This chapter contains section titled: I II III IV V VI VII VIII IX X XI XII Coda Appendix Acknowledgements.

The possibility that individuals might have expensive tastes is the basis of arguments for and against various theories of how social resources should be allocated. Expensive tastes play a role, for example, in Dworkin's advocacy of equality of resources rather than welfare, in Rawls's account of primary goods, in Scanlon's argument for an objective criterion of well-being, and in Arneson's favoring of equality of opportunity for welfare rather than equality of welfare.Much of the argument about whether (...) expensive tastes should be treated distinctively concerns whether or not individuals choose to have such tastes. If individuals are simply born with different tastes, or perhaps if they develop them through socialization when young, it is suggested, individuals should not be seen as responsible for their expensive tastes. However, it is argued that individuals should not be com pensated for expensive tastes that they have freely chosen — or would hypothetically have chosen — to cultivate. (shrink)

Harvard Law School, Cambridge, MA 02138, USA.

In his classic paper “Equality of What? Part 1: Equality of Welfare”, Ronald Dworkin argued that we should reject the notion that welfare is the currency of egalitarian justice. One reason is that this notion implies we should compensate individuals for expensive tastes they have deliberately cultivated. However, several egalitarians have objected that Dworkin conflates the resource/welfare and the luck/choice distinction. In particular, welfare luck egalitarianism implies that expensive tastes that are deliberately cultivated may not be (...) compensable. In response to this criticism, Dworkin has more recently argued that welfare luck egalitarianism in fact collapses into ordinary welfare egalitarianism, or relies on an account of luck that is either incoherent or at least cannot provide a basis for egalitarian redistribution. Therefore, according to Dworkin, welfare luck egalitarianism does not solve the problem of expensive tastes. In the current article, I critically assess these recent arguments of Dworkin’s about the inadequacy of welfare luck egalitarianism. I argue that Dworkin has not shown that this notion collapses into ordinary welfare egalitarianism, or that it harbours a problematic account of luck. (shrink)

abstract The most well‐known liberal‐egalitarian defence of cultural rights, provided by Will Kymlicka, presents culture as a primary good, and thus a resource that ought to be distributed according to some fair egalitarian criteria. Kymlicka relies on the intuition that inequalities between persons that are the result of brute luck rather than personal choice are unjust in making the case for various multicultural rights. This article makes two main claims. First, the standard luck egalitarian intuition on which Kymlicka's argument relies (...) cannot justify what he calls ‘polyethnic rights,’ in particular cultural and religious exemptions from generally applicable laws. Second, I argue that such exemptions are justifiable by appealing to the public value of fair equality of opportunity, properly construed. (shrink)

G. A. Cohen argues that egalitarians should compensate for expensive tastes or for the fact that they are expensive. Ronald Dworkin, by contrast, regards most expensive tastes as unworthy of compensation — only if a person disidentifies with his own such tastes (i.e. wishes he did not have them) is compensation appropriate. Dworkinians appeal, inter alia, to the so-called ‘first-person’ or ‘continuity’ test. According to the continuity test, an appropriate standard of interpersonal comparison reflects (...) people's own assessment of their relative standing: Person A can only legitimately demand compensation from person B if he regards himself as worse off, all things considered, than B. The typical bearer of expensive tastes does not regard herself as being worse off than others with less expensive tastes. Hence, in the typical case, pace Cohen, compensation for expensive tastes is inappropriate. The article scrutinizes this rationale for not compensating for expensive tastes. Especially, we try to bolster the continuity test by relating it to Dworkin's distinction between integrated and detached values, pointing out that an argument for the continuity test can be built on the assumption that equality has integrated value. In brief, the point is that a metric of equality should be assessed, partly, in virtue of its consequences for related ideals. One of these is the kind of justificatory community promoted by the continuity test. We defend this view against an objection to the effect that equality is a detached value. We conclude that the continuity test constitutes a strong foothold for the resourcist egalitarian reluctance to compensate people for their expensive tastes. (shrink)

