This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

_Experience the world of Roman emperor Marcus Aurelius and the tremendous challenges he faced and overcame with the help of Stoic philosophy_ This novel biography brings Marcus Aurelius (121–180 CE) to life for a new generation of readers by exploring the emperor’s fascinating psychological journey. Donald J. Robertson examines Marcus’s relationships with key figures in his life, such as his mother, Domitia Lucilla, and the emperor Hadrian, as well as his Stoic tutors. He draws extensively on Marcus’s own _Meditations_ and (...) correspondence, and he examines the emperor’s actions as detailed in the _Augustan History_ and other ancient texts. Marcus Aurelius struggled to reconcile his philosophy and moral values with the political pressures he faced as emperor at the height of Roman power. Robertson examines Marcus’s attitude toward slavery and the moral dilemma posed by capturing enemies in warfare; his attitude toward women; the role of Stoicism in shaping his response to the threat of civil war; the treatment of Christians under his rule; and the naming of his notorious son Commodus as his successor. Throughout, the _Meditations _is used to shed light on the mind of the emperor—his character, values, and motives—as Robertson skillfully weaves together Marcus’s inner journey as a philosopher with the outer events of his life as a Roman emperor. (shrink)

Grâce à l’addition de nouveaux fragments, à la mise en place de fragments déjà connus et à de nouvelles lectures, il nous a été possible de republier deux inscriptions évoquant les bienfaits de l’empereur Hadrien envers les cités de Sardes et Synnada (IG II2 1089 et 1075, complétées), placées à l’origine sur l’Acropole d’Athènes dans le « Panthéon ». Quelques précisions sont aussi apportées sur le prêtre Tib. Cl. Attalos Andragathos de Sphettos, citoyen de Synnada et d’Athènes, d’après les lettres (...) adressées aux artistes dionysiaques gravées sur une stèle opisthographe (IG II2 1105, complétée), maintenant mieux reconstituée. (shrink)

Name der Zeitschrift: Kant-Studien Jahrgang: 108 Heft: 1 Seiten: 19-54.

The Meditations of Marcus Aurelius are treasured today--as they have been over the centuries--as an inexhaustible source of wisdom. And as one of the three most important expressions of Stoicism, this is an essential text for everyone interested in ancient religion and philosophy. Yet the clarity and ease of the work's style are deceptive. Pierre Hadot, eminent historian of ancient thought, uncovers new levels of meaning and expands our understanding of its underlying philosophy. Written by the Roman emperor for his (...) own private guidance and self-admonition, the Meditations set forth principles for living a good and just life. Hadot probes Marcus Aurelius's guidelines and convictions and discerns the hitherto unperceived conceptual system that grounds them. Abundantly quoting the Meditations to illustrate his analysis, the author allows Marcus Aurelius to speak directly to the reader. And Hadot unfolds for us the philosophical context of the Meditations, commenting on the philosophers Marcus Aurelius read and giving special attention to the teachings of Epictetus, whose disciple he was. The soul, the guiding principle within us, is in Marcus Aurelius's Stoic philosophy an inviolable stronghold of freedom, the "inner citadel." This spirited and engaging study of his thought offers a fresh picture of the fascinating philosopher-emperor, a fuller understanding of the tradition and doctrines of Stoicism, and rich insight on the culture of the Roman empire in the second century. Pierre Hadot has been working on Marcus Aurelius for more than twenty years; in this book he distills his analysis and conclusions with extraordinary lucidity for the general reader. (shrink)

This new edition brings Farquharson's authoritative 1944 translation up to date and includes a helpful introduction and notes for the student and general reader. Rutherford includes a selection of letters from Marcus to his tutor Fronto--most of which date from his earlier years--that offer personal detail and help to fill out the somber portrait of the emperor that is found in the Meditations.

This new edition brings Farquharson's authoritative 1944 translation up to date and includes a helpful introduction and notes for the student and general reader. Rutherford includes a selection of letters from Marcus to his tutor Fronto--most of which date from his earlier years--that offer personal detail and help to fill out the somber portrait of the emperor that is found in the Meditations.

