A careful reading of the initial posing of the issue to be debated with Protagoras and of its subsequent restatement when the debate resumes after a break will show that Socrates employs three distinct formulae, only the first of which answers at all closely to the term "Unity of the Virtues" which has been commonly used in the scholarly literature as a label for the position which Socrates upholds in the debate. The other two formulae, perfectly distinguishable from the (...) first, I shall call the "Similarity" and "Biconditionality" Theses. I shall discuss the three Theses seriatim. But let me emphasize from the start that they are not treated in the text as logically disjoint tenets, but as successive moments in the elucidation of a single doctrine. That is how Protagoras himself understands them. At no point does he try to drive a wedge between them or play off one against another. He accepts them as complementary expressions of a theory which he rejects and combats as a whole. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Unity of Plato’s Sophist: Between the Sophist and the PhilosopherRosamond Kent SpragueNoburo Notomi. The Unity of Plato’s Sophist: Between the Sophist and the Philosopher. Cambridge: Cambridge University Press, 1999. Pp. xxi + 346. Cloth, $64.95.Any corrective to what might be called the "Piecemeal Plato" of the fifties and sixties is to be welcomed; Notomi's contribution to this endeavor is interesting and, I believe, basically sound. (...) As a result of treating the Sophist as a unity, rather than yielding to the temptation to extract philosophically enticing bits, he concludes that "the basic problem of the Sophist is how to distinguish the sophist from the philosopher" (163). Definitional inquiry is suspended in the important Middle Part (236d-264b) in order to deal with the difficulties concerning appearance, image, falsehood, and what is not; Plato is then able to proceed, in the second Outer Part, to the definition of the sophist in terms of the distinction between apparition-making and likeness-making: the sophist is an apparition.Much attention is of necessity devoted to the enigmatic sixth definition of the sophist (the "sophist of noble lineage") in the first Outer Part. Notomi thinks that Plato's initial strategy in the task of distinguishing the sophist from the philosopher was to allot the role of the philosopher to Socrates. But, Notomi writes, "this strategy might undermine his very attempt to secure philosophy... since people often took Socrates for a major sophist" (60-1). The Sophist therefore abandons confrontation with particular historical sophists (as in mainly earlier dialogues) in favor of a more abstract analysis in which Plato appears to be "casting serious doubt on the figure of Socrates as a philosopher" (63). "We have encountered the sophist who appears to be Socrates, and here the appearances of the sophist and the philosopher become the real issue in the Sophist" (68).It is just at this point that Notomi, who follows Proclus in attaching importance to the prologue, where the philosopher is recognized as divine, seems to shy away from a conclusion for which he has really prepared the ground, namely, that the Eleatic visitor takes on the role of the philosopher. He does write that "the visitor from Elea... leads the dialogue in a more constructive manner" (i.e., than Socrates does) (63), but he could well say something much stronger. A passage which would have been much to his purpose as combining the notion of the philosopher with that of appearance, especially to the young, has been missed out; I am thinking of 265d where the visitor, having divided production into divine and human, asks Theaetetus for an important decision: are we to say, of mortal animals and so on, "that nature gives birth to them as a result of some spontaneous cause without intelligence, or shall we say that they come from a cause which, working with reason and art, is divine and proceeds from divinity?" Here Theaetetus makes a remarkable reply: "Perhaps because I am young, I often shift from one belief to the other, but at this moment, looking at your face [eis se blepô] and believing you to hold that these things have a divine origin, I too am convinced" (Cornford). In other words, the face of the visitor has something of the god-like in it, an appearance that Plato has appropriately expressed by using the verb blepô, which, with its compound apoblepô, is his verb of choice for looking at the Forms. I think that the author (perhaps made uneasy by the visitor's place of origin) has not really followed out the implications of his view that "serious doubt" has been cast on the figure of Socrates [End Page 585] as a philosopher. If not Socrates, who then? Eristic may have come out of Elea, but so did the concept of being suitable for Platonic metaphysics, and this latter is by no means unassociated with Socrates in the dialogues, as Notomi quite correctly observes. Perhaps the Eleatic visitor is either Plato himself or else a Socrates made young and beautiful.There is much more in this book than these remarks would imply. A study of Platonic... (shrink)

This is the first of three essays which use Edmund Husserl's dependence ontology to formulate a non-Diodorean and non-Kantian temporal semantics for two-valued, first-order predicate modal languages suitable for expressing ontologies of experience (like physics and cognitive science). This essay's primary desideratum is to formulate an adequate dependence-ontological account of order. To do so it uses primitive (proper) part and (weak) foundation relations to formulate seven axioms and 28 definitions as a basis for Husserl's dependence ontological theory of relating (...) class='Hi'>moments. The essay distinguishes between dependence v. independence, pieces v. moments, mediate v. immediate pieces and moments, maximal v. non-maximal pieces, founded v. unfounded qualities, integrative v. disintegrative dependence, and defines the concepts of the completion of an object, the adumbrational equivalence relation of objects, moments of unity which unify objects, and relating moments which relate objects. The eight theorems [CUT90]-[CUT97] show that relating moments of unity provide an adequate account of order in terms of primitive (proper) part and (weak) foundation relations. (shrink)

It is common to hold that our conscious experiences at a single moment are often unified. But when consciousness is unified, what are the fundamental facts in virtue of which it is unified? On some accounts of the unity of consciousness, the most fundamental fact that grounds unity is a form of singularity or oneness. These accounts are similar to Newtonian views of space according to which the most fundamental fact that grounds relations of co-spatiality between various points (...) (or regions) of a space is the fact that these points (or regions) are parts of the same single space. In this paper, I sketch and defend an alternative account of unity of consciousness. Very roughly, the view holds that experiences are unified when they are connected in the right way. In this respect, the view is analogous to Leibnizian views of space according to which the oneness of space emerges from certain conditions over spatial relations. The Leibnizian alternative has significant implications for our understanding of the metaphysics of conscious experience, the cognitive architecture of the mind and our assessment of the conditions under which unity of consciousness breaks. (shrink)

Philosophers have recently revived the study of the ancient Greek topics of virtue and the virtues—justice, honesty, temperance, friendship, courage, and so on as qualities of mind and character belonging to individual people. But one issue at the center of Greek moral theory seems to have dropped out of consideration. This is the question of the unity of virtue, the unity of the virtues. Must anyone who has one of these qualities have others of them as well, indeed (...) all of them—all the ones that really do deserve to be counted as virtues? Even further, is there really no set of distinct and separate virtuous qualities at all, but at bottom only a single one—so that the person who has this single condition of “virtue” is entitled also to the further descriptions “honest” and “well-controlled” and “just” and “friendly” and “courageous” and “fostering” and “supportive,” and so on, as distinguishable aspects or immediate effects of his unitary “virtue”? (shrink)

