offer them an alternative big picture. (shrink)

continent. 1.1 (2011): 60-67. At the beginning of Martin Heidegger’s lecture “Time and Being,” presented to the University of Freiburg in 1962, he cautions against, it would seem, the requirement that philosophy make sense, or be necessarily responsible (Stambaugh, 1972). At that time Heidegger's project focused on thinking as thinking and in order to elucidate his ideas he drew comparisons between his project and two paintings by Paul Klee as well with a poem by Georg Trakl. In front of Klee's (...) Saints from the Window and Death of Fire —though we wouldn’t absolutely understand what we were seeing—he writes, “we should want to stand…a long while.” In a similar manner, of Trakl’s poem “Septet of Death”—although it is likely we are unsure in what we hear—Heidegger states that, “we should want to hear…[it] often.” Heidegger further states that in appreciating these, “we “should abandon any claim that [they] be immediately intelligible” (1). So also we must we approach, Heidegger continues, the realm of theoretical physics, in which the difficult work of Werner Heisenberg, be listened to “without protest” and without “any claim that he be immediately understood.” These works, like his own project, merit the time they take to be originally (mis)understood. But this is not necessarily true for philosophy, Heidegger advises, because, “That thinking is supposed to offer ‘worldly wisdom’ and perhaps even a ‘way to a blessed life’” (1). Philosophy is in the unique position of being both abstract (what do we talk about when we talk?) and at the same moment, useful. There are demands that it make sense, that it be, grounded, immediate, and most importantly, rational. Heidegger draws these comparisons between the works of Klee and Trakl and Heisenberg not to claim that philosophy is totally irresponsible. He does not claim that the poet, the painter, nor the physicist have acted irresponsibly. Rather, he would say, they are rising to the highest levels of intelligibility, though it is perhaps an intelligibility that is commonly unavailable to us. In Trakl’s case, as we shall see, mastery is the end result of difficult words. Instead, Heidegger seems be making pleas: for a period of uninterrupted unintelligibility (pure unintelligibility); and that there is a time (that time is now) when, “thinking is…placed in a position which demands of it reflections that are far removed from any useful, practical wisdom” (1-2). Heidegger argues that philosophy requires a period of time in which, instead of focusing on the practical—or even on the worldly—the discipline draw its “determination” instead from the place of painting and poetry and physics. In doing so, “we should have to abandon any claims to immediate intelligibility” (2). But Heidegger doesn’t offer this as a way out. We still have to turn up, we “still have to listen, because we must think what is inevitable, but preliminary” (2). The point for Heidegger, is not to listen to a series of propositions, but instead to “follow the movement of showing” (2). I. … Maybe we're here only to say: house, bridge, well, gate, jug, olive tree, window— at most: pillar, tower … but to say them, remember, oh, to say them in a way that the things themselves never dreamed of existing so intensely.… Rainer Maria Rilke, “The Ninth Elegy” There is little more fundamental, preliminary, in the world than language. We use language, in the form of speech, constantly, whether we are saying anything or not. “Man speaks,” Heidegger writes, and goes on to describe in his essay “Language” (2001) the constant speaking that we do. “We are always speaking, even when we do not utter a single word aloud, but merely listen or read, and even when we are not particularly speaking or listening but are attending to some work or taking a rest” (187). Speaking is expression, an utterance of something internal. It is a recognition of a world. It is a way of communicating thought and it is an activity that we all do, inevitably. Speaking separates the human from the animal world, and despite advances in primatology that seek to give ‘voice’ to primates and other non-human animals, it can safely be said that our form of communication—what we call speech and know as language—is the most advanced, the most complicated. We use it to present and represent the world around us; through actual utterances (vocalization) or through the written word or through ‘unvoiced thoughts’ and dreams. We use language, but more specifically speech—naming—to transmit moods, thoughts, desires, aversions, and feelings. These expressions, mere utterances, nearly always find a source in words, whether spoken or not. Heidegger writes that this common view of language means “that only speech enables man to be the living being he is as man. It is as the one who speaks that man is—man” (187). Speaking then—utterance—surrounds us constantly, whether in the form of careful thought—in the form of an academic paper, say—or in the half mutterings and forgotten thoughts of a nearly remembered dream. Like scaffolding, the apparatus of speech sustains and explains the world, making, in a sense, the world rational, making it apparent. When we speak, we describe, and in doing so, name the world. We use words, through this process of naming, to interpret and sustain the world we see, and the world we imagine. Like Rilke’s naming