Manuel Chrysoloras was a Byzantine scholar and diplomat. He is best known as the first notable professor of Greek language in Italy. He occupied the chair of Greek at the Florentine Studium, and he also taught Greek occasionally in Pavia, Milan, and Rome. Among his students were some of the prominent early Italian humanists including Leonardo Bruni, Uberto Decembrio, Guarino of Verona, Pier Paolo Vergerio, Palla Strozzi, Roberto Rossi, Jacopo Angeli da Scarperia, Cencio de’ Rustici, and others. His method of (...) teaching Greek language and literature was innovative and was continued by some of his students. He had a significant impact on the revival of Greek studies in the West through his Erotemata, as this work became the central textbook of Greek grammar until the sixteenth century. He was a pioneer of the so-called transferre ad sententiam method for translating Greek texts into Latin, and he was the first who translated Plato’s Republic (in collaboration with his student Uberto Decembrio). His other writings are mainly rhetorical epistles; he engaged in extensive correspondence with many of his contemporaries, eminent humanists and ecclesiastical and political figures, such as the Emperor Manuel II Palaeologus and Coluccio Salutati. He was appointed to a number of important diplomatic missions on behalf of Emperor Manuel II Palaeologus, and he was in the service of Pisan Pope John XXIII. He spent most of his life visiting the European courts in an attempt to secure help for Byzantium and to negotiate the Union of the Churches. He was an ardent unionist, he participated in the Council of Constance, and he may have converted to Catholicism. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Erictho and Demogorgon: Poetry against Metaphysics DAVID QUINT Epic without the gods? The Roman poet Lucan (39–65 ce) created a secular counter-epic inside classical epic, removing the genre’s usual pantheon of Olympian deities and replacing them with Fortune. His Bellum civile (titled De bello civili in manuscripts, alternately titled Pharsalia) a poem about the conflict between Julius Caesar and Pompey, thereby delegitimizes the emperors who succeeded the dying (...) Roman republic, including Nero, the reigning emperor of Lucan’s day.1 They are not part of a divine plan: no such plan has ever existed. In an epic where the gods are silent or refuse to speak, Pompey’s son, Sextus, anxious to know the future, has to seek other means. In Book 6, he consults the Thessalian witch Erictho about the outcome of the approaching battle in Pharsalia. She reanimates the corpse of a dead soldier on Pompey’s republican side and makes it talk (BC 6.419–830).2 Lucan’s scene of necromancy gave birth to a major antimetaphysical strain in the European literary tradition. Among others, Dante, Cervantes, Marlowe, Spenser, Goethe, and Shelley confronted this episode of the Pharsalia and pondered its implications. Erictho’s magic is a figure for poetic making itself. It turns the supernatural into theater— the divine machinery of epic exposed as a deus ex machina— and these authors’ responses to Erictho will shift from epic into dramatic forms. In place of the gods, in place of the epic visit to the underworld, particularly in place of and in response to Aeneas’s trip to the realm of the dead arion 28.2 fall 2020 2 erictho and demogorgon in the corresponding Book 6 of the Aeneid, Lucan presents Erictho’s macabre performance: human witchcraft and intimations of an alternate, eerie numen residing in the earth, a force of nature. Subsequent readers would give this latter power a name: Demogorgon.3 Lucan links republicanism and freedom to a kind of atheism and to historical contingency. He unmasks and strips the props of religion from Caesarism and monarchy. (In vain for the poet: Lucan was forced to commit suicide in 65 ce, after he was implicated in the failed Pisonian conspiracy against Nero.) Lucan desacralizes poetry itself, which here confesses its limits, which are the limits of human mortality, even as Erictho seems, however briefly, to overcome them. No, poetry cannot literally raise the dead: it is a magic trick that makes the words on the page form into images, take life, and speak to us. Lucan answers the criticisms the philosopher and theologian make to poetry by openly acknowledging the false bottom of the hat from which poetry pulls its rabbits. It has no access to a real bottom, an underworld beyond death; it is all representation.4 The philosopher and the theologian may be poets no less than he is, but they do not want to know it, too busy, perhaps, in supporting tyranny over human minds and bodies. Plato and Augustine are two such critics on either historical side of Lucan, and they help us to understand the stakes of the Roman poet’s project. Both were dissatisfied with literature and they wanted to be something more than the great rhetoricians that they were. In the Symposium, Plato demystifies the archetypal myth of poetry, the singing of Orpheus that sought to bring Eurydice back from death: the gods sent Orpheus away from Hades empty-handed and showed him the mere shadow [eidolon] of the woman he had come to seek: Eurydice herself they would not let him take, because he seemed, like the mere minstrel that he was, to be a lukewarm lover, lacking the courage to die as Alcestis died for love, and choosing rather to scheme his way, living, into Hades. And it was for this that the gods doomed him, and doomed him justly, David Quint 3 to meet his death at the hands of women. (179d)5 Behind the words of his shallowly sentimental speaker Phaedrus we can detect Plato’s familiar hostility to poetry, his objection in Book 10 of the Republic that the poet merely imitates the appearances of things and is... (shrink)