Philosophers have recently revived the study of the ancient Greek topics of virtue and the virtues—justice, honesty, temperance, friendship, courage, and so on as qualities of mind and character belonging to individual people. But one issue at the center of Greek moral theory seems to have dropped out of consideration. This is the question of the unity of virtue, the unity of the virtues. Must anyone who has one of these qualities have others of them as well, indeed (...) all of them—all the ones that really do deserve to be counted as virtues? Even further, is there really no set of distinct and separate virtuous qualities at all, but at bottom only a single one—so that the person who has this single condition of “virtue” is entitled also to the further descriptions “honest” and “well-controlled” and “just” and “friendly” and “courageous” and “fostering” and “supportive,” and so on, as distinguishable aspects or immediate effects of his unitary “virtue”? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 265-296 A Symposium on Louis E. Loeb, Stability and Justification in Hume's Treatise The Unity of Hume's Philosophical Project MICHAEL WILLIAMS 1. Introduction In both his Treatise of Human Nature and Enquiry concerning Human Understanding, Hume presents a protean figure.1 By turns, he appears as a naturalistic theorist of the mind, a proto-Positivist critic of speculative metaphysics, and an (...) utter skeptic. Can these various characters be seen to work together? On the whole, Hume's interpreters seem to think not. The typical approach is to pick a dominant personality, leaving Hume's other philosophicalpersonae to be squeezed in as an afterthought, deprecated, or simply ignored. Louis Loeb is a shining exception.2 His new book, subtle and densely argued, offers an account of Hume's epistemology that makes a sustained effort to come to terms with its multi-faceted character. However, while Loeb's interpretation marks a real advance in our understanding of Hume, it is not one that I find ultimately persuasive. As I shall try to show, for all his insights, Loeb too fails to provide a satisfyingly unified account of Hume's philosophical pro j ect. In the course of explaining why I think this, I shall indicate how I think a better account ought to go. 2. Varieties of Skepticism The key to understanding Hume is to come to terms with the ways in which Hume is and is not a skeptic. So before going farther it will be useful to distinguish the Michael Williams is Krieger-Eisenhower Professor of Philosophy at The Johns Hopkins University, 347 Gilman Hall, Baltimore, MD 21218, USA. e-mail: [email protected] 266 Michael Williams various forms that skepticism takes, or might be thought to take, in Hume's epistemological writings. The distinctions I shall introduce will also make it easier to characterize different ways of reading Hume, Loeb's included. First, we must distinguish between epistemological skepticism, which has to do with knowledge and belief, and conceptual skepticism which has to do with meaning. So for example, where an epistemological skeptic may wonder whether beliefs of a certain broad kind can be justified, a conceptual skeptic will wonder whether the words we use to express such purported beliefs are so much as meaningful. It seems clear that both kinds of skepticism figure in Hume's theory of the understanding. However, commentators differ sharply over their relative importance. Second, we must distinguish two forms of epistemological skepticism: theoretical (or Academic) skepticism and suspensive skepticism (or Pyrrhonism). As its name suggests, theoretical skepticism is a thesis (or family of theses) about the epistemic status of human beliefs: for example, the thesis that such and such beliefs do not amount to knowledge or are not justifiable. It is important to note that one can entertain such a thesis in a purely speculative or theoretical way, without becoming inclined to relinquish any fundamental beliefs. By contrast, Pyrrhonism involves an actual breakdown in belief. Again, though we seem to be able to find both Academic and Pyrrhonian elements in Hume's epistemological outlook, commentators are seriously at odds over how to put them together. Third, both theoretical and suspensive skepticism can be either qualified (Hume says "mitigated") or unqualified (we can say "radical"). The most important form of qualified theoretical skepticism is anti-Rationalism. Anti-Rationalism embraces such theses as that our beliefs never amount to knowledge, or are not supportable by (what we can show to be) truth-conducive reasons. By contrast, theoretical skepticism in its most radical form is the claim that no beliefs are in any sense more reasonable than others: i.e., that normative-epistemological distinctions between beliefs are completely indefensible. We can make an analogous distinction with respect to suspensive skepticism. A qualifiedly skeptical outlook might take the form of anti-Dogmatism: we hold beliefs, but in an open-minded, fallibilist spirit, taking nothing to be altogether certain, suspending final judgment. Alternatively, we might suffer a complete breakdown of belief. Once more, we find serious differences of opinion among commentators. In what way is Hume's skepticism mitigated, or qualified, if indeed it is qualified... (shrink)

The idea that moral virtues form some sort of “unity” has received considerable attention from virtue theorists. In this paper, I argue that the possibility of unity among intellectual virtues has been wrongly overlooked. My approach has two main components. First, I work to distinguish the variety of different views that are available under the description of a unity thesis. I suggest that these views can be categorised depending on whether they are versions of standard unity (...) or of strong unity. Standard unity claims that the possession of one virtue implies possession of all the others. Strong unity claims that the virtues are, in some sense, all the same thing. By exploring what these different versions of unity would look like when applied to intellectual virtues, I aim to provide a menu of options for future work in virtue epistemology. I then develop and defend one of these options in more detail, arguing that the initially less plausible strong unity has merit when applied to the intellectual sphere. In these two ways, I aim to show that the possibility of unity among the intellectual virtues is deserving of serious consideration. (shrink)

ne of the leading problems for Cartesian dualism is to provide an account of the union of mind and body. This problem is often construed to be one of explaining how thinking things and extended things can causally interact. That is, it needs to be explained how thoughts in the mind can produce motions in the body and how motions in the body can produce sensations, appetites, and emotions in the mind. The conclusion often drawn, as it was by three (...) of Descartes's illustrious successors, Malebranche, Spinoza, and Leibniz, is that mind and body cannot causally interact.' I mention this problem of the interaction between thinking things and extended things only to distinguish it from the problem concerning the union of mind and body which I wish to discuss. Some commentators, such as Daisie Radner, maintain that the.. (shrink)

In this paper, I show that the conception of a virtue in positive psychology is a mishmash of two competing accounts of what virtues are: a Common Sense View and an Aristotelian View. Distinguishing the strengths and weaknesses of these two frameworks leads also to a reconsideration of an old debate, namely, that concerning the Unity of the Virtues thesis. Such thesis is rejected by positive psychologist, as well as by some philosophers among the virtue-ethical field, on the basis, (...) I argue, of a lack of accuracy in defining the very meaning of the concept of what virtues are, before examining the issues at stake. In the first part of the paper, I show to what extent the conceptions of virtue employed by the different voices diverge and the consequences of this divergence for the UV problem. Then, I go on by arguing for one of the two competing accounts, namely, the Aristotelian View, over the other, that is, the Common Sense View. Finally, I show to which of CSV theses positive psychologists are committed, so to explain their rejection of the UV thesis, and to highlight their need for a clearer account of what a virtue is. (shrink)

The Unity of Science is often thought to be reductionist, but this is because we fail to distinguish questions from answers. The questions asked by different sciences are different---the biologist is interested in different topics from the physicist, and seeks different explanations---but the answers are not peculiar to each particular science, and can range over the whole of scientific knowledge. The biologist is interested in organisms--- concept unknown to physics---but explains physiological processes in terms of chemistry, not a mysterious (...) vital force. The replacement of Laplacian determinism by quantum mechanics further erodes the tendency towards reductionism. The answers given in different explanations are not subsumed under one complete theory; and quantum mechanics does not have a concept of haecceitas, "this-i-ness" which would make its entities the fundamental constituents of everything. (shrink)

In this dissertation I examine the ontological and systematic basis of Hegel’s social and political philosophy. I argue that the structures of the will, discussed in paragraphs five through seven of the Philosophy of Right, present the key for understanding the goal and the argumentative structure of that work. Hegel characterizes the will in terms of the oppositions between the universal and the particular, the infinite and the finite, and the indeterminate and the determinate. Ultimately, he argues that we must (...) grasp the will as the unity of these oppositional moments. The Philosophy of Right presents an extended attempt to grasp this unity. -/- In order to central problem presented by the structure of the will, I argue that we must first recognize the will as the highest instantiation of the more general structures that constitute the notion. On my interpretation, the term ‘notion’ designates Hegel’s doctrine of substance. More specifically, this term presents his conception of substance in terms of categories normally associated with human subjectivity, in terms of representation and purposive action. -/- The will presents the highest or truest instantiation of the notion. Various notions can be ranked along a spectrum in accordance with their degree of success at resolving the basic problem facing all objects – namely the problem of integrating or essentially relating identity and difference through self-constituting activity. The unification of identity and difference presents the central problem or paradox of Hegel’s philosophy. It is a paradox that takes many forms. In this dissertation, I show how change, the structure of judgment, and the nature of the object all exhibit this paradox. I also show how Hegel’s doctrine of the notion develops as a direct response to this paradox. Additionally, I argue that Hegel’s account of the structure of the will – as the unity of the universal and the particular, the unity of the infinite and the finite, and the unity of the indeterminate and the determinate – presents the highest manifestation of the paradox that arises when we seek to explain the unity of identity and difference. (shrink)

This paper offers a novel view of unity in neuroscience. I set out by discussing problems with the classical account of unity-by-reduction, due to Oppenheim and Putnam. That view relies on a strong notion of levels, which has substantial problems. A more recent alternative, the mechanistic “mosaic” view due to Craver, does not have such problems. But I argue that the mosaic ideal of unity is too minimal, and we should, if possible, aspire for more. Relying on (...) a number of recent works in theoretical neuroscience—network motifs, canonical neural computations and design-principles—I then present my alternative: a “flat” view of unity, i.e. one that is not based on levels. Instead, it treats unity as attained via the identification of recurrent explanatory patterns, under which a range of neuroscientific phenomena are subsumed. I develop this view by recourse to a causal conception of explanation, and distinguish it from Kitcher’s view of explanatory unification and related ideas. Such a view of unity is suitably ambitious, I suggest, and has empirical plausibility. It is fit to serve as an appropriate working hypothesis for 21st century neuroscience. (shrink)

In the Critique of Fure Reason Kant distinguishes two sorts of conditions of knowledge. First, there are the space and time of pure intuition, introduced in the Transcendental Aesthetic. They are grounded in our dependence on a special sort of perceptual field for the location of objects. Second, there are pure concepts of the understanding, or categories, introduced in the Analytic. In one respect these are grounded in the logical function of the understanding in judgements, introduced in the first chapter (...) of the analytic of concepts: Clue to the Discovery of All Pure Concepts of the Understanding; in another respect, they are grounded in transcendental unity of apperception, which is introduced in the second chapter: Deduction of the Pure Concepts of the Understanding, or Transcendental Deduction. I shall be concerned with the latter and its contribution to the overall strategy of argument in the analytic. Within the Analytic, Kant distinguishes between an Analytic of Concepts and an Analytic of Principles. This corresponds to a traditional distinction between a doctrine of concepts and judgement. It is arguable that Kant's theory of concepts undermines this distinction. However, I shall not deal with that general issue, but with a more specific issue related to the first two chapters of the Analytic of Principles: the Schematism and the System of Principles. (shrink)