abstract G. A. Cohen argues that egalitarians should compensate for expensive tastes or for the fact that they are expensive. Ronald Dworkin, by contrast, regards most expensive tastes as unworthy of compensation — only if a person disidentifies with his own such tastes (i.e. wishes he did not have them) is compensation appropriate. Dworkinians appeal, inter alia, to the so‐called ‘first‐person’ or ‘continuity’ test. According to the continuity test, an appropriate standard of interpersonal comparison (...) reflects people's own assessment of their relative standing: Person A can only legitimately demand compensation from person B if he regards himself as worse off, all things considered, than B. The typical bearer of expensive tastes does not regard herself as being worse off than others with less expensive tastes. Hence, in the typical case, pace Cohen, compensation for expensive tastes is inappropriate. The article scrutinizes this rationale for not compensating for expensive tastes. Especially, we try to bolster the continuity test by relating it to Dworkin's distinction between integrated and detached values, pointing out that an argument for the continuity test can be built on the assumption that equality has integrated value. In brief, the point is that a metric of equality should be assessed, partly, in virtue of its consequences for related ideals. One of these is the kind of justificatory community promoted by the continuity test. We defend this view against an objection to the effect that equality is a detached value. We conclude that the continuity test constitutes a strong foothold for the resourcist egalitarian reluctance to compensate people for their expensive tastes. (shrink)

Kymlicka has offered an influential luck egalitarian justification for a catalogue of polyethnic rights addressing cultural disadvantages of immigrant minorities. In response, Quong argues that while the items on the list are justified, in the light of the fact that the relevant disadvantages of immigrants result from their choice to immigrate, (i) these rights cannot be derived from luck egalitarianism and (ii) that this casts doubt on luck egalitarianism as a theory of cultural justice. As an alternative to Kymlicka’s argument, (...) Quong offers his own justification of polyethnic rights based on a Rawlsian ideal of fair equality of opportunity. I defend luck egalitarianism against Quong’s objection arguing that if choice ever matters, it matters in relation to cultural disadvantages too. Also, the Rawlsian ideal of fair equality of opportunity cannot justify the sort of polyethnic rights that Quong wants it to justify, once we set aside an unwarranted statist focus in Quong’s conception of fair equality of opportunity. Whatever the weaknesses of luck egalitarianism are, the inadequacy of the position in relation to accommodating cultural disadvantages of immigrants is not among them. (shrink)

Well-being can be promoted in two ways. Firstly, by affecting the quantity, quality and allocation of bundles of consumption (the Resource Approach), and secondly, by influencing how people benefit from their goods (the Taste Approach). Whereas the former is considered an ingredient of economic analysis, the latter has conventionally not been included in that field. By identifying the gain the Taste Approach might yield, the article questions whether this asymmetry is justified. If successfully exercised, the Taste Approach might not only (...) enable people to raise their wellbeing, but also provide solutions to a number of issues such as sustainable development and global justice. The author argues that recently developed accounts such as Happiness Economics (HE) and Libertarian Paternalism (LP) both can be considered specifications of the Taste Approach. Furthermore a third specification is identified: Inexpensive Preference Formation (IPF). Whereas LP suggests that choice architecture should be exercised when rationality fails, IPF holds that governance in certain instances should improve choices also in absence of no such failure. (shrink)

The aim of this paper is to present an explanation for the impact of normative considerations on people’s assessment of certain seemingly purely descriptive matters. The explanation is based on two main claims. First, a large category of expressions are tacitly modal: they are contextually equivalent to modal proxies. Second, the interpretation of predominantly circumstantial or teleological modals is subject to certain constraints which make certain possibilities salient at the expense of others.