Houston Stewart Chamberlain, the „Evangelist of Racism“, had a major influence on German Emperor Wilhelm II, especially in forming his nationalistic and anti-Semitic views. The monarch and the author developed a mutual understanding and appreciation that lasted over 25 years. This article illuminates the circumstances of their initial acquaintance through the edition and analysis of two documents which were two hitherto unpublished documents: Chamberlain's diary for the dates 28.–31. 10. 1901 and a letter to his aunt Anne Guthrie of 11. (...) 11. 1901. Both documents are compared to other known reports of this meeting. Chamberlain accepted Wilhelm's invitation to Germany where they met in Liebenberg in 1901 in a circle of select members of the German aristocracy. Their first contact is reconstructed here showing the extent to which Wilhelm's thoughts coincided with those of Chamberlain. The author concludes that the meeting with Chamberlain in 1901 was most decisive in the development of Wilhelm's own thinking and had serious consequences for the later course of historical events. In addition, this first meeting is particularly interesting because of the participation of Adolf Harnack who was at that time very close to the Emperor and also corresponded with Chamberlain. The differences in character and views between Chamberlain, Wilhelm and Harnack also surfaced during this memorable meeting. (shrink)

The figure of the Palmyrean queen Zenobia plays an important part in three vitae of the Historia Augusta. The discrepancy in her representation was attributed to different sources or different authors. Since the representation of Zenobia even changes within one vita, there is no need to assume different authors. Being a counterpart to Gallienus, Odaenathus and Aurelianus, the figure of Zenobia changes correspondingly to these male figures. Her voluntary submission to the real – male – emperor finds an equivalent in (...) the nation's voluntary submission to the real – male – ruler. The category of gender proves valuable in the analysis of characterisation and text intention. The vita Aureliani is interpreted as deconstructing the panegyric tones of the vitae Gallieni and triginta tyrannorum. (shrink)

Leibniz' remarkable understanding of Chinese culture was not merely the result of his own acumen, but also of the knowledgeable sources of information available to him through published works and personal correspondence. Most of the materials are preserved in the Niedersächsische Landesbibliothek Hannover. Working from the Systematischen Bandkatalog compiled by Daniel Eberhard Baring in 1720 shortly after Leibniz' death, it is possible to know with some accuracy which books were available for Leibniz' reference. This author has complied a list (...) of 78 such works, most of which were either written by or derived from Christian missionaries in China, of whom the Jesuits were the most prominent. While some of Leibniz' correspondents such as Andreas Müller of Berlin were sinological amateurs and enthusiasts, others such as the Jesuit Joachim Bouvet were learned men, living in intimate contact with the Chinese emperor in Peking. Their letters guaranteed that Leibniz' information on China was among the most accurate available in Europe at that time. (shrink)