Of all the sciences, philosophy is the most concrete and comprehensive. The sense of cold, remote spaces which it is apt to generate in us is the result of this very width and concreteness. The philosopher has to condense the many-sided variety of human life and express it through the symbols of a common language. The symbols are at best only semi-transparent.ness descends upon him the moment they become opaque. Philosophy, in fact, is useless to us unless we can see (...) through it. If we cannot, the fault may be ours. If it is the philosopher's, then his failure is a failure to be wide enough or concrete enough. He needs above all to be sympathetically sensitive to the wide range of human interests, because it is this as a whole that he is bidden to systematize. He must give a single answer, and for that he must formulate a single question. Therefore his first problem is to discover the unity of problems. (shrink)

Of all the sciences, philosophy is the most concrete and comprehensive. The sense of cold, remote spaces which it is apt to generate in us is the result of this very width and concreteness. The philosopher has to condense the many-sided variety of human life and express it through the symbols of a common language. The symbols are at best only semi-transparent.ness descends upon him the moment they become opaque. Philosophy, in fact, is useless to us unless we can see (...) through it. If we cannot, the fault may be ours. If it is the philosopher's, then his failure is a failure to be wide enough or concrete enough. He needs above all to be sympathetically sensitive to the wide range of human interests, because it is this as a whole that he is bidden to systematize. He must give a single answer, and for that he must formulate a single question. Therefore his first problem is to discover the unity of problems. (shrink)

This paper offers a noncognitivist characterization of moral attitudes, according to which moral attitudes count as such because of their inclusion of moral concepts. Moral concepts are distinguished by their contribution to the functional roles of some of the attitudes in which they can occur. They have no particular functional role in other attitudes, and should instead be viewed as evolutionary spandrels. In order to make the counter-intuitive implications of the view more palatable, the paper ends with an account (...) of the evolution of normative judgments as exaptations of the cognitive structures that underlie beliefs. (shrink)

How can we distinguish one mind from another? How are we to determine what unifies the mind? Given radical mental disunity, these questions need to be answered.

The binding problem is frequently discussed in consciousness research. However, it is by no means clear what the problem is supposed to be and how exactly it relates to consciousness. In the present paper the nature of the binding problem is clarified by distinguishing between different formulations of the problem. Some of them make no mention of consciousness, whereas others are directly related to aspects of phenomenal experience. Certain formulations of the binding problem are closely connected to the classical philosophical (...) problem of the unity of consciousness and the currently fashionable search for the neural correlates of consciousness. Nonetheless, only a part of the current empirical research on binding is directly relevant to the study of consciousness. The main message of the present paper is that the science of consciousness needs to establish a clear theoretical view of the relation between binding and consciousness and to encourage further empirical work that builds on such a theoretical foundation. (shrink)

It has been argued that pragmatism as a philosophical movement lacks unity. However, contrasts and similarities are always relative to a level of generality on which they can be distinguished. And, although Peirce, James, and Dewey disagree on a number of important issues, they have quite a number of assumptions and theses in common. The most general and important of these theses is the belief that how our beliefs relate to reality depends on our actions, and that the (...) semantical independence of our actions plays a crucial role in the development of our theoretical beliefs. Although there are other beliefs and assumptions common to the three classical pragmatists, even this property is enough to distinguish the classical pragmatists from one of their contemporary followers, Richard Rorty. (shrink)

The problem of the unity of the proposition—what distinguishes a proposition from a mere list of constituents, so that the former is able to say something while the latter is not?—is as old as philosophy. It is evoked at the end of Plato’s Sophist, where the Stranger affirms that when one makes a statement “he does not merely give names, but he reaches a conclusion by combining verbs with nouns” ; and it is discussed by Aristotle in De Interpretatione, (...) where it is said that since “falsity and truth have to do with combination and separation”, then “the first single statementmaking sentence is the affirmation, next is the negation” ; but “every statement-making.. (shrink)

Sellars distinguished in Empiricism and Philosophy of Mind between ordinary discourse, which expressed his “manifest image”, and scientific discourse, which articulated his “scientific image” of man-in-the-world in a way that is both central and problematic to the rest of his philosophy. Our contention is that the problematic feature of the distinction results from Sellars theory of inner episodes as theoretical entities. On the other hand, as Sellars attempted to account for our noninferential knowledge of such states, particularly in correspondence (...) with Castañeda, discussed by Lehrer and Stern, he is lead to account of representation of such states that incorporates the states into what Lehrer has called exemplar representation and Ismael reflexive self-description. What is common to the three accounts, with some differences, is that such states may be function reflexively in selfrepresentation. Our argument is that the elaboration of this account, suggested in Sellars, shows how the discourse of the manifest image can be transformed into the discourse of the scientific image as self-representations of scientific entities. (shrink)

Sellars (1963) distinguished in Empiricism and Philosophy of Mind between ordinary discourse, which expressed his “manifest image”, and scientific discourse, which articulated his “scientific image” of man-in-the-world in a way that is both central and problematic to the rest of his philosophy. Our contention is that the problematic feature of the distinction results from Sellars theory of inner episodes as theoretical entities. On the other hand, as Sellars attempted to account for our noninferential knowledge of such states, particularly in (...) correspondence with Castañeda, discussed by Lehrer and Stern (2000), he is lead to account of representation of such states that incorporates the states into what Lehrer has called exemplar representation (2004, 2011a) and Ismael reflexive self-description (2007). What is common to the three accounts, with some differences, is that such states may be function reflexively in selfrepresentation. Our argument is that the elaboration of this account, suggested in Sellars, shows how the discourse of the manifest image can be transformed into the discourse of the scientific image as self-representations of scientific entities. (shrink)

The difficulties often attributed to prime matter hold for all hylomorphic accounts of substantial change. If the substratum of substantial change actually persists through the change, then such change is merely another kind of accidental change. If the substratum does not persist, then substantial change is merely creation ex nihilo. Either way matter is an empty concept, explaining nothing. This conclusion follows from Aristotle’s homoeomerity principle, and attempts to evade this conclusion by relaxing the constraints Aristotle imposes on elementhood, generation, (...) and substrata all fail, and even the minimal constraints imposed by the Problem of Material Constitution are enough to generate the dilemma. -/- Aristotle resolves this dilemma in Physics I.9 by postulating pure potentiality-for-substance as the substratum of substantial change. Because the substratum persists, substantial change is not creation ex nihilo, but because it does not persist actually it is not a kind of accidental change. Aristotle uses this approach to solve the Problem of the Mixt and the Problem of Material Constitution without weakening his constraints on elementhood, generation, or substrata. This pure potentiality approach must be carefully distinguished from other ‘traditional’ or ‘prime matter’ views that posit some actuality for the substratum of substantial change, and it is best understood in light of the analogy found at Metaphysics Θ.6. Pure potentiality-for-substance can do the work needed in a substratum for substantial change because Aristotle is able to ground the identity, existence, and characterization of the substratum in the corrupting and generating substances rather than the substratum itself. (shrink)

This thesis develops a disjunctivist approach to action as an alternative to the standard causal theory, or 'causalism'. The standard theory promotes a concept of action as constituted by a bodily event joined to certain mental conditions by a bond of causation. A disjunctivist approach, in contrast, claims that action must be distinguished by more than merely its etiology: action and mere movement are fundamentally different kinds. Recent objections to the causal theory of action are first surveyed, and the (...) common causalist assumption claiming Aristotle as the progenitor of the causal theory is examined and dismissed. More refined interpretations of Aristotle's thought on action yield two different concepts: action as change, and action as a unified psychophysical process. The latter in particular is argued to hold promise as a basis for developing the disjunctivist approach to action. The remainder of the thesis therefore considers a contemporary account of psychophysicality, known as 'embodiment theory', with the conclusion that the intelligibility of the account depends on appeal to a recent variant of top-down causation. The thesis also concludes that consideration of the concept of an animal agent makes it entirely unsurprising that the mental and physical are always found together in voluntary movement, and that the embodiment theory’s central notion of ‘property fusion’ potentially complements a naturalistic variant of top-down causation in explanations of agency. (shrink)

This thesis develops a disjunctivist approach to action as an alternative to the standard causal theory, or 'causalism'. The standard theory promotes a concept of action as constituted by a bodily event joined to certain mental conditions by a bond of causation. A disjunctivist approach, in contrast, claims that action must be distinguished by more than merely its etiology: action and mere movement are fundamentally different kinds. Recent objections to the causal theory of action are first surveyed, and the (...) common causalist assumption claiming Aristotle as the progenitor of the causal theory is examined and dismissed. More refined interpretations of Aristotle's thought on action yield two different concepts: action as change, and action as a unified psychophysical process. The latter in particular is argued to hold promise as a basis for developing the disjunctivist approach to action. The remainder of the thesis therefore considers a contemporary account of psychophysicality, known as 'embodiment theory', with the conclusion that the intelligibility of the account depends on appeal to a recent variant of top-down causation. The thesis also concludes that consideration of the concept of an animal agent makes it entirely unsurprising that the mental and physical are always found together in voluntary movement, and that the embodiment theory’s central notion of ‘property fusion’ potentially complements a naturalistic variant of top-down causation in explanations of agency. (shrink)