of jug, and bridge, and window, and stream, we describe—and inscribe upon—the world through an activity of naming. Are we here, perhaps, to name? Is it possible not to name? Is it possible to regard and to view and to look around without naming what we see? Is it possible to feel—to experience—world without giving utterance to that feeling, that process? Sadness, grief, joy, ecstasy, hunger, thirst. Desk, light, room, pen, book, world. White, black, tomorrow, today. Each of these words is a name given to a thing I see in front of me, or a concept that I imagine (in the case of tomorrow or world). What arises in my mind has already existed. If I imagine it, it is named. The word for ‘tomorrow’ and ‘desk’ and ‘light’ precedes me, and precedes my concept of it. The idea of it is already pre-informed, and I must, in a certain sense, bend my ideas to it. When I imagine a table, I imagine my own table (or I imagine an idea of table) but that imagining must follow certain general rules; while, perhaps, it might not always require four legs and a horizontal surface, it must, at least not be, say, a pool of water, or a pile of excrement. It must have some tableness to it to be a table. It must, with Heidegger, table. Otherwise, speech is reduced to gibberish. For Heidegger however, the discussion of language points to something deeper than its “scientific and analytic” study as a communicative device. Indeed, Heidegger seeks to understand language not in reference to man or woman, not as an utterance of humanity, but in reference to itself. In doing so he abandons the conversation—that is, he casts away the traditional arguments surrounding philosophy of language; that it is a means of expression; that it is a human activity; and that it is somehow a representation of something that is—in order to seek to understand language as language, on its own terms. Heidegger is not a philosopher of language, but a philosopher of world, of being. Despite these “correct ideas” holding sway “over the whole field of the varied scientific perspectives on language…they ignore completely the oldest natural cast of language” (191). What is this “oldest natural cast of language? It is the act of language itself. Language is language and language speaks. “Most often,” Heidegger writes, “and too often, we encounter what is spoken only as the residue of a speaking long past” (195). Speech, as we normally encounter it, is like Echo herself calling out to Narcissus, doomed to repeat what has already been said, a mere remnant of what was once language, a trace left behind in the gathering silence of becoming. In both the essay “Language” and in his three lecture course “The Nature of Language” (1982), Heidegger attempts to unpack the seeming tautology of language as language. In each, he focuses on poetry as a way out, or into, a true discussion of the oldest natural cast of language. Poetry is pure speech. In poetry, language is brought to language and language speaks ( Die Sprach spricht ). In the act of poetry, the act of pure speech, the poet names (on the surface not different from how I name this table, this computer) but in the poet naming, the naming does not “hand out titles,” “apply terms,” but rather the naming is a call, a calling forth of entities that bring them into their own, allow them to take their place purely, without compromise. This calling, Heidegger (2001) states, “here calls into a nearness. But even so the call does not wrest what it calls away from the remoteness, in which it is kept by the calling there. The calling calls into itself and therefor always here and there—here into presence, there into absence” (196). II. Window with falling snow is arrayed, Long tolls the vesper bell, The house is provided well, The table is for many laid. Wandering ones, more than a few, Come to the door on darksome courses. Golden blooms the tree of graces Drawing up the earth’s cool dew. Wanderer quietly steps within; Pain has turned the threshold to stone. There lie, in limpid brightness shown, Upon the table bread and wine. Georg Trakl “A Winter Evening” Heidegger is often given short shrift as an abysmally difficult writer, as one that makes no sense and is needlessly difficult. In doing this though, we forget sometimes his eloquence, his simple beauty in writing. Of the above opening stanza, “Window with falling snow is arrayed/ Long tolls the vesper bell.” he writes (2001), This speaking names the snow that soundlessly strikes the window late in the waning day, while the vesper bell rings. In such a snowfall, everything lasts longer. Therefore the vesper bell, which daily rings for a strictly fixed time, tolls long. The speaking names the winter evening time (197). The speaking names the winter evening time. It is almost impossible to comment on that one line by Heidegger. It is as though it must exist on its own completely, without elucidation—as though in front of it we must stand as we do in front of a painting by Klee, that is, we must abandon any claim . Silent and devoted. The speaking of the poem here is not clearly different from common speech ( rede ) yet there is, via Heidegger, an invitation to experience that auracular quality of light and stillness that a gentle, dusk tinged snowfall gives; words evoking a quality so clear, so poignant that, in a sense, Heidegger’s work, at this moment, has been done. But what does this naming accomplish? What