When discussing the French Revolution and Napoleon in his lectures from 1933 to 1939, Alexandre Kojève had in mind events in Russia. The clash between the “old order,” with its Masters, and the worker Slaves corresponded for him more with the images of pre-revolutionary Russian journalism than with the wigged aristocrats and French bourgeoisie of the end of the eighteenth century. In his lectures, behind Napoleon, as a revolutionary emperor, there exists, however secretly or openly, the figure of Stalin, with (...) his plans for the “building of socialism in one country,” his five-year plans, collectivization, and terror. Kojève’s ontology and anthropology diverge both from Hegel’s version of the two as well as with Marxism, incorporating different theses from Nietzsche and Heidegger’s Daseinanalytik. Just as in The Phenomenology of Spirit, terror plays a central role in interpreting revolution, yet it is conceived in the spirit of a Heideggerian “being-toward-death.” The relation between Master and Slave begins with fear of death, and it is destroyed by fear of death in the face of revolutionary terror. In this article, Kojève’s philosophy converges with the various versions of “left Nietzscheanism,” which were particularly widespread in prerevolutionary Russia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:1. IntroductionThe scientific efforts of Jesuits were the hot topics of the history of science. It was said that you could find a Jesuit behind most of the scientific accomplishments of the seventeenth or eighteenth centuries. The idea was not far from the truth because Athanasius Kircher of Rudjer Josip Bošković proved to be among the best. But Jesuit studies seem to have passed their peak and it is (...) time to research the early modern science successes of other religious orders. The Parisian Franciscan Marin Mersenne with his worldwide correspondence was the German-Roman Jesuit Kircher’s match and several other Franciscans were not less important. Therefore it is time to give the Franciscan scientists of the past centuries the fame they deserve.We celebrated the 800th anniversary of the Franciscan order in the year 2009. The Franciscans of Ljubljana were mentioned for the first time in 1242 as already established and resident in Ljubljana, soon after the establishment of Franciscan order. Later they were unable to survive the protestant challenge in 1569,1 when almost all citizens of Ljubljana accepted Luther’s Christianity. Although they never really left Ljubljana, the Franciscans officially returned to Ljubljana after several decades.Between the years 1646 and 1660 the Augustinian church of Annunciation of Our Lady was erected on behalf of the Baron Konrad Ruessenstein from the Upper Carniola castle Strmol. The front walls were finished in 1700, and half of a century later the famous Italian sculptor Francesco Robba made the main altar. The Emperor Josef II suppressed the Ljubljana Augustinians in 1784 and somewhat later gave their friary and church to their Franciscan neighbors from the opposite side of Ljubljanica River. The Barons Ruessensteins were not offended by the change and still took care for the church. The Baron Alexis Ruessenstein gave his important alchemical manuscripts to the new friary owners, the Franciscans.2After the death of the Emperor Josef II, Gabriel Gruber’s best student Jožef Marija Šemerl redesigned a former Franciscan Friary for a Lyceum. Gruber, who later became the General of the Jesuit Order, was among the best engineers in Habsburg Monarchy. The church of the Assumption of Our Lady was removed and leveled.3 After the earthquake Ljubljana got the market place in the former site of the Lyceum.The church of Annunciation of Our Lady or simply the Franciscan Church remains one of the most typical sightseeing posts in Ljubljana, even if the name of the square in front of it passed from Mary to France Prešeren, the greatest Slovenian poet, in the time of Communist regime in 1949.Click for larger viewFigure 1. The first page of the index of the copy of alchemistic manuscript of Alexis Baron Ruessenstein’s, the son of Konrad Baron Ruessenstein from the castle Strmol, Ruessenstein, ibid. FSLJ-29 F 54, 234–35 .Click for larger viewFigure 2. Alexis baron Ruessenstein about the Quicksilver in the copy of his original handwriting kept in Ljubljana Franciscan Library .Škerpin’s booksThe Ljubljana Franciscan Library was established in 1233.4 Žiga Škerpin renewed the Franciscan Library which was located on the right side of the Ljubljanica River during his lifetime. He was the provincial of Croatian-Carniolan province between the years 1732–1735 and again between the years 1745–1748. He became the court’s secret advisor,5 and acting general definitor of all Franciscans. During his numerous foreign travels, including Italy and Spain, he collected books. Between the years 1733–1746 Škerpin brought to Ljubljana no less than 1668 titles of.. (shrink)