On the one hand, it is obvious that a person’s conscious experiences are unified with one another in a way that they are not unified with anyone else’s experiences. My experiences are mine, and yours are not. On the other hand, it is equally plain that a person’s experiences are not monolithic. Generally, I can distinguish various aspects of my experiences, and I can attend to some rather than others. Conscious experience is unified, and it is not. Is there a (...) unification thesis that is substantial, interesting and plausible? Tim Bayne sets out to defend an affirmative answer in his The Unity of Consciousness. (shrink)

The article proposes an interpretation of Kant’s notions of form of, and formal intuition of space to explain and justify the claim that representing space as object requires a synthesis. This involves identifying the transcendental conditions of the analytic unity of consciousness of this formal intuition and distinguishing between it and its content. On this reading which builds upon recent proposals, footnote B160–1n. involves no revision of the Transcendental Aesthetic: space is essentially characterized by non-conceptual features. The article also (...) addresses worries about the infinite magnitude and the unicity of space, by considering the characteristics and requirements of geometric constructions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Piety, Justice, and the Unity of VirtueMark L. McPherranNo doubt the Socrates of the Euthyphro would be delighted to encounter many of its readers, offering as they do an audience of piety-seeking interlocutors, eager to mend the dialogical breach created by Euthyphro’s sudden departure. Socrates’ enthusiasm for this pursuit is at least as intense and comprehensible as theirs. We are told, after all, that he will never abandon (...) his quest for knowledge of “what the pious is” (15c–16a), since not only is this enterprise both pious and “inconceivably happy” (cf. Ap. 41c3–4) in itself,1 but coming to understand piety would allow one to “live better the rest of one’s life,” (15e7–16a4), especially should its continuation be threatened by a charge of impiety (3b–d, 5a–c, 12e, 15e–16a).2 My own search here is no less happy and ambitious, since I wish to uncover Socrates’ own, implicit understanding of piety and its relation to his claim elsewhere that “the virtues are one.”3 The account of this I shall provide will also touch on Platonic piety, although this notion obviously rests on a tendentious distinction. Nevertheless, there do seem to be some interesting differences between the way piety is treated in elenctic dialogues such as the Euthyphro and Protagoras, and the more explicitly theory-laden, constructive works such as the Republic and Laws. I shall later characterize [End Page 299] these differences, primarily in terms of the more carefully articulated, internalist moral psychology of the Republic.42. SOCRATIC PIETYThe distinct phenomena the term “religion” popularly designates for us were for the Greeks seamlessly integrated into everyday life. Thus, it is natural that the term “piety”—εὐσέβεια—carried a wider sense than our English equivalent commonly does: it concerned not only one’s immediate relation to the gods—emphasizing proper religious conduct and carrying a sense of respect and fear towards divinity (concomitant with a grasp of one’s own mortal limits)—but also often designated appropriate behavior towards parents, native land, and the dead.5 It is to this rough, inclusive conception of piety that Euthyphro appeals when confronted by Socrates on the Porch of the King (2a–6a). Moreover, and despite his own shockingly irreverent attempt at father-bashing and the subsequent elenctic drubbing he then receives from Socrates, toward the close of the dialogue Euthyphro still manages to envision piety in the quasi-traditionalist fashion with which he began—as “a knowledge of how to ensure the preservation of families and states by gratifying the gods through proper prayer and sacrifice” (14b; cf. 14c–15c).6 It is, however, precisely [End Page 300] at this dramatic juncture (14a–c) that we find—arguably—the final elements of a Socratically-acceptable conception of piety; one that builds upon Euthyphro’s initial concession to Socrates that piety and “human justice” are to be distinguished from one another (11e–12e). This, in turn, is a move that in principle forces Euthyphro to disengage from those aspects of the traditional conception of piety which would—from Socrates’ perspective—conflate the two.7 Recent challenges to this reading, however, have seen in Euthyphro’s initial holism not the heterogeneous presumptions of popular thought, but a semi-sophisticated grasp of the Socratic unity of the virtues.8 And since it does appear that the character Euthyphro is designed to serve not only as a hubristically-inflated, Homeric “fundamentalist,” but as an odd and Sophistically-influenced doppelgänger of Socrates as well—a lesson, that is, in what Socrates both is and is not—it now seems worthwhile to reexamine the view that Socratic piety is but a part and not the whole of justice.9Turning to our text, then, we discover that following the failure of Euthyphro’s initial definitional attempts to specify the nature of pious action and the resulting aporetic interlude, Socrates is willing to offer Euthyphro renewed assistance (11e1–4). This he does by asking whether all the just is pious, or whether justice is broader than piety such that piety is then merely a “part” (μóϱιον) of justice (11e4–12e5). Subsequent to his explanation of these alternatives, Socrates... (shrink)

In this paper I take up the question about the unity of justice in Aristotle and advocate for a robust relationship between lawfulness and equality, the two senses of justice that Aristotle distinguishes in Nicomachean Ethics V. My strategy is to focus on Aristotle’s indication in NE V 2 that “other-relatedness” is the common element shared by the two justices and turn to Aristotle’s discussion of the notion of self-love in EN IX 8 to explain what that means. I (...) argue that the other-relatedness of justice can be characterized in terms of proper self-love. Concretely, the discussion of self-love makes clear that those who are concerned with the well-being of others in their community over their own material gain—i.e., those who are lawful and not grasping or pleonectic—are able to see that their own self-interest is in harmony with acting in benefit of their community. This shows that there is an intimate link between lacking pleonectic inclinations and being able to act for the sake of the common good—and in general, between lacking pleonectic inclinations and being virtuous in relation to others. (shrink)

Words have meaning. Sentences also have meaning, but their meaning is different in kind from any collection of the meanings of the words they contain. I discuss two puzzles related to this difference. The first is how the meanings of the parts of a sentence combine to give rise to a unified sentential meaning, as opposed to a mere collection of disparate meanings (UP1). The second is why the formal ontology of linguistic meaning changes when grammatical structure is built up (...) (UP2). For example, the meaning of a sentence is a proposition evaluable for truth and falsity. In contrast, a collection of the meanings of its parts does not constitute a proposition and is not evaluable for truth. These two puzzles are closely related, since change in formal ontology is the clearest sign of the unity of meaning. The most popular strategy for answering them is taking the meanings of the parts as abstractions from primitive sentence meanings. However, I argue that, given plausible psychological constraints, sentence meanings cannot be taken as explanatory primitives. Drawing on recent work in Generative Grammar and its philosophy, I suggest that the key to both unity questions is to distinguish strictly between lexical and grammatical meaning. The latter is irreducible and determines how lexical content is used in referential acts. I argue that these referential properties determine a formal ontology, which explains why and how formal ontology changes when grammatical structure is built up (UP2). As for UP1, I suggest that, strictly speaking, lexical meanings never combine. Instead, whenever grammar specifies a formal ontology for the lexical meanings entering a grammatical derivation, further lexical (or phrasal) meanings can only specify aspects of this recursive grammatical process. In this way, contemporary grammatical theory can be used to address old philosophical problems. (shrink)

This chapter contains sections titled: Further Reading.

A prevalent assumption is that normativity is a unity. In this paper I argue against this assumption by demonstrating the problems it poses to a well known answer to a well known problem for taking rationality to be normative. John Broome's normative requirement relation does indeed avoid that problem, but insofar as the relation is supposed to offer a general characterisation of the normativity of rationality, it fails. It fails because it cannot capture an important aspect of the normativity (...) of rationality, that it is available to guide us. I show that if we distinguish two kinds of normativity it need not fail in this way. (shrink)

The article aims to concretize the phenomenological account concerning the problem of an auditory image. The author considers auditory imagery as a scientific object and compares different treatments of the problem to fix the potential and advantages of its phenomenological interpretation. In the first stage of the study, the author distinguishes the key characteristics of the image by means the lexical analysis. This is the perceptual (predominantly visual) nature of an image, integrality, and essentiality (image as an idea). In the (...) second stage, the understandings of the mental and auditory imagery in physiology, experimental psychology, music psychology, musicology, and interdisciplinary studies are described. In the third stage, the peculiar phenomenological ways of the comprehension of an auditory image are revealed. The phenomenological interest is to pick out consciousness which perceiving of an image equally from the process of perceiving and from entailing in an image. The specific phenomenological stance is placing an auditory image on the bound of transcendent (the process of perceiving) and immanent (an image that is already perceived). The auditory image is conceived as the unity of Modi of its givenness. Most fecks of this Modi are original, they cannot be transferred into other science scopes: they are the interconnection of all moments of the temporal unfolding, self-organization in the time, self-referentiality, non-semanticity, periodicity/randomness, eventuality, quasi-embodiment (physicality). Solely phenomenological problems are problems of the constitution of an auditory image, its life-horizon, intersubjectivity, and regional matching. The author infers that phenomenology does not conceive auditory image as sustained auditory representation, associated with acoustic memory. Its perceptual nature does not play a key role here. Moreover, the perceptual-semantic duality of the image is not fixed by the phenomenological description. The phenomenological approach is unique because it researches auditory data exhaustively but does not use semantic and referential analysis of them. The main feature of phenomenological description is the focus on the unity of auditory image: All the elements of auditory data are interpreted in their synthesis as the different levels of the unity of hearing image. Thus, the phenomenological approach as a whole is the most promising for comprehending such a dominant quality of the auditory image as integrality. (shrink)