does the call call? Remember, it is not the poet that calls, but the naming which calls. The poet has only brought the words forward; it is now the words— snow, vesper bell, window— that take new life in the pure language of the poem. Entities are called forth into presence, like the speaking that names the winter evening time. Not to be present amongst us now, however; naming ‘table’ in the poem does not place it in front of us in this room. Rather, the naming places entities into a gathering which is also a sheltering. The naming brings them to be. In an act of appropriation, things come to be purely as their own, unimpeded by a predetermined expectation. They are called to themselves into an arrival. In Being and Time (1962), Heidegger famously describes the movement between present-at-hand and ready-to-hand in his analysis of the hammer, and of equipment in general. This analysis is already known, if not always clear, to most readers of Heidegger. Briefly, a hammer is ordinarily zuhanden or ready-to-hand; it is part of the background of the world, equipment used and never thought about, like this desk, this sheet of paper, this room. Our interaction with it is temporary and it is historically different for each entity and each relation. We need a hammer, we use a hammer. If all goes according to plan, the hammer remains ready-to-hand; it remains, in a sense, undisclosed and certainly unobtrusive. Our world is undisturbed by the hammer. Only when the hammer or the car or the computer is broken (or sometimes unused or unrecognized or missing) does it intrude into our world, become conspicuous as an object present-at-hand, or vorhanden . In this case, we reach for the hammer, it is broken and we suddenly notice it’s being, broken though it is. The thing which was always ready to hand—handy—is suddenly abstract, something to be examined, if only in its absence or disfunction. This can be exhibited for all entities, and it is important to note that in this analysis the zuhanden / vorhanden split is not restricted to a specific form of constructed material; zuhanden does not refer to the car, and vorhanden the sunset. No entity is ever exclusively ready-to-hand or present-at-hand; they are instead, interpenetrated with each others mode of being, one informing the other in a way that both brings things forth into the world—discloses is the word Heidegger chooses—and at the same time conceals them. As one mode is coming to be so another mode is withdrawing. This flux and movement between modes is precisely what brings the world forward, and what makes it manifest. It exists beyond where we tread and before man took dubious control of the world. We go to find a book or turn on the computer and it is missing or broken and we become aware of the object, as though for the first time. We walk to the water to glimpse the sunset and miss it, or it is less than stellar; in the sunset’s grayness, we become aware of it’s being sunset. The thing is disclosed in its withdrawal. Echoing Heraclitus, we can say that as something is coming to be, it is already becoming something other. Of similar importance to the fact that things are never all of one, or all of the other, they are also never alone. The hammer is never a single object, but is in relation always to the whole. Heidegger (1962) states, Equipment—in accordance with its equipmentality—always is in terms of its belonging to other equipment: ink-stand, pen, ink, paper, blotting pad, table, lamp, furniture, windows, doors, room. These ‘Things’ never show themselves proximally as they are for themselves…What we encounter as closest to us…is the room; and we encounter it not as something ‘between four walls’ in a geometrical, spatial sense, but as equipment for residing…it is in this that any ‘individual’ item of equipment shows itself. Before its does so, a totality of equipment has already been discovered (97). Equipment resides—dwells—in its relations, in its proximal being to other beings. Within the structure of totality, a series of relations is always occurring. The hammer is on the workbench in the carpenter’s hand in the workshop in the village under the sky and under the sun. It doesn’t stop there. Equipment surrounds us and the focus is not on what it does, or what one does with it—the carpenter with the hammer, the writer with laptop—but with the fact that it is. Equipment occurs in relation and is always occurring around us overhead, underfoot, by the stream and in the city. There is a constant exchange of relations happening, and as this occurs, so the world occurs, so the world both discloses and withdraws, into and out of itself. In a very real sense, language is also equipment. It is the thing that we use most often without thought, it is ready-to-hand (except when it’s not.) As we re- cognize the world around us, as we offer names for things and make lists, we are using language much like we might use a hammer, that is, bluntly. Most of the time it is invisible and we draw on it without wondering how we are going to say something. When language does intrude, it does so in an awkward moment, that moment when we can’t remember the right word, when we forget a phrase. At that second, it “speaks itself as language,” it reveals itself as malfunctioning equipment, and we “undergo” an experience with language, in Heidegger’s famous formulation. Language is not a tool anymore that