The beginning of any rigorous interdisciplinary study, as Hegel and later Marx predicted, is going to be the occasion for opposition, contradiction, negation and mediation. Sociobiology is not a mature field (thesis). Kitcher's critical work entitledVaulting Ambition seeks to at once expose the failings of this field (serving as antithesis) while simultaneously defining the requirements for more mature, and thus epistemologically satisfying, sociobiological explanations (synthesis). The sociobiological research agenda is thus implicitly given a green light provided certain methodological precautions are (...) taken into consideration. Confucius believed that under these circumstances the only way to restore order would be so to arrange affairs that the Emperor would continue to be Emperor, the nobles to be nobles, the ministers to be ministers, and the common people common people. That is, the actual must in each case be made to correspond to the name. This theory Confucius called theRectification of Names (cheng ming), a doctrine which he recognized as being of the utmost importance. (Fung, 1952, p. 59). Tzu-lu said, “If the Lord of Wei left the adminstration (cheng) of his state to you, what would you put first?” The Master said, “If something has to be put first, it is, perhaps, the rectification (cheng) of names.” (The Analects (Lun yü) of Confucius, Book XIII: 3) (Besides being homophones, the two words in Chinese are cognate, thus showing that the concept of ‘governing’ was felt to be related to that of ‘correcting’.) . (shrink)

This study aims at ascertaining the existence of an organic legal policy in marriage matters, one which was followed by Roman Emperors in the IV and V centuries, in particular by Constantine. It is also aimed at showing that this policy corresponded to Christian ideas as expressed by various Church Fathers. This research was carried out in a careful way with attention to the chronology of the writings examined, and with a comparative analysis of every single essay that was (...) subsequently treated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Collective Violence, Sacrifice, and Conflict Resolution in the Works of Paul Claudel Christopher G. Flood University ofSurrey, England Claudel's career as a writer spanned almost seventy years, from the 1880s to the 1950s. The publication of his collected works now runs to twenty-nine large volumes, excluding his correspondence and diaries, so a brief overview of any particular dimension of his writing must necessarily be reductive. On the other (...) hand, Claudel's work lends itself particularly well to discussion in terms of the relationship between violence, sacrifice and religion. In a valuable study published more than twenty years ago under the title, Claudel et l'usurpateur, Jacques Petit drew attention to the recurrence in Claudel's plays, and in many of his non- fictional writings, of a narrative structure hinging on acts of usurpation and counter-usurpation. There is a pattern of conflictual rivalry, domination and coercion, whereby acts of aggression are ultimately legitimized, or in some sense excused, in the light of a positive outcome, providential necessity and/or reconciliation between usurper and victim. Claudel's world is indeed "a world of violence," as Petit puts it (79, ch. title).1 It is also a world ofreligion: after his return to the Catholic Church in 1890, all of Claudel's major dramatic works intermesh the process of usurpation with themes deriving from his religious beliefs, and the same is true of many of his non-fictional writings. My aim is not to reinvent the wheel by going back over all of the terrain mapped out by Petit. Nor do I intend to rework Petit's empirical model wholesale in the light of René Girard's anthropological model of mimetic desire and sacrificial violence, although there are obvious areas of convergence between them. However, I shall draw implicitly on both, in order to Translations throughout this paper are my own. 160Christopher G. Flood argue that the notion of sacrifice, which is central to the resolution of rivalries in Claudel's major plays, is transformed into an idiosyncratic conception of international conflict resolution in various non-fictional writings which emerge from his forty years of experience in his parallel career as a profes sional diplomat.2 1 shall start with a schematic discussion of certain features of the plays. The first point relates to Claudel's assumptions concerning the mechanisms involved in the outbreak of individual or collective violence. It needs to be emphasized that in his plays the path towards violence is always opened by a withdrawal or weakening of temporal and/or spiritual authority. This allows the crystallization, and the direct expression, of latent rivalries which eventually lead to an explosion of aggression. The causes of the violence invariably center on the fact that one individual or group is in possession of an object which is coveted by another individual or group. The question of whether Claudel himself appears to recognize a mimetic element in this pattern of behavior would be too complex, and too fraught with imponderables, to discuss here, but there are some indications that he does so. Whatever the case, in the absence of authority, rivalry and jealousy engender verbal, and usually physical conflict, culminating in usurpation of the desired object. Thus, for example, in Tête d'or, the elderly Emperor of the unnamed kingdom has neither the authority nor the resolution to defend his kingdom against external invasion, or against the man who saves the kingdom only to usurp the throne and murder the Emperor himself.3 Similarly, in the second version of La Ville, neither Besme, the positivistic scientist and plutocrat who has created the godless City, nor his brother Lambert, the former politician, has the will to maintain or defend the society against the tensions emerging within it. Thus, the City dissolves first into immobility, then revolution. Or again, in the family drama of La Jeune Fille Violaine (second version), the obsessional rage andjealousy ofMara towards her elder sister, Violaine, explodes into coercion, slander, and horrific violence when their father absents himself from the farm for an indefinite period, leaving Violaine to marry Jacques Hury: the fact that Hury loves Violaine, but does not love Mara, makes the latter all the... (shrink)

