This paper addresses the plausibility of practical apatheism: an attitude of apathy or indifference about philosophical questions pertaining to God’s existence grounded in the belief that they lack practical significance. Since apatheism is rarely discussed, we begin by clarifying the position and explaining how it differs from some of the other positions one may take with regard to the existence of God. Afterward, we examine six distinct objections to practical apatheism. Each of these objections posits a different (...) reason for thinking that belief in God is practically significant. Five of these objections prove unsuccessful. The sixth, which appeals to the practical significance of belief in God with respect to our fates in the afterlife, is more promising but nonetheless encounters significant obstacles. Since the success of this objection is controversial, whether we have good grounds to reject practical apatheism should be similarly controversial, and the view should be given further examination. (shrink)

In an essay published in the May 2003 issue of Atlantic Monthly, Jonathan Rauch describes a phenomenon he refers to as ‘apatheism’ which he defines as “… a disinclination to care all that much about one’s own religion, and an even stronger disinclination to care about other people’s [religion]…” The phenomenon thatRauch describes seems to refer not to an epistemological state but rather to a normative way of being in the world. It also appears to be linked in some (...) important ways to the rise of secularization. In fact, many cultural observers and philosophers have noted the increasing secularization of society, particularly Western society, and the corresponding decline in religious belief. In this paper I will attempt to place apatheism in the larger context of philosophy of religion. Inaddition, I will outline the connections between apatheism as described by Rauch and the work of Slavoj Zizek as well as the analysis of truth and bullshit offered by the Princeton philosopher Harry Frankfurt. (shrink)

In a recent paper, Trevor Hedberg and Jordan Huzarevich assessed a number of objections against practical apatheism, concluding that they are either unsuccessful or at least very controversial. The aim of this discussion note is to contribute to their discussion by presenting and analysing a short argument for a reason in favor of apatheism; one that appeals to a particular universalist formulation of the thesis of theodical individualism. After briefly introducing a distinction between a particular and a universal (...) version of apatheism, I present the argument, assess its merits in light of some objections to it, I conclude that at least one reason in favor of a particular practical apatheistic position is warranted by it. Finally, I suggest some alternative reasons that could be advanced in favor of apatheism, and I distinguish between strong and weak forms of apatheism. (shrink)

continent. 2.3 (2012): 224–228 Introduction Jamie Allen Thierry Geoffroy’s conceptual, event- and environment-based art practice has generated over two-decades of definitional activity around what he terms “format art.” The works re-galvanize the energies of a syndicatable, open and atmospheric arrangement, of varying specifics dependent on context, participants and environment. With formats like the Emergency Room, Biennalist, and the Critical Run, Geoffroy endeavors to imbricate art and artist in the most exigent and current of social, political and mediatised spectacles. The result (...) seems to plant us at a triangulation of the configurations proposed by Alan Kaprow, Andrea Fraser and Alan Abel. Geoffroy plays up a guileless innocence (at times sporting the “Naive Blue Helmet”) as he interviews spectactors at the 2012 dOCUMENTA13 exhibitions in Kassel, Germany. What he evokes is a declamation of the appropriative, unenthusiastic, cool inclinations of the mainstream art festival, the profligate biennial (triennial, quadrennial, etc.) circuit and national and global ideological cultural-engines. In propositional artifacts, definitional articles and direct transmissions from Geoffroy’s Emergency Room field office at dOCUMENTA13, the masking of an emergency is here questioned: Can an art show like dOCUMENTA be dangerous? —JA Is dOCUMENTA designed to make people cry about something and not make them see something else? Is the contemporary a distraction from the present? Can art in delay have any impact with today? Do we learn anything by seeing art shows reflecting on history? Could 860,000 visitors have been intoxicated by an apathic gaze than keep them away from reacting? Why is dOCUMENTA proud of having recieve no critic? Why is proximity less important? Why was dOCUMENTA in Kabul? Can weapons designed to kill protesters sold to a repressing regime be contradictory to the support of the Arab Spring? Is the contemporary like a flea market to avoid to debating the important topics of today? Can art be in advance of the broken arm, and avoid accident? Is the goal of dOCUMENTA to create a revolution or to entertain? Is dOCUMENTA betterly done than Disney Land? Is it better to watch Fox News for two years or to go to dOCUMENTA for two days? If a curator, curating a contemporary art show about war, forgets to debate about the weapons factories next door, should it be considered as a professional mistake? Is it OK to employ philosophers to promote vodka? Is navigation a threat? Can an art show like dOCUMENTA be dangerous? Thierry Geoffroy / Colonel author of the month Global Art and the Museum @ZKM: " THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK " Link to Emergency Room Dictionary < /a> "COOLNESS" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Biennalist at dOCUMENTA 13 "TIRED" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Link to " APATHY " (from the Emergency Room Dictionary ) AWARENESS MUSCLE [fr. muscle de la conscience ] In the same sense memory can be trained, an awareness muscle can be developed by an effort. To develop the awareness muscle, the artist has to reduce his gesticulations. When an artist is busy the artist is not very aware the artist is occupied. A daily training is necessary But how to train? Scanning the news in a critical way could be one exercise. Daily debating politics with others could be another. Looking at other point of views usually produces significant improvements. Fighting prejudice is an excellent exercise. Many other forms of training could also produce beneficial effects for the awareness muscle. Continuous and daily training is important. For instance rewinding and slow motioning what has been absorbed getting away the sugar from the propaganda machines talking to everyone excercise comparatif critical run. If not daily trained the awareness muscle can degrade into atrophy To develop the awareness muscle requires will-power Thierry Geoffroy / Colonel. (shrink)