we use to bludgeon an object, but something instead that we submit to, that we experience. In “The Nature of Language,” Heidegger (1982) writes, But when does language speak to us as language? Curiously enough, when we cannot find the right word for something that concerns us, carries us away, oppresses or encourages us. Then we leave unspoken what we have in mind and, without rightly giving it a thought, undergo moments in which language itself has distantly and fleetingly touched us with its essential being (59). The poet’s words become themselves, become appropriate, only when they no longer function in the prosaic world; they instead intrude as they come to be. Language itself brings itself to language. Names, like the entities they indicate, are always becoming something else. As noted above, language, through the poet, has brought forth entities from words previously “known.” I thought that I knew snow, but through Trakl’s re- presentation of the word, language calls forth a new image of snow, indeed calls forth snow itself. The vesper bell tolls longer, the table is for many laid. In bringing forth things , language has brought the world to presence. In everyday naming, word occludes world, preventing, in its everydayness, its coming forth, its disclosing. But what is this world that word has been brought forth into? In the same way that language speaks, world worlds. World, left alone, un-interfered with, comes into itself. It worlds. Again, this sounds like a tautology, but it is essential to Heidegger’s thought (and in my mind is more of a “god killer” than Nietzsche.) One of the most overlooked (and under-appreciated) aspects of Heidegger is his later examination and enthusiasm for the “fourfold,” or the system through which things come to be, through which things thing in a world worlding. The fourfold is the interaction of earth and sky, mortals and gods. Things come to be in the interstices and gathering of the fourfold. The fourfold provides both a place of being, and a sheltering, a place to dwell. Heidegger writes that “the things that were named, thus called, gather to themselves sky and earth, mortals and divinities. The four are united primally in being toward one another, a fourfold.” The poet has called, through the act of pure naming, things to come forth. In the purity of the fourfold—that is, when that is all that there is, when there are no other distractions, definitions, things—entities themselves can come to be. It is important to note that Heidegger is not saying that there are four formal things in the world, autonomous entities unto themselves. He is not evoking a pre-Socratic formula as to what makes up the world; instead, the four mirror each other constantly. (Heidegger calls this the ‘mirror-play.’) They interpenetrate in the same way that the modes of being of things interpenetrate themselves. There is no discrete exclusivity in being or the fourfold. What makes up things is not a precise recipe of the four main components; what makes up things is the action of the fourfold coming together, the movement of the fourfold which is a becoming. Heidegger (2001) writes that “this gathering, assembling, letting stay is the thinging of things.” And he later adds that “thinging, things are things. Thinging, they gesture—gestate—world” (197). Language brings the world to be. It works not again as a recipe added to things, but instead it is a bridge, or more precisely, a relation. Language relates world to thing, brings world to thing. In a sense, it does not say anything; rather it allows, or calls in its movement. Heidegger (2001) writes that, The intimacy of world and thing is not a fusion. Intimacy obtains only where the intimate—world and thing—divides itself cleanly and remains separated. In the midst of the two, in the between of world and thing, in their inter, division prevails: a dif-ference (199). It is in this inter that language prevails. Language is difference, it is the differential aspect between world and thing that brings world to thing. In the final stanza of Trakl’s poem “The Winter Evening,” Trakl evokes this difference in the second line when he writes, “Pain has turned the threshold to stone.” Christopher Fynsk, in his essay “Noise at the Threshold,” draws attention to this point when he writes “it is the figure of the threshold that is language itself, inasmuch as language is defined as the articulation of difference by which difference comes about” (25). Language, as used in the pure language of the poem, draws together world and thing, bridging relation between entity and world. The calling of language calls world to thing, world to being. Heidegger (2001) describes this difference as unique; “of itself, it holds apart the middle in and through which world and things are at one with each other” (200). III. Neither reading nor writing, nor speaking—and yet it is by those paths that we escape what has been said already, and knowledge, and reciprocity, and enter the unknown space, the space of distress where what is given is perhaps not received by anyone (99). Maurice Blanchot The Writing of Disaster So far, we have allowed Heidegger to put forward what language does, how it functions as a relation and how it operates as a threshold, as a bridge. What interests me is what happens beyond language, beyond the relation. What happens to the thing without the naming, without the poet, or even