Contemporary discussions of egalitarian justice have often focused on the issue of expensive taste. G.A. Cohen has recently abandoned the view that all chosen disadvantages are non-compensable, now maintaining that chosen expensive judgmental tastes—those endorsed by valuational judgment—are compensable as it is unreasonable to expect persons not to develop them. But chosen expensive brute taste—the main type of non-compensable expensive taste on the new scheme—cannot be described in such a way that there is a normative (...) difference between it and chosen expensive judgmental taste. As there are related problems with denying compensation for the other kind of expensive taste that might remain non-compensable, Cohen's position on taste appears to be either implausible or virtually indistinguishable from that of equality of welfare. However, compensation for valuational judgment-based expensive taste might be justified on grounds of responsibility. (shrink)

This chapter contains section titled: Part I Part II Part III Part IV.

I assess G. A. Cohen's claim, which is central to his luck egalitarian account of distributive justice, that forcing others to pay for people's expensive indulgence is inegalitarian because it amounts to their exploitation. I argue that the forced subsidy of such indulgence may well be unfair, but any such unfairness fails to ground an egalitarian complaint. I conclude that Cohen's account of distributive justice has a non-egalitarian as well as an egalitarian aspect. Each impulse arises from an underlying (...) commitment to fairness. Cohen's account of distributive justice is therefore one of justice as fairness. (shrink)

Many believe that the treatment-enhancement distinction marks an important ethical boundary that we should use to shape public policy on biomedical interventions. A common justification for this purported normative force appeals to the idea that, whereas treatments respond to genuine medical needs, enhancements can only satisfy mere preferences or “expensive tastes”. This article offers a critique of that justification, while still accepting the TED as a conceptual tool, as well as some of the key ethical axioms endorsed by (...) its proponents. I begin by laying out the TED, the practical implications that tend to be drawn from it, and the justification just sketched for these implications. Using examples drawn from preventive medicine, biomedical technology, and other categories of biomedical interventions, I then go on to challenge both the presupposition of a fundamental dichotomy between treatments and enhancements, and the assumption that enhancements – barring rare exceptions – cannot serve legitimate medical needs. Finally, I consider some ways in which supporters of the TED might try re-formulating the distinction to blunt the force of my critique. I conclude that such a move cannot fully succeed, and that while the TED does have some degree of normative force, it nevertheless cannot play the role that its advocates expect from it. Seeking to justify a general presumption against enhancements based on the rationale I critique here would mean ignoring their various potential benefits, including medical or therapeutic, and would reflect a prejudice – which I refer to as “treatment fetishism”. (shrink)

Sufficientarians face a problem of arbitrariness: why place a sufficiency threshold at any particular point? One response is to seek universal goods to justify a threshold. However, this faces difficulties (despite sincere efforts) by either being too low, or failing to accommodate individuals with significant cognitive disabilities. Some sufficientarians have appealed to individuals’ subjective evaluations of their lives. I build on this idea, considering another individualized threshold: ‘tolerability’. I respond to some traditional challenges to individualistic approaches to justice: ‘expensive’ (...) tastes, and adaptive preferences. Finally, I end by offering some suggestions about how this relates to policymaking. (shrink)

This problem has already been discussed by a number of authors.[i] Typically, however, authors take one of two extreme positions: they hold that all welfare should be taken at face value, or they hold that "suspect" welfare should be completely ignored. My contribution here is the following: First, I introduce the notion of unauthorized (suspect) welfare, of which welfare from meddlesome preferences, offensive tastes, expensive tastes, etc. are special cases. Second, I formulate four conditions of adequacy, applicable (...) to any welfare-based theory, for dealing with unauthorized welfare. These conditions require that unauthorized welfare be "discounted" (play a restricted role) but not be completely ignored. Thus, I shall be exploring a position intermediate between taking "unauthorized" welfare at face value and simply ignoring it. Moreover, the four conditions jointly determine exactly how existing welfare-based theories need to be revised so as to be appropriately sensitive to unauthorized welfare. (shrink)