Winner of the Wolf Prize for his contribution to our understanding of the universe, Penrose takes on the question of whether artificial intelligence will ever ...

In his bestselling work of popular science, Sir Roger Penrose takes us on a fascinating roller-coaster ride through the basic principles of physics, cosmology, mathematics, and philosophy to show that human thinking can never be emulated by a machine.

The free energy principle, an influential framework in computational neuroscience and theoretical neurobiology, starts from the assumption that living systems ensure adaptive exchanges with their environment by minimizing the objective function of variational free energy. Following this premise, it claims to deliver a promising integration of the life sciences. In recent work, Markov blankets, one of the central constructs of the free energy principle, have been applied to resolve debates central to philosophy (such as demarcating the boundaries of the mind). (...) The aim of this paper is twofold. First, we trace the development of Markov blankets starting from their standard application in Bayesian networks, via variational inference, to their use in the literature on active inference. We then identify a persistent confusion in the literature between the formal use of Markov blankets as an epistemic tool for Bayesian inference, and their novel metaphysical use in the free energy framework to demarcate the physical boundary between an agent and its environment. Consequently, we propose to distinguish between “Pearl blankets” to refer to the original epistemic use of Markov blankets and “Friston blankets” to refer to the new metaphysical construct. Second, we use this distinction to critically assess claims resting on the application of Markov blankets to philosophical problems. We suggest that this literature would do well in differentiating between two different research programmes: “inference with a model” and “inference within a model.” Only the latter is capable of doing metaphysical work with Markov blankets, but requires additional philosophical premises and cannot be justified by an appeal to the success of the mathematical framework alone. (shrink)

This paper argues that the new metaphysics of powers, also known as dispositional essentialism or causal structuralism, is an illusory metaphysics. I argue for this in the following way. I begin by distinguishing three fundamental ways of seeing how facts of physical modality — facts about physical necessitation and possibility, causation, disposition, and chance — are grounded in the world. The first way, call it the first degree, is that the actual world or all worlds, in their entirety, are the (...) source of physical modality. Humeanism is the best known such approach, but there are other less well-known approaches. The second way, the second degree, is that the source of physical modality lies in certain second-order facts, involving a relation between universals. Armstrong’s necessitarianism and other views are second-degree views. The third way, the third degree, holds that properties themselves are the source of physical modality. This is the powers view. I examine four ways of developing the third degree: relational constitution, graph-theoretic structuralism, dispositional roles, and powerful qualities. All these ways are either incoherent, or just disguised versions of the first-degree. The new metaphysics of powers is illusory. With the collapse of the third degree, the second degree, the necessitarian view of law, collapses as well. I end the paper with some reflections on the first degree, on the problem of explaining necessary connections between distinct existences, and on the dim prospects of holist ontology. (shrink)

We discuss cases where subjects seem to enjoy conscious experience when the relevant first-order perceptual representations are either missing or too weak to account for the experience. Though these cases are originally considered to be theoretical possibilities that may be problematical for the higher-order view of consciousness, careful considerations of actual empirical examples suggest that this strategy may backfire; these cases may cause more trouble for first-order theories instead. Specifically, these cases suggest that (I) recurrent feedback loops to V1 are (...) most likely not the neural correlate of first-order representations for conscious experience, (II) first-order views seem to have a problem accounting for the phenomenology in these cases, and either (III) a version of the ambitious higher-order approach is superior in that it is the simplest theory that can account for all results at face value, or (IV) a view where phenomenology is jointly determined by both first-order and higher-order states. In our view (III) and (IV) are both live options and the decision between them may ultimately be an empirical question that cannot yet be decided. (shrink)