without the everyday chatter—Fynsk calls this ‘noise’—intruding on being? If language allows things to become by bringing thing to world, what happens when we remove this bringing, this threshold turned to pain? In “The Nature of Language,” Heidegger examines the work of the poet Stefan George, specifically “The Word”: Wonder or dream from distant land I carried to my county’s strand And waited till the twilight norn Had found the name within her bourn— Then I could grasp it close and strong It blooms and shines now the front along… Once I returned from happy sail, I had a prize so rich and frail, She sought for long and tidings told: “No like of these depths unfold.” And straight it vanished from my hand, The treasure never graced my land… So I renounced and sadly see: Where word breaks off no thing may be. That final line, “Where word breaks off no thing may be” is evoked on nearly every page of Heidegger’s essay. It is the line to which he returns over and over and bears repeating. Where word breaks off no thing may be. Where naming ends, no thing. We can interpret this in two ways (at least.) Where word—naming—breaks off, then there is nothing . Or, as I choose to read it, where word breaks off no thing may be. In this I see a hint forward, a marker left behind by Heidegger. What could this look like? What does no thing look like? Like a zen koan ( there is no mirror ) it is as thrilling and horrifying as contemplating what preceded the Big Bang. Because language as naming wasn’t always here; we weren’t always here. One or maybe two aspects of the fourfold (depending on your view of gods) were not always here, and there is no guarantee that we will always be around. What then? Heidegger (1982) describes the landscape that the poet finds, “It names the realm into which the renunciation must enter: it names the call to enter into that relation between thing and word which has now been experienced” (65). The poet, in renouncing, allows for the “may be” of “where word breaks off no thing may be.” This “may be” becomes “a kind of imperative, a command which the poet follows, to keep it from then on.” No thing is lacking. Where word breaks off, there may be, a totality, a completion. If we place the emphasis on may be , we make it affirmative, make it positive. One allows it. No thing is where the word, that is the name, is lacking. If we remove then (if we can remove) the word, the name, than that is where no thing is, that is where no thing may blossom, enrich, belong, become. What is no thing? Heidegger writes that “thing is anything that in any way is.” And just after this he writes that the “world alone gives being to the thing.” But what happens if there is no word? Word, in this formulation can be seen as an enframing, a challenging of language. By naming, by drawing a perimeter around an object, we hold it, by its definition (that is a brick) to an ordered future. If we borrow from Heidegger’s essay “The Question Concerning Technology” (1993) the idea of this standing-reserve of an ordered future, we see that “everywhere everything is ordered to stand by, to be immediately on hand, indeed to stand there just so that it may be on call for a further ordering” (322). What happens if there is no naming of the thing? Silence perhaps. Stillness. We can name—and do name—that which we know. We equate knowledge with knowing the name of something. A brick is a brick, a hammer is a hammer, the universe is the universe. By naming a thing, we create, and draw its parameters, the parameters of the thing, not as thing thinging in the fourfold, but as blunt object apparent. In the four dimensions relatively available to us, we observe (and name) that the brick takes up possibly six by four by two inches and is, in the sense that it currently occupies this time slot. It fulfills its destiny, its being, its brickness, it bricks . But what happens when we remove the name for this brick. We no longer know what to call this no-thing (if indeed we can even arrive at the point of uncalled calling.) In fact the it (this brick) is no longer a thing in the sense that by not naming—by removing the name—it still occupies the same dimension but is indiscernible from the world. It simply is , un-reliant, un- needed by me. By removing the subject (me) from it (the brick) do I not then also remove the object—or at least the duality objectifying it? Why is this important? Why does this matter? I have not really removed anything. I have not changed any thing , per se . The brick still occupies the same space in geographic and temporal dimensions. I have literally not even touched the brick sitting on my desk. But what I have done is removed the name, removed the word (the bridge, according to Heidegger) and in this (again, if this is even possible) there is something vertiginously liberating, not only for me (and my way of thinking) but also for the brick itself. Like the poet who calls the thing forward, by refusing to name, by avoiding any thing that demands me to name it, I release the thing into the fourfold. I am no longer challenging the thing to be there for me ; I do not en frame it through language. Rather I, in an act of extreme responsibility, am refusing the challenge. By refusing the name (refusing to name) one allows, (or no one allows no thing) the brick to be all things , to manifest its manifold being, to incorporate all things into its thinging . It becomes, quite literally, every thing . Because, in its infinite manifestness, it incorporates everything; the mud that gave it its current being, the water that formed the mud, the sun, the stars, the universe and it also allows it to become mud again, to become landfill, to become again, water and sun and stars and universe in an endless, infinite cycle of coming to be some thing (else). Perhaps this is what Heidegger is suggesting when he talks about the stillness at the end of his essay, “Language” (2001): The dif-ference stills particularly in two ways: it stills the things in thinging and the world in worlding. Thus stilled, thing and world never escape from the dif-ference. Rather, they rescue it in the stilling, where the dif-ference is itself the stillness (206). It is in this stillness that I can imagine a gellasenheit (here I mean both “releasement in the Heideggarean sense, as well as Meister Eckhart’s use of the term meaning “letting the world go and giving oneself to God”) of thing and world, a releasing into the stillness and silence of no thing beyond where word breaks off. It is here where I may no longer be, and yet no thing is, but may be. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 37-75 [Access article in PDF] The Nature of Paradigms and Paradigm Shifts in Music Education Elvira Panaiotidi North Ossetian State Pedagogical Institute, Russia The advent of the praxial philosophy of music education in the mid-1990s and its systematic development in David Elliott's Music Matters: A New Philosophy of Music Education1 created an unprecedented situation in music education in North America. Having (...) brought to an end the monopoly of one theoretical approach, that of music education as aesthetic education (MEAE), it challenged the music education community with a choice. While Elliott tried to convince music educators of the falsity of MEAE and of the advantages of his own conception, Bennett Reimer and his proponents defended their position. The polemic between "aestheticians" and "praxialists," represented by the exchange between Reimer and Elliott in the Bulletin of the Council for Research in Music Education, 2 brought to light a methodological deficiency in music education theory, namely, its inability to provide tenacious theoretical footing which could help settle the dispute. How do changes in the theory and practice [End Page 37] of music education occur? What are the rational standards by which to judge theories? What is the nature and logic of a dynamic development in music education theory and practice? These and similar questions have remained largely unapproached by music educators.The present paper is an attempt to initiate a discussion on these issues by exposing one possible metatheoretical strategy. As the title suggests, the strategy I am going to employ is based on the concept of paradigm. This Greek term which was once used to describe Platonic ideas, nowadays broadly circulates in descriptions of transformative processes in nearly every domain of life: we hear about paradigm shifts in musicology, the job market and tax policy, genetics, and so on. It is usually used as a kind of unproblematic category with a precisely defined and commonly accepted meaning, so that no indication of the origin of its usage in a given context is provided. In most cases, however, it turns out that "paradigm shift" is equivalent to and stands for "change" of whatever type, scope, or depth and is preferred because it is a mode or perhaps because it sounds more pretentious. In contrast to this tendency, both "paradigm" and "paradigm shift" are taken here most seriously and their usage is intimately related to the tradition in philosophy of science established by Thomas S. Kuhn's The Structure of Scientific Revolutions.3 This may appear dubious after we have been recently told that the impact of this book and the very concept of paradigm have "been largely, but not entirely, for the worse," namely, "to dull the critical sensibility of the academy" and "to kill the historicist impulse."4 "Kuhnification," it has been argued, is responsible for the suppression of free inquiry and bringing about "paradigmitis," a syndrome characterized by "a collective sense of historical amnesia and political inertia."5 Nonetheless, it is my contention that the paradigm approach per se is not dismissed by the criticism of Kuhn's conception and can be modified in such a way as to be made fruitful for structuring music education discourse and the explication of theory development in music education. To show how this is possible is the task before me.Underlying this project is the idea that theory development in music education can be adequately grasped and appraised in terms of more general units than specific theories which I shall call paradigms. That I am giving preference to this term and not choosing another from the group of providers of the conceptual framework that have been suggested throughout the history—"research tradition" (Laudan), "research programme"(Lakatos), "comprehensive cosmological point of view" (Feyerabend)—is that I find it more pertinent: it is neutral enough and allows for modifications which are necessary in view of the specific nature of music education discourse.In what follows, I will begin with an examination of Peter Abbs' account of paradigms and paradigm shifts in arts education. I... (shrink)