I take up the "What is equality?" controversy begun by Amartya Sen in 1979 by critically considering utility (J. S. Mill), primary goods (John Rawls), property rights (John Roemer) and basic capabilities in terms of what is to be distributed according to principles and theories of social justice. I then consider the four most general principles designed to answer issues raised by the Equality of Welfare principle, Equality of Opportunity for Welfare principle, Equality of Resources principle and Equality of Opportunity (...) for Resources principle. I consider each with respect to the more general normative principle that whatever theory of social or distributive justice we accept should be as ambition sensitive and endowment insensitive as feasible in real world circumstances. In this context I take up the problems of expensive tastes, expensive disabilities, lowered or manipulated preferences or ‘needs,’ and differential needs versus differential talents and abilities. I argue that the best solution is to adopt a modified version of Rawls’ theory which takes primary social goods as that which is to be distributed but which demands a Basic Rights principle that insures basic subsistent rights (as well as basic security rights) as the most fundamental principle of morality (and social justice), and then demands that Rawls’ Difference Principle be applied lexically to the ‘material’ goods of income, wealth, and leisure time, but done so that the social basis of self-respect is never undermined. (shrink)

While supporters argue that exemptions are needed to equalize opportunities, critics claim they are unwarranted in principle and discriminatory in practice: equal treatment requires only facial neutrality whereas exemptions treat citizens unequally insofar as individuals with idiosyncratic commitments similarly burdened by general rules are rarely given an exemption.The upshot of this critique is that the burdens of cultural and religious commitments ought to be treated as expensive tastes. I argue that religious and cultural commitments cannot be reduced to (...) expensive tastes that can be revised in the face of resource expectations and that, for this reason, opportunities are not equal when minorities must choose between adherence to such commitments and availing of valuable opportunities, when members of more dominant communities need not. I also explain why treating religious and cultural commitments in this way does not entail the adoption of a primordial view of culture that puts these commitments beyond revision and choice. (shrink)

I take up the "What is equality?" controversy begun by Amartya Sen in 1979 by critically considering utility, primary goods, property rights and basic capabilities in terms of what is to be distributed according to principles and theories of social justice. I then consider the four most general principles designed to answer issues raised by the Equality of Welfare principle, Equality of Opportunity for Welfare principle, Equality of Resources principle and Equality of Opportunity for Resources principle. I consider each with (...) respect to the more general normative principle that whatever theory of social or distributive justice we accept should be as ambition sensitive and endowment insensitive as feasible in real world circumstances. In this context I take up the problems of expensive tastes, expensive disabilities, lowered or manipulated preferences or ‘needs,’ and differential needs versus differential talents and abilities. I argue that the best solution is to adopt a modified version of Rawls’ theory which takes primary social goods as that which is to be distributed but which demands a Basic Rights principle that insures basic subsistent rights as the most fundamental principle of morality, and then demands that Rawls’ Difference Principle be applied lexically to the ‘material’ goods of income, wealth, and leisure time, but done so that the social basis of self-respect is never undermined. (shrink)

_Many people who stand to pee raise the toilet seat so that they have a larger target to aim at. However, if the seat is left in this position, any subsequent toilet user who defecates or pees sitting down will need to lower the seat. Some of us believe that this inconvenience should not be visited on those who pee sitting down, while others deny that there is anything wrong with leaving the toilet seat in the position that you used (...) it. This article offers the first scholarly defense of the seat-down norm. In so doing, it shows that recent claims that this norm would be unfair and inefficient are unwarranted_. _Keywords: _Toilet seats; Toilets; Bathrooms; Gender Inequality; Urination; Defecation; Expensive tastes; Stehpinkler; Sitzpinkler. (shrink)

This paper argues that the standard characterisation of the equity-efficiency trade-off as set out in this symposium by Joe Heath overstates the tension between these two values. The reason lies in the fact that economists tend to take individual labour supply preferences as given, which leads to a superficial analysis of the concepts of reservation wage and of economic rent. The paper suggests that we should instead think of reservation wages as variable and as influenced by social norms. Social norms (...) play a double role in this context. First, they represent a constitutive element of market competition; second, they can be a determinant of income inequalities. From this perspective, a certain share of high reservation wages sustained by contingent inegalitarian social norms should count as economic rent. The last section of the paper strengthens this conclusion further by drawing a parallel between expensive tastes in consumption and a certain class of high reservation wages. To the extent that the latter are underpinned by social norms rather than efficiency considerations, not paying them is both just and efficient. (shrink)