Most type systems are agnostic regarding the evaluation strategy for the underlying languages, with the value restriction for ML which is absent in Haskell as a notable exception. As type systems become more precise, however, detailed properties of the operational semantics may become visible because properties captured by the types may be sound under one strategy but not the other. For example, intersection types distinguish between call-by-name and call-by-value functions, because the subtyping law ∩≤A→ is unsound for the latter in (...) the presence of effects.In this paper we develop a proof-theoretic framework for analyzing the interaction of types with evaluation order, based on the notion of polarity. Polarity was discovered through linear logic, but we propose a fresh origin in Dummett’s program of justifying the logical laws through alternative verificationist or pragmatist “meaning-theories”, which include a bias towards either introduction or elimination rules. We revisit Dummett’s analysis using the tools of Martin-Löf’s judgmental method, and then show how to extend it to a unified polarized logic, with Girard’s “shift” connectives acting as intermediaries. This logic safely combines intuitionistic and dual intuitionistic reasoning principles, while simultaneously admitting a focusing interpretation for the classical sequent calculus.Then, by applying the Curry–Howard isomorphism to polarized logic, we obtain a single programming language in which evaluation order is reflected at the level of types. Different logical notions correspond directly to natural programming constructs, such as pattern-matching, explicit substitutions, values and call-by-value continuations. We give examples demonstrating the expressiveness of the language and type system, and prove a basic but modular type safety result. We conclude with a brief discussion of extensions to the language with additional effects and types, and sketch the sort of explanation this can provide for operationally sensitive typing phenomena. (shrink)

This article begins by assessing the ways in which the life and work of Neil MacCormick exemplified a dual commitment to the local and particular—especially through his advocacy of nationalism—and to the international and the universal. It then concentrates on one of the key tensions in his work which reflected that duality, namely the tension between his longstanding endorsement of constitutional pluralism—and so of the separate integrity of different “local” constitutional orders—and his belief in some kind of unity, and (...) so community, residing in the moral and rational properties of all law. The article continues by considering a number of ways in which this tension may be resolved. It concludes, with particular reference to MacCormick's late work on ethics, that the answer may be found through the idea of a general unity of practical reason which undergirds the various special orders of practical reason by which particular legal systems are distinguished. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Theory of SelfApaar KumarArthur Melnick. Kant’s Theory of Self. New York-London: Routledge, 2009. Pp. viii + 186. Cloth, $118.00.Melnick interprets the Kantian self from the first-person perspective as real abiding intellectual action. It unfolds in time but does not arise in inner or outer attending. Hence, it is neither a noumenal entity nor Kantian intuitable substance. Melnick thinks that his interpretation not only clarifies Kant’s arguments in (...) the Paralogisms of the first Critique, but also illuminates Kant’s positive theory of self.Melnick argues that a thought is inchoate, unformed, and unsettled until the thinking self as intellectual marshaling action brings it into focus and “coalesces” around it a series of related but out-of-focus thoughts ready to replace the focal thought if necessary. This marshaling action is temporal because it shifts/adjusts (“accompanies”) progressive attending but cannot be intuited in time. Its shifting/adjusting constitutes its only reality, for it would have to be in objective time if it were intrinsically real, which Kant’s transcendental idealism does not allow.As intellectual marshaling action, the thinking self cannot know itself as simple substantial entity. Instead, it knows itself as always-subject-and-never-predicate because it is constant and never swallowed up by particular thoughts, and as indivisible because its self-awareness as marshaling action in a whole thought is not the sum of its self-awareness in each part of that thought. Self-consciousness is a structural possibility of this marshaling action. It occurs when the subject has to report its thoughts, which it does by distancing-itself-from-but-still-encompassing its thought/s in reflection.The same marshaling action makes for the identity of the cognizing subject by constantly regulating thinking. Thinking is “proneness” to standardize or regulate. If I am unifying/regulating a synthesis of outer apprehension (empirical-object-dog) through my prior grasp of a thought or rule (empirical-dog-concept), I am self-identical in empirical apperception. If I am unifying/regulating outer or inner attending per se according to pure rules of space and time in a synthesis of outer apprehension, then I am self-identical in pure apperception.In the synthesis of inner apprehension, I can be self-identical only if I, as intellectual marshaling action, set representations of inner sense in time. Personal identity is the extension of this identity. It is to be construed as a “thin” capacity contingent upon the fulfillment of its activation conditions, rather than as a metaphysical entity. Given that time-consciousness [End Page 535] demands outer bodily representations in Kant, and bracketing his abstraction from the body, self-identical persons must necessarily be construed as embodied. Finally, contra the rationalists, intellectual marshaling action is neither material nor separable from material reality, and our capacity for such action relates immediately to the capacity of material things to affect us.The problem with this argument, which Melnick admits Kant himself never articulated, is that at key moments, it is neither a comprehensive interpretation of Kant (especially since Melnick relies principally on the first Critique, but not exhaustively so: for instance, he does not discuss the important distinction between the analytic and synthetic unity of apperception, etc.), nor a stand-alone first-person account of the self.First, Melnick’s use of several Kant-independent spatial analogies to explain crucial mental concepts is disconcerting: to some extent, self as “marshaling” action, consciousness as “awning” that envelops affection from outside, and (most obscurely) self-conscious subjects ostensibly require reflection to “mirror” a thought into a verbal report (56–57), but it remains unclear what mirroring into involves.Second, Melnick uncritically accepts Kant’s obscure equation of the unities of act and consciousness (7–8, 97), and hence sidesteps the thorny problem of relating/distinguishing activity and consciousness. Since he categorically interprets self as activity, Melnick appears to presuppose the priority of activity over consciousness. But this needs justification, which, in turn, requires further investigating the relationship between attention, consciousness, and intellectual marshaling action.Finally, although Kant never says this, Melnick offers a two-step argument that we possess a capacity for personhood, which seems rather unconvincing... (shrink)

Although Gloria Anzaldúa's critical categories have steadily entered discussions in the field of philosophy, a lingering skepticism remains about her works’ ability to transcend the particularity of her lived experience. In an effort to respond to this attitude, I make Anzaldúa's corpus the center of philosophical analysis and posit that immanent to this work is a logic that lends it the unity of a critical philosophy that accounts for its concrete, multilayered character and shifting, creative force. I call this (...) an “affective logic of volverse una.” Starting with the understanding of a situated modality of all subjectivity, Anzaldúa's work exhibits a logic of three moments distinguished by states of awareness. Each state of awareness is characterized by the generative degree of the subject's responses to its conditions: critical, individuating, and expansive. Led by her late concepts of conocimiento and nepantlera, I return to her earlier works and trace Anzaldúa's innovative exploration of undoing the oppressive condition of marginal subjectivities from “La Prieta” through Borderlands/La Frontera to her final published essay “now let us shift.” I find a liberatory schema of volverse una/becoming whole that is grounded in an active receptivity of sensibility and facilitated by affective technologies for transformation. (shrink)

Plato argues that four political arts—politics, kingship, slaveholding, and household-management—are the same. His argument, which prompted Aristotle’s reply in Politics I, has been universally panned. The problem is that the argument clearly identifies household-management with slaveholding, and household-management with politics, but does not fully identify kingship with any of the others. I consider and reject three ways of saving the argument, and argue for a fourth. On my view, Plato assumes that politics is identical with kingship, just as he does (...) elsewhere, but he begs no questions because the point of his argument is to identify the public arts of politics and kingship with the private arts of household-management and slaveholding. He does this successfully by answering three reasons why one might distinguish the private from the public arts. His argument leaves room for Aristotle to propose other reasons. One of them—involving differences among men and women and slaves—is unfortunate, but another is more promising. The Aristotelian can assume that political expertise is a matter of know-how gathered by experience of the particular actions which differ in the public and private arts. But Plato might well be right to reject this, and to insist that the essential difference between the expert and non-expert—the dividing line between good and bad rule—is not in experience but in their grasp of their goals. (shrink)