When I examine contextualism there is much that I can doubt. I can doubt whether it is a cogent theory that I examining, and not a cleverly stated piece of whacks. I can doubt whether there is any real theory there at all. Perhaps what I took to be a theory was really some reflections; perhaps I am even the victim of some cognitive hallucination. One thing however I cannot doubt: that there exists a widely read pitch of a round (...) and somewhat bulgy shape. (shrink)

"The Emperor's New Mind" by Roger Penrose has received a great deal of both praise and criticism. This review discusses philosophical aspects of the book that form an attack on the "strong" AI thesis. Eight different versions of this thesis are distinguished, and sources of ambiguity diagnosed, including different requirements for relationships between program and behaviour. Excessively strong versions attacked by Penrose (and Searle) are not worth defending or attacking, whereas weaker versions remain problematic. Penrose (like Searle) regards the notion (...) of an algorithm as central to AI, whereas it is argued here that for the purpose of explaining mental capabilities the architecture of an intelligent system is more important than the concept of an algorithm, using the premise that what makes something intelligent is not what it does but how it does it. What needs to be explained is also unclear: Penrose thinks we all know what consciousness is and claims that the ability to judge Go "del's formula to be true depends on it. He also suggests that quantum phenomena underly consciousness. This is rebutted by arguing that our existing concept of "consciousness" is too vague and muddled to be of use in science. This and related concepts will gradually be replaced by a more powerful theory-based taxonomy of types of mental states and processes. The central argument offered by Penrose against the strong AI thesis depends on a tempting but unjustified interpretation of Goedel's incompleteness theorem. Some critics are shown to have missed the point of his argument. A stronger criticism is mounted, and the relevance of mathematical Platonism analysed. Architectural requirements for intelligence are discussed and differences between serial and parallel implementations analysed. (shrink)

The British government's White Paper on science together with government research council reports are used as a basis for critiquing current science policy and its intensifying orientation, British and worldwide, towards industrial and military development. The critique draws particulary on Plato and Bacon as yardsticks to address who science is for, what values it honours and where current policy departs from imperatives of socio-ecological justice. Metaphors of the ' Emperor 's new clothes' and incremental spectral shift in attitude help illuminate (...) both the problems and ways forward. The paper calls for a re-integration of classical perspectives with added insights, often ecofeminist, from philosophy, poetics and a theology of reverence. Predication on the values of love, interconnectedness and orientation towards childrens' all-round development should be central to curricular reform. Consistent with the views of Plato, the original founder of the Academy, the utilitarian role of science ought to be balanced with a contemplative role of science as the art of knowing ourselves in relation to nature. Only with such a holistic academic approach can it adequately rise to providing a pedagogy of authentic human development, service to the poor and remedies, rather than contribution, to the ongoing destruction of nature. (shrink)

With AI permeating our lives, there is widespread concern regarding the proper framework needed to morally assess and regulate it. This has given rise to many attempts to devise ethical guidelines that infuse guidance for both AI development and deployment. Our main concern is that, instead of a genuine ethical interest for AI, we are witnessing moral diplomacies resulting in moral bureaucracies battling for moral supremacy and political domination. After providing a short overview of what we term ‘ethics washing’ in (...) the AI industry, we analyze the 2021 UNESCO Intergovernmental Meeting of Experts (Category II) tasked with drafting the Recommendation on the Ethics of Artificial Intelligence and show why the term ‘moral diplomacy’ is better suited to explain what is happening in the field of the ethics of AI. Our paper ends with some general considerations regarding the future of the ethics of AI. (shrink)

Among the four reading-levels, the textual and exegetical levels of Zhuangzi ’s Hundun-story are problem-free, and so we focus expository-wise on its conspicuous hospitality with nine implications. Then, hermeneutically, we see Hundun instructing us against clarity toward unclarity—cosmological, self-composing, cognitive, and communal—of kindly humus, in cosmic confusion, sleep and idleness, mist and pond-dragonfly, and non-ruling people-sovereignty. Pan-hospitality is our Emperor Hundun’s non-arbitrary imperative to nurture life.