Should theories of distribution focus solely on subjective welfare or solely on objective resources? While both of these ‘currencies’ have well-known objections that make each of them implausible alone, I argue that neither currency should be jettisoned entirely. Instead, I construct a multi-currency distributive theory involving both welfare and resources. While I think that such a heterogeneous theory is able to mitigate objections to both pure resourcism and pure welfarism, it also creates a new concern, which I call the precedence (...) concern, in which a theorist must determine which currency takes precedence in a given situation. I argue that to answer the precedence concern, altering the currency should result in altering the site of distribution as well. As a result, moral value between individuals should be measured in terms of welfare while state justice should be measured in terms of resources. (shrink)

Microbes in the gastrointestinal tract are under selective pressure to manipulate host eating behavior to increase their fitness, sometimes at the expense of host fitness. Microbes may do this through two potential strategies: (i) generating cravings for foods that they specialize on or foods that suppress their competitors, or (ii) inducing dysphoria until we eat foods that enhance their fitness. We review several potential mechanisms for microbial control over eating behavior including microbial influence on reward and satiety pathways, production of (...) toxins that alter mood, changes to receptors including taste receptors, and hijacking of the vagus nerve, the neural axis between the gut and the brain. We also review the evidence for alternative explanations for cravings and unhealthy eating behavior. Because microbiota are easily manipulatable by prebiotics, probiotics, antibiotics, fecal transplants, and dietary changes, altering our microbiota offers a tractable approach to otherwise intractable problems of obesity and unhealthy eating. (shrink)

Egypt witnessed in the last decade, as in many Southeast Asian mega-cities, the reshaping of public space through the creation of new shopping malls and recreation places. This went hand in hand with the `gentrification' of certain areas of the city of Cairo, which is continuing at the expense of pushing away the poor. The 1980s and 1990s also witnessed increasing prosperity among certain classes and the appropriation of new consumer lifestyles. This article attempts to look at the variations of (...) shopping malls in Cairo and the new phenomenon of hybridization of tastes. One can observe the creation of `chic' shopping malls functioning parallel to popular and working-class malls which are frequented by different classes, depending on the various districts of Cairo. These newly created public spaces are gendered. The malls provide new outlets for deprived youth to experience mingling and flirting, in other words, these spaces offer new forms of `mixity' between sexes. A glimpse at the ` grands magasins' is brought up in relation to the history of consumerism in Egypt. This article also analyses the government's official discourse which alienates those living in unplanned and scattered construction as `violent' and unruly and relates it to the new remaking of the town of Cairo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

#1 NEW YORK TIMES BESTSELLER • A bold work from the author of The Black Swan that challenges many of our long-held beliefs about risk and reward, politics and religion, finance and personal responsibility In his most provocative and practical book yet, one of the foremost thinkers of our time redefines what it means to understand the world, succeed in a profession, contribute to a fair and just society, detect nonsense, and influence others. Citing examples ranging from Hammurabi to Seneca, (...) Antaeus the Giant to Donald Trump, Nassim Nicholas Taleb shows how the willingness to accept one’s own risks is an essential attribute of heroes, saints, and flourishing people in all walks of life. As always both accessible and iconoclastic, Taleb challenges long-held beliefs about the values of those who spearhead military interventions, make financial investments, and propagate religious faiths. Among his insights: • For social justice, focus on symmetry and risk sharing. You cannot make profits and transfer the risks to others, as bankers and large corporations do. You cannot get rich without owning your own risk and paying for your own losses. Forcing skin in the game corrects this asymmetry better than thousands of laws and regulations. • Ethical rules aren’t universal. You’re part of a group larger than you, but it’s still smaller than humanity in general. • Minorities, not majorities, run the world. The world is not run by consensus but by stubborn minorities imposing their tastes and ethics on others. • You can be an intellectual yet still be an idiot. “Educated philistines” have been wrong on everything from Stalinism to Iraq to low-carb diets. • Beware of complicated solutions (that someone was paid to find). A simple barbell can build muscle better than expensive new machines. • True religion is commitment, not just faith. How much you believe in something is manifested only by what you’re willing to risk for it. The phrase “skin in the game” is one we have often heard but rarely stopped to truly dissect. It is the backbone of risk management, but it’s also an astonishingly rich worldview that, as Taleb shows in this book, applies to all aspects of our lives. As Taleb says, “The symmetry of skin in the game is a simple rule that’s necessary for fairness and justice, and the ultimate BS-buster,” and “Never trust anyone who doesn’t have skin in the game. Without it, fools and crooks will benefit, and their mistakes will never come back to haunt them.”. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies that deploy (...) literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