Binding can be described at three different levels: In neuroscience it refers to the integration of single-cell activities to form functional neural assemblies, especially in response to global stimulus properties; in cognitive science it refers to the integration of distributed modular input processing to form unified representations for memory and action, and in consciousness studies it refers to the unity of phenomenal consciousness . To describe and explain the unity of consciousness, detailed phenomenological descriptions of binding at the (...) phenomenal level and clarification of the underlying cognitive and neural mechanisms are required. The disunity of consciousness during dreaming is a fruitful avenue to study phenomenal binding and its mechanisms. The notion of the 'bizarreness' of dreams is closely related to the concept of 'binding': bizarreness can be reconceptualized as referring to different types of unusual combinations of features in the binding of dream images coherently together. The present study concentrates on the representation of human characters and the bizarreness found in these representations. We developed a rating scale that distinguishes different types of bizarreness on the basis of the unusual combinations of elements that are manifested in dream images. The data consisted of 592 dream reports in the home-based dream diaries of 52 students. The results indicate that about half of the human characters appearing in our dreams contain bizarre elements, and that certain types of bizarreness are more frequent than others. Phenomenal features intrinsic to the representation of a person are less frequently bizarre than is the external relation between the person and the context . Thus, binding the local features of a representation coherently together appears to be less prone to errors than binding several different information streams together into a coherent phenomenal model of the world. (shrink)

Mishel Fuco not only influenced the consciousness of modern West, but changed the modus of thinking, the way of perception of many traditional notions, transformed the opinions about the reality, history, person. Philosopher’s principle research programme which attaches the entirety to his works is “archeology of knowledge” programme, the search of human knowledge’s original layers. Let us mark that all Fuco’s works in 1960s are devoted to main aim: to clear up the conditions of historical origin of different mental aims (...) and social institutions in the culture of the Modern Time. Though in the whole this common aim remained for Fuco invariable, but the level on which he realizes his research search is changing constantly and rather logically. Relations of power, and to be more exact,accumulations of power and knowledge, social and cognitive which define all the aggregate of specific possibilities of culture in each given historical period. More than that the philosopher offers the particular prospects of sight of modern society and precisely totality of power relations, its ubiquitous nature and specific productivity which produces itself in each moment in any point or rather in any attitude from one point to another. From Fuco’s point of view the power is everywhere and not because it involves everything but because it comes from everywhere. The power is productive in that degree in which it is not associated with one definite imperious instance but pierces all kinds of activity in society, putting on its indelible stamp, developing under definite angle and due to this factit causes products, produced by them. The power induces and at the same time determines the fact which appears as a result of its inducement. The thirst of supremacy, which surrounds the individual and is focused on it as on the center of its use of force, comes out as a defining sign. It should be noticed that Fuco’s conception of power is not reduced to the understanding it as anonymous impersonal net of relations, piercing all society. It is supplemented by power treatment,coming out in “designed” look of definite imperious structure or imperious institute. (shrink)

The formula 'the elements of logos' in the Zeno quotation by Epictetus at Arrian, Diss. 4.8.12 need not, pace e.g. von Arnim, pertain to the parts of speech, but more probably means the elements i.e. primary theorems of philosophical theory, or doctrine. Theory moreover should become internalized to the soul and 'lived': philosophy is also the so-called 'art of life'. These theorems are to be distinguished but should reciprocally entail each other. Philosophy according to Zeno is both tripartite and (...) one, and tripartite especially in that its parts (and subparts) cannot be transferred simultaneously: of necessity these have to taught and learned one after the other. (shrink)

In this paper I set out to problematize what the distinguished evolutionary biologist, Edward O. Wilson, has presented to a popular audience as his consilience worldview. Wilson's consilience worldview is a metaphysical framework that presumes the existence of an underlying unity in the knowledge gleaned from otherwise diverse modes of intellectual inquiry, and details a particular normative approach for its discovery by scientists. After introducing Wilson's consilience worldview (WCW), I review philosophical and historical literature on the role that (...) values play in scientific inquiry and explain how to understand WCW as a problematic bundle of prescriptive claims concerning the appropriate doing of scientific inquiry. Specifically, I examine deleterious implications for the study of human social behavior that result from attempted application of WCW in order to challenge Wilson's claim that WCW is the most profitable or promising research program to adopt in the study of human social behavior (what I describe as the Fertility objection). Then, I present an argument for why readers of Consilience should regard its central thesis, WCW, skeptically, as potentially deleterious to the process and aims of science (what I describe as the Scientific Integrity objection). (shrink)

AbstractThis essay argues for a new interpretation of the notion of “unity” in Yangming’s 王陽明 famous doctrine of the “unity of knowledge and action” (zhi xing he yi 知行合一). I distinguish two parts of Wang’s doctrine: one concerning training (gong fu 工夫), and one concerning the “original natural condition” of knowledge and action (ben ti 本體). I focus on the latter aspect of the doctrine, and argue that Wang holds, roughly, that a person exhibits knowledge in its original (...) natural condition if and only if the person exhibits action in its original natural condition. Moreover, I argue that Wang denies that knowledge in its original natural condition is identical to action in its original natural condition. (shrink)