The paper delineates a new approach to truth that falls under the category of “Pluralism within the bounds of correspondence”, and illustrates it with respect to mathematical truth. Mathematical truth, like all other truths, is based on correspondence, but the route of mathematical correspondence differs from other routes of correspondence in (i) connecting mathematical truths to a special aspect of reality, namely, its formal aspect, and (ii) doing so in a complex, indirect way, rather than in (...) a simple and direct way. The underlying idea is that an intricate mind is capable of creating intricate routes from language to reality, and this enables it to apply correspondence principles in areas for which correspondence is traditionally thought to be problematic. (shrink)

While we applaud Bruineberg et al.'s analysis of the differences between Markov blankets and Friston blankets, we think it is not carried out to its ultimate consequences. There are reasons to think that, once Friston blankets are accepted as a theoretical construct, they do not do the work proponents of free energy principle (FEP) attribute to them. The emperor is indeed naked.

“The Emperor’s Old—and Perennial—Clothes: Two Spanish Fine-Tunings to Andersen’s Received Wisdom” There are two Spanish versions of the famous story of the Emperor’s new clothes. They differ from Andersen’s version--the one that most people know about—in significant ways. Žižek has often used the story to illustrate the Lacanian, complex, and paradoxical nature of ideology. But nobody has used these two versions to speak of these isues. The Spanish versions maintain the core of the story but offer illuminating deviations, including one (...) in which the result of the supposed revelation of the truth results not in the unveiling, but in the further veiling of reality. The article focuses on two occasions in which Žižek has referred to the story, and its aim is simply to offer the readers of IJZS these two alternative accounts of how ideology works. (shrink)

v. 1. 1737-1756, lettres 1-249 -- v. 2. 1757-1760, lettres 250-464 -- v. 3.1761-1774, lettres 465-720 -- v. 4. 1774-1800, lettres 721-855 -- v. 5. Quatre nouvelles lettres, errata, additions et modifications, lettres exclues de l'édition proprement dite, généalogies, liste des lettres, index et table des matières.

The Swedish welfare debate increasingly focuses on market liberal notions and its healthcare perspective aims for more patient‐centered care. This article examines the new Swedish Patient Act describing and analyzing how the patient is constructed in government documents. This study takes a Foucauldian discourse analysis approach following Willig's analysis guide. The act contains an entitlement discourse for patients and a requirement discourse for healthcare personnel. These two discourses are governed by a values‐based healthcare discourse. Neo‐liberal ideology, in the form of (...) New Public Management discourse, focusing on the value of efficiency and competition, is given a hegemonic position as laws and regulations are used to strengthen it. The new Swedish Patient Act seems to further strengthen this development. The Act underlines the increased entitlement for patients, but it is not legally binding as it offers patients only indirect entitlement to influence and control their care. To safeguard the patient's entitlement under the Patient Act, healthcare personnel should be made aware of the contents of the Act, so that they can contribute to the creation of systems and working methods that facilitate respect of the Act's provisions in daily healthcare work. (shrink)

There is a simple joy in finding that the emperor has positively no clothes and especially when the finger is pointed in ribald good English. Donald McCloskey does this service in “The Rhetoric of Economics”, where he argues with force and wit that “modernism” (meaning, roughly, positivism, as in “Positive Economics”) will do as an account neither of what economists do nor of what it makes philosophical sense for them to attempt. Instead they should recognize that models are always metaphors (...) and should make a virtue of the literary devices, which they in fact rely on. Armed with the craft of rhetoric and a new “poetics of economics,” they will achieve better writing, better teaching, better foreign relations, better science and better dispositions. (shrink)

The 35 commentaries cover a wide range of topics and take many different stances on the issues explored by the target article. We have organised our response to the commentaries around three central questions: Are Friston blankets just Pearl blankets? What ontological and metaphysical commitments are implied by the use of Friston blankets? What kind of explanatory work are Friston blankets capable of? We conclude our reply with a short critical reflection on the indiscriminate use of both Markov blankets and (...) the free energy principle. (shrink)