This article discusses Jan Narveson's "Welfare and Wealth, Poverty and Justice in Today's World," and "Is World Poverty a Moral Problem for the Wealthy?" and their relation to my "Thinking about the Needy, Justice, and International Organizations." Section 2 points out that Narveson's concerns differ from mine, so that often his claims and mine fail to engage each other. For example, his focus is on the poor, mine the needy, and while many poor are needy, and vice versa, our obligations (...) may differ regarding the poor than regarding the needy. Also, Narveson invokes a narrow conception of morality as those rules that government or society may compel people to follow. Given a broader, more plausible, conception of morality, many of Narveson's claims actually support my substantive views. Section 3 shows that many of Narveson's claims are relevant to the best means of aiding the needy, but do not challenge the validity of that end. This is true, for example, of his claims about the role of poor governments, the importance of freedom, the undesirability of mere "handouts," and the effects of bad economic policies. Section 4 defends the importance of my distinction between acting justly and acting for reasons of justice. It illustrates that on several widely shared conceptions of justice there might be agent-neutral reasons of justice to aid the needy, even if from an agent-relative perspective one would not be acting unjustly if one failed to do so. Section 5 contests Narveson's portrayal of egalitarianism as concerned about inequality of wealth, per se, as insensitive to prior wrongs, and as holding that the worse-off have a right to be made better off at the expense of the well-off. In addition, it rejects Narveson's contention that egalitarians violate impartiality, and aim to impose their personal tastes on others. Section 6 challenges a fundamental assumption underlying Narveson's doctrine of mutual advantage. In addition, it denies that egalitarians are irrational merely because equality can conflict with the pareto principle. More generally, by appealing to impersonal ideals, it challenges the widely held view that the pareto principle is a condition of rationality. Section 7 argues that Narveson's meta-ethical assumptions are controversial, internally inconsistent, in tension with his normative views, and ultimately a version of skepticism. In addition, it challenges Narveson's view about the role intuitions play in moral theory. Section 8 clarifies points where Narveson's discussion of my views may be misleading. Finally, the paper notes the role that moral reasons may play in deliberation and action, but emphasizes the philosophical and theoretical nature of my work. My aim is to determine the moral considerations that are relevant to how people should act regarding the needy. Whether people will actually be moved to so act, for those reasons or otherwise, is another matter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Oranges from SpainDavid Park (bio)It's not a fruit shop any more. Afterwards, his wife sold it and someone opened up a fast food business. You wouldn’t recognize it now—it's all flashing neon, girls in identical uniforms and the type of food that has no taste. Even Gerry Breen wouldn’t recognize it. Either consciously or unconsciously, I don’t seem to pass that way very often, but when I do I (...) always stop and look at it. The neon brightness burns the senses and sears the memories like a wound being cauterized; but then it all comes back and out flows a flood of memory that nothing can stem.I was sixteen years old and very young when I went to work for Mr Breen in his fruit shop. It was that summer when it seemed to rain every day and a good day stood out like something special. I got the job through patronage. My father and Gerry Breen went back a long way—that always struck me as strange, because they were so unalike as men. Apparently, they were both born in the same street and grew up together, and even when my father's career as a solicitor took him up-market, they still got together occasionally. My father collected an order of fruit every Friday night on his way home from work, and as children we always talked about ‘Gerry Breen's apples’. It's funny the things you [End Page 249] remember, and I can recall very clearly my mother and father having an argument about it one day. She wanted to start getting fruit from the supermarket for some reason, but my father wouldn’t hear of it. He got quite agitated about it and almost ended up shouting, which was very unlike him. Maybe he acted out of loyalty, or maybe he owed him some kind of favour, but whatever the reason, the arrangement continued.If his name is mentioned now they never do it in front of me. It's almost as if he never existed. At first it angered me—it was almost as if they thought I would disintegrate at its sound—but gradually I came to be grateful for it. I didn’t even go to the funeral, and from that moment it was obvious my family sought to draw a curtain over the whole event. My mother had taken me away for a week's holiday. We stayed with one of her sisters who lives in Donegal, and I’ve never had a more miserable time. Inevitably, it rained every day and there was nothing to do but mope around and remember, trapped in a house full of women, where the only sounds were the clink of china cups and the click of knitting needles. It was then the dreams started. The intervening years have lessened their frequency but not their horror. When I woke up screaming for about the tenth time, they took me to a special doctor who reassured them with all the usual platitudes—I’d grow out of it, time was a great healer, and so on. In one sense I did grow out of it—I stopped telling anyone about the nightmares and kept them strictly private. They don’t come very often now, but when they do only my wife knows. Sometimes she cradles me in her arms like a child until I fall asleep again.I hadn’t even really wanted a job in the first place. It was all my father's idea. He remembered the long weeks of boredom I had complained about the summer before and probably the nuisance I had been as I lazed about the house. I walked right into his trap. He knew I’d been working up to ask if I could have a motorbike for my next birthday. The signs weren’t good, and my mother's instinctive caution would have been as difficult a barrier to surmount as the expense, so it came as a surprise when my father casually enquired if I’d be interested in starting to save for one. I took the bait... (shrink)