Arthur Kaufmann is one of the most prominent figures among the contemporary philosophers of law in German speaking countries. For many years he was a director of the Institute of Philosophy of Law and Computer Sciences for Law at the University in Munich. Presently, he is a retired professor of this university. Rare in the contemporary legal thought, Arthur Kaufmann's philosophy of law is one with the highest ambitions — it aspires to pinpoint the ultimate foundations of law by explicitly (...) proposing an ontology, a general theory of knowledge and concept of a person. Kaufmann's work derives, first of all, from the thinking of Gustav Radburch, his teacher, and then from ideas of Karl Engish and Hans-Georg Gadamer. The philosophy undertakes to pursue the ultimate foundation of law, law which is understood by Kaufmann, first of all, as a "concrete judgement" that is, what is right in a concrete situation. Justice belongs to the essence of law and "unjust law" is contradictio in adiectio. Kaufmann opposes all those theories, which as the only foundation for establishing just law (Recht) adopt legal norms (Gesetz). In Kaufmann's opinion , such theories are powerless in the face of all types of distortions of law rendered by political forces. He suggests that the basic phenomenon which needs to be explained and which cannot be disregarded by a philosopher of law is so-called "legal lawlessness" ("Gestzliches Unrecht"). "Legal lawlessness" which forms a part of life experience for the people of twentieth century totalitarian states. It proved "with the accuracy of scientific experiment" that the reality of law consists of something more than bare conformity with legal norms. The existence of lex corrupta indicates that law contains something "non-dispositive" which requires acknowledgment of both law-maker and judge. Kaufmann, accepting the convergent concept of truth and cognition, assumes that "non-dispositive" content, emerging as the conformity of a number of cognitive acts of different subjects (inter-subjective communicativeness and verifiability), indicates the presence of being in this cognition. The questions "What is law?" and "What are the principles of a just solution?" lead straight to the ontology of law, to the question about the ontological foundations of law. Kaufmann discerns the ontological foundations of law in the specifically understood "nature of things" and, ultimately, in a "person". He proposes a procedural theory of justice, founded on a "person". In my work, I undertake to reconstruct the train of thought which led Kaufmann to the recognition of a "person" as the ontological foundation of law. In the first part, the conception of philosophy adopted by Kaufmann, initial characteristics of law — of reality which is the subject of analysis, as well as, the requirements for proper philosophical explanation of law posed by Kaufmann are introduced. In the second, Kaufmann's reconstruction of the process of the realisation of law is presented. Next, the conception of analogy which Kaufmann uses when explaining law is analyzed. In the fourth part, Kaufmann's conception of ontological foundations of law is discussed. A critical analysis is carried out in which I demonstrate that the theory of the ontological foundation of law proposed by Kaufmann and the concept of a person included in it do not allow a satisfac¬tory explanation of the phenomenon of "legal lawlessness" and lead to a number of difficulties in the philosophical explanation of law. Finally, the perspectives of a proper formulation of the issue of the ontological foundations of law are drafted in the context of the analyzed theory. My interest is centered on the conception of philosophy adopted by Kaufmann, according to which the existence of the reality is inferred on the basis of a certain configuration of the content of consciousness, whereas at the point of departure of philosophy of law, the data to be explained is a certain process, which is, basically, a process of cognition, while the reality appears only as a condition for the possibility of the occurrence of the process. I wish to argue that the difficulties which appear in the explanation of law are a consequence of the assumed fundamental philosophical solu¬tions, which seem to be characteristic, though usually not assumed explicitly, in philoso¬phy and theory of law dominant at present in continental Europe. Thereby, I wish to show the significance of ontological and epistemological solutions to the possibility of a proper formulation of the problems posed by philosophy and theory of law. Kaufmann proclaims himself in favour of a philosophy which poses questions about the ultimate foundations of understanding of the reality. In epistemology, he assumes that answers to the questions "What is reality like?" and ultimately "What is real?" are inferred on the basis of uniformity of a cognitive acts of different subjects. Cognition of the reality is accomplished exclusively through the content of conceptual material. The two fundamental questions posed by philosophy of law are "What is just law?" and "How is the just law enacted?" The latter is a question about the process of achieving a solution to a concrete case. Since, in Kaufmann's opinion, law does not exist apart from the process of its realisation, an answer to the question about the manner of realisation of law is of fundamental significance to answering the question: "What is law?" and to the explanation of the question about the ontological grounding of law, which is, as well, the foundation of justice. The proper solution has to take into account the moment of "non-dispositive" content of law; its positiveness understood as the reality and, at the same time, it has to point to the principles of the historical transformation of the content. Law, in the primary meaning of the word, always pertains, in Kaufmann's opinion, to a concrete case. A legal norm is solely the "possibility" of law and the entirely real law is ipsa res iusta, that which is just in a given situation. Determination of what is just takes place in a certain type of process performed by a judge (or by man confronted with a choice). Kaufmann aims to reconstruct this process. A question about the ontological foundation of law is a question about the ontological foundations of this process. In the analyzed theory it is formulated as a question about the transcendental conditions, necessary for the possibility of the occurrence of the process: how the reality should be thought to make possible the reconstructed process of the realisation of law. Kaufmann rejects the model for finding a concrete solution based on simple subsump¬tion and proposes a model in which concrete law ensues, based on inference by analogy, through the process of "bringing to conformity" that which is normative with that which is factual. Kaufmann distinguishes three levels in the process of the realisation of law. On the highest level, there are the fundamental legal principles, on the second legal norms, on the third — concrete solutions. The fundamental principles of law are general inasmuch as they cannot be "applied" directly to concrete conditions of life, however, they play an important part in establishing norms. A judge encounters a concrete situation and a system of legal norms. A life situation and norms are situated on inherently different levels of factuality and normativeness. In order to acquire a definite law both a norm (system of norms) and a life situation (Lebenssachverhalt) should undergo a kind of "treatment" which would allow a mutual conformity to be brought to them. Legal norms and definite conditions of life come together in the process of analogical inference in which the "factual state" ("Tatbestand") — which represents a norm, and in the "state of things" ("Sachverhalt") — which represents a specific situation are constructed. A "factual state" is a sense interpreted from a norm with respect to specific conditions of life. The "state of things" is a sense constructed on the basis of concrete conditions of life with respect to norms (system of norms). Legal norms and concrete conditions of life meet in one common sense established during the process of realisation of law. Mutatis mutandis the same refers to the process of composition of legal norms: as the acquisition of concrete law consists in a mutual "synchronization" of norms and concrete conditions of life, so acquisition of legal norms consists of bringing to conformity fundamental principles and possible conditions of life. According to Kaufmann, both of these processes are based on inference through analogy. As this inference is the heart of these processes it is simultaneously a foundation finding just law and justice. How does Kaufmann understand such an inference? As the basis for all justice he assumes a specifically interpreted distributive justice grounded on proportionality. Equality of relations is required between life conditions and their normative qualification. Concrete conditions of life are ascribed normative qualification not through simple application of a general norm. More likely, when we look for a solution we go from one concrete normative qualified case to another, through already known "applications" of norms to a new "application". The relation between life conditions and their normative qualifica¬tion has to be proportional to other, earlier or possible (thought of) assignments of that which is factual to that which is normative. Law as a whole does not consist of a set of norms, but only of a unity of relations. Since law is a, based on proportion, relative unity of a norm and conditions of life, in order to explain law in philosophical manner, the question about ontological base of this unity has to be asked. What is it that makes the relation between a norm and conditions of life "non-dispositive"? What is the basis for such an interpretation of a norm and case which makes it possible to bring a norm and conditions of life into mutual "conformity"? This is a question about a third thing (next to norms and conditions of life), with respect to which the relative identity between a norm and conditions of life occurs, about the intermediary between that which is normative and that which is factual and which provides for the process of establishing of norms, as well as, finding solutions. It is the "sense" in which the idea of law or legal norm and conditions of life have to be identical to be brought to mutual "conformity". In Kaufmann's opinion such a sense is nothing else but the "nature of things" which determines the normative qualification of the reality. Since establishment of this "sense" appears to be "non-dispositive" and controlled inter-subjectively (namely, other subjects will reach a similar result) so, in conformity with the convergent concept of truth, the "nature of things" must be assigned a certain ontological status. According to Kaufmann this is a real relation which occurs between being and obligation, between the conditions of life and normative quality. However, it should be underlined that from the point of view of the analyzed system the "nature of things" is a correlate of constructed sense, a result of a construction which is based on the principle of consistent understanding of senses ("non-normative" and "normative") and is not a reality which is transcendent against the arrangement of senses. In Kaufmann's theory, inference from analogy appears to be a process of reshaping the concepts (senses) governed by tendency to understand the contents appearing in relations between that which is factual and that which is normative in a consistent way. The analogical structure of language (concepts) and recognition of being as composed of an essence and existence is an indispensable requirement for the possibility of the realisation of law, based on specifically understood inference from analogy. It is necessary to assume a moment of existence without content which ensures unity of cognition. Existence emerges thus as a condition of the possibility of cognition. According to Kaufmann, the "nature of things" is the heart of inference through analogy and the basis for establishment of finding of law. Inference from the "state of things" to a norm or from a norm to the "state of things" always means inference through the "nature of things". The "nature of things" is the proper medium of objective legal sense sought in every cognition of law. In Kaufmann's view, the question whether the "nature of things" is ultima ratio of interpretation of law or is only a means of supplement gaps in law or whether it is one of the sources of law, is posed wrongly. The "nature of things" serves neither to supplement the gaps nor is it a source of law as, for example, a legal norm may be. It is a certain kind of "catalyst" necessary in every act of making law and solving a concrete case. Owing to "nature of things" it is possible to bring to a mutual conformity the idea of law and possible conditions of life or legal norms and concrete conditions of life. In Kaufmann's conception the "nature of things" is not yet the ultimate basis for understanding the "non-dispositiveness" of law. The relation between obligation and being is determined in the process of the realisation of law. Both the process itself and that which is transformed in this process are given. A question about the ontological bases of "material" contents undergoing "treatment" in the process of the realisation of law and about being which is the basis of regularity of the occurrence of the process arises. Only this will allow an explanation that the result of the process is not optional. Thus, a question about reality to which law refers and about the subject realising the law has to be formed. To this, Kaufmann gives the following answer: that which is missing is man but not "empirical man" but man as a "person". A "person" understood as a set of relations between man and other people and things. A "person" is the intermediary between those things which are different — norm and case are brought to conformity. A "person" is that which is given and permanent in the process of the realisation of law. It determines the content of law, is "subject" of law; this aspect is described by Kaufmann as the "what" of the process of realisation of law. A "person" consists of precisely just these relations which undergo "treatment" in the process. On the other hand, a "person" is "a place" in which the processes of realisation of law occur, it is the "how" of normative discourse, a "person" is that which determines the procedure of the process, being "outside" of it. This aspect of a "person" is connected with the formal moment of law. A "person" being, at the same time, the "how" and the "what" of the process of the realisation of law, is also, to put it differently, a structural unity of relation and that which constitutes this relation (unity of relatio and relata). According to this approach a "person" is neither an object nor a subject. It exists only "in between". It is not substance. Law is the relation between being and obligation. That which is obligatory is connected with that which is general. That which is general does not exist on its own, it is not completely real. Accordingly, a "person" as such is also not real. It is relational, dynamic and historical. A "person" is not a state but an event. In Kaufmann's opinion, such a concept of a "person" helps to avoid the difficulties connected with the fungibility of law in classical legal positivism. A "person" is that which is given, which is not at free disposal and secures the moment of "non-dispositiveness" of law. Kaufmann concludes: "The idea (»nature«) of law is either the idea of a personal man or is nothing". Theory points at the structure of realising law and explains the process of adoption of general legal norms for a concrete situation. The analysis has shown however, that in this theory a satisfactory answer to the question about the ultimate foundations of law is not given. It seems that in the analyzed theory the understanding of human being takes place through understanding of law. What is good for man as a "person", what is just, what a "person" deserves may be determined only against the existing system of law. A "per¬son" adopted as a basis of law is the reality postulated in the analysis of the process of the realisation of law. It is a condition of possibility of this process ( explaining, on one hand, its unity and, on the other hand, the non-dispositive moments stated in this process). A "person" in the discussed theory is entirely defined by the structure of law, it can be nothing more than that which is given in law, what law refers to, what law is about. Being, which is a "person", is constituted by relations between people and objects, the relations which are based on fundamental links between norms and conditions of life established in a process of bringing them to conformity. It has to be assumed that man as a "person" is a subject of law only as far as realising law "treats" given senses according to their current configuration. The system of law is a starting point and it describes in content what man is as a "person". Moreover, being a "person" is the condition for entering legal relations. Consistently, Kaufmann writes that "empirical man" is not the subject of law, man is not "out of nature" a "person". People become "persons" due to the fact that they acknowledge each other as "persons" — acknowledging, at the same time, law. This acknowledgement is a con¬dition of existence, of the possibility of the occurrence of process of realisation of law and of constituting legal relations which ultimately constitute a "person". Kaufmann assumes, that law tends towards a moral aim: it may and must create an external freedom, without which the internal freedom to fulfil moral obligations cannot develop. However, this postulate is not based on the necessary structure of human being. From the point of view of his system, it is nothing more than only a condition for the possibility of the occurrence of the process of the realisation of law — lack of freedom would destroy the "how" of this process. Thus, the postulate to protect the freedom of personal acts has to be interpreted, in accordance with the analyzed theory, as a postulate, the fulfilment of which aims ultimately at the accomplishment of the very same process of realisation of law itself and not the realisation of a given man. Kaufmann considers a "person" to be an element which unites the system of law as a whole. Law is a structure of relations, which are interdependent and inter-contingent. Consequently, a "person" which is to form the ontological basis of law has to be entity consisting of all relations. Being also the "how" of the process of realisation of law, if a "person" is to warrant its unity, it has to be a common source for all procedures. Hence, a single "person" would constitute a subject of law. Man appears to be only a moment of a certain entirety, realisation of which should be an aim of his actions. Law, creating a "person" as an object and subject of law becomes a primary entity. In the analyzed theory, the basis for determination of aims which law sets to man is not the allocation of man-subject to something which improves him but rather, such relation is only just constituted by law. A question appears, why should aims set in law also be the aims of "empirical man"? Why is this "empirical man" to be punished in the name of a "person" understood in such a way? If, however, it is assumed that what is man is determined by a system which is superior to him, then man has to be understood only as a part of a whole and there are no grounds to prohibit istrumental treatment of man and so the road to all aspects of totalitarianism might be opened. A problem of the application of created theory to the reality arises, the reality which the theory pretends to explain. Ultimately in his theory Kaufmann does not give any systemic grounds for a radical questioning of the validity of any legal norms. Every new norm becomes an equal part of system of norms. It is only its interpretation and application to given conditions of life that may be disputable, however, this refers to all norms without exception. Cohesive inter-pretation of norms and applications is necessary and sufficient for the acquisition of just law. New norms have to be interpreted in the light of others, correspondingly, the other norms require reinterpretation in the light of the new ones. Contradiction in interpretation of a norm does not form a basis for questioning norms but may serve only to question the manner of their interpretation (understanding). Therefore, no grounds exist to assume any legal norm as criminal or unjust, and in consequence, to question any consistently realised system based on formally, properly established norms, as "legal lawlessness". As law and a "person" do not exist without the process of realisation of law, the role of legal safety becomes crucial as the condition for the possibility of the occurrence of the process of realisation of law. Denying legal safety would be tantamount to negation of law in general (also of moral law) as negation of safety takes away, at the same time, the basis for occurrence of the process of realisation of law. Moreover, any lack of legal safety would also mean lack of a basis for the existence of man as a "person". Kaufmann's thesis, that civil disobedience is legalized only when it has a chance to lead to success, consistent with his concept of the foundations of law, seems to point directly to conclusions which deny the facts taken under consideration and doubtlessly Kaufmann's own intentions, since it would have to be assumed that accordingly there are no grounds to question a legal system in force based on violence which secures its operation. Force finally seems to determine which one of the mutually irreconcilable normative systems constitute law and which does not. A legitimate position is one which leads to success, it is the weaker system which is negated. If so, then basically violent imposition of law is not an act directed against the law in force but, to the contrary, realisation of law. In the context of the new system the former system of law may be talked about as unjust solely in the sense of being incapable of being consistently united with the new. However, at the base, ultimately, lies force which reaffirms differences and excludes from the process of realisation of law certain norms and their interpretations. Kaufmann was aiming at grounding of that which is "non-dispositive" in a certain given framework of interpretation. Nevertheless, he does not provide foundations for the understanding of phenomena, which he undertakes to explain at a point of departure. Instead of explaining them the theory negates the possibility of their existence. The reality postulated in regard to "non-dispositive" moments of the reconstructed process of acquiring law consist of a specifically understood "person", which appears in Kaufmann's conceptions as a condition of the possibility of the realisation of law. According to this approach understanding of a "person" may be only a function of law. To understand "legal lawlessness" and foundations of justice it is necessary to look for such theory of law in which understanding of man as a "person" and being is not a function of understanding of law (in which a "person" is not only a condition for possibility of reconstructed process of realisation of law; for possibility of cognition processes). It seems necessary to start from theory of being and a "person" based on broader experience than the one assumed by Kaufmann and reconstruct the ontological foundations of the process of realisation of law only in such perspective. Kaufmann points out that that to which law refers is ipsa res iusta a concrete relation of man to other people and things. This relation, in his theory, appears to be basically only just constituted by law (normative senses "applied" to conditions of life). Therefore, understanding the relation between a given man and other people and things which constitute the aim of his actions, that is understanding of good, is enacted against the background of constitution of senses; constitution which is a result of a process aiming towards consistent understanding of particular contents (of nor¬mative and non-normative senses). "Being" is secondary towards constructed senses it is only their correlate. The primary relation consists of relation of a man to law (system of norms), while the secondary relation is one of man to something which is the aim of his action (relation between man and good). Considering such approach it is difficult to envision a satisfying answer to the fundamental question: why does law put concrete man under any obligation to obey it? The source of this problem can be seen in reduction of the base for understanding good to content of obligation formulated in auto-reflection. Such reduction seems to be a consequence of Kaufmann's adoption of "convergent concept of truth" and in con¬sequence his recognition of indirect, essentialistic grasp of reality formulated in concepts as the basic and only foundation of theory of being and of law. In view of such an approach, analogy of law, concepts and being is the condition for the possibility of the process of transformation of senses which aims at consistent interpretation of all law. Existence is postulated with respect to the possibility of unity of experience and cognition. However, also a different approach to understanding of the problem of being and good is possible. In spontaneous cognition being is affirmed, first of all, not as a certain, non-contradictory, determined content, but as something existing. Together with a cer¬tain content (passed indirectly through notions) existence of being is co-given. The basis for unity of being is not formed by the consistence of content, as it is in the case of the theories departing from the analysis of cognition processes, but by an act of existence realising content (essence). Such an approach makes it also possible to go beyond the convergent concept of truth. It is worth mentioning that allocation of an agent to good is realised not only by the content of duty. A statement that something is good is primary with respect to determination of this good in content. The recognised good always bears some content, however, there are no reasons to base the concept of good exclusively on indirect, formulated in concepts cognition. As primary, can be adopted the relation of man to good and not of man to law. Determination in content appears to be only an articulation of aspectual cognition of being, as an object of action. In such a case the basis for relative unity of norm and conditions of life is not the "nature of things" understood as correlate of sense but it is relation to good based on internal constitution of man as potential, not self-sufficient being. It does not mean, that the moments of the process of realisation of law singled out by Kaufmann are not important to determination of what is just. He, quite rightly, points to significant role played by norms in the evaluation of concrete situations, in man's search for closer specification in content of good innate to him. The structure of process of determining law for a concrete situation, to a great degree corresponds to the processes of determining law which take place not only in the legal sciences. Kaufmann's analyses of the process of realisation of law show the complexity of the structure of these processes and point towards important moments allowing a better understanding of law and man. Nevertheless, these analyses cannot be a basis for construction of philosophical theory of law, theory which hopes to point out the ultimate, ontological foundations for understanding law. Kaufmann's results may become fully valid only in a more general perspective including broader experience at the point of departure. (shrink)

The deeper meaning of education, says Dewey in his Human Nature and Conduct (1922), which distinguishes the justly honored profession from that of mere trainer, is that a future new society of changed purposes and desires may be created by a deliberately humane treatment of the impulses of youth (p. 69). For Dewey, a truly humane education consists in an intelligent direction of native activities in the light of the possibilities and necessities of the social situation (p. 70). Student impulse (...) and interest are not to be suppressed nor continually vented in unrestrained expression. In view of the plasticity of youth, there is little danger that allowing the role of student interest will lead away from important objectives of the curriculum. Education which respects the integrity of the student is a prerequisite of the kind of educated public suited for fuller participation in the democratic processes which properly direct and reconstruct our social life. The citizen appropriate for a democratic society is neither the dull conformist nor the superficial, gushing, non-conformist or sensualist. Individual impulse and initiative is neither to be damned up nor frivolously expressed. Meaningful participation and fuller social reconstruction require that we respect the social conditions for the possibility of knowledge and its growth, and this is more easily achieved, and more broadly appealing, when we speak of plans for the school environment. Respect for the cognitive and developmental needs of our own children and young people is fundamental to the self-respect of any viable society. Education could be philosophical praxis for a better world. (shrink)