Les sociétés contemporaines entretiennent un rapport ambivalent au risque : elles sont promptes à s’alarmer pour des risques collectifs, tout en valorisant les prises de risque individuelles. Cet article s’attache à resituer les interprétations sociologiques de ces prises de risque délibérées, en particulier celles de Lyng et Le Breton, dans le cadre de la société du risque décrite par Beck et Giddens. Les prises de risque apparaissent alors comme la réaction à un environnement devenu très incertain et anxiogène. Ce cadre (...) interprétatif invite aussi à nuancer l’opposition entre prises de risque adultes et adolescentes. Si les premières se concrétisent plus souvent dans la pratique d’un sport extrême, tandis que les secondes s’avèrent plus transgressives, il est possible que ce contraste traduise surtout des moyens matériels différenciés. Les données quantitatives du Baromètre Santé 2000 permettent enfin de tester empiriquement quelques hypothèses relatives à ces interprétations.Risk has an ambivalent status in contemporary societies : great fears of collective risks coexist with an increasing taste for individual risk-taking. This article aims at reframing Lyng and Le Breton’s sociological interpretations of voluntary risk-taking in a broader scope, derived from the « risk society » described by Beck and Giddens. From this viewpoint, such behaviours are individual responses to an environment in which uncertainty is causing anxiety, and adolescent risky behaviours are not so different from those of adults. If adolescents are more prone to take risks in illegal ways, it can result from a restricted access to expensive extreme sports. Using quantitative data from the French survey Baromètre Santé 2000, the article ends with an empirical test of some hypotheses deriving from these interpretations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Audio BooksWilliam IrwinI hide my audio book habit because most of my colleagues, and even some of my snobbier students, regard audio books as a sign of an impending dark age of mass illiteracy. Feeling uneasy, I wonder: when The Brothers Karamazov comes up in conversation am I obliged to "confess" that I listened to the unabridged audio book, but did not silently read the massive tome? Is (...) there a difference that makes a difference between listening to an audio book and reading a printed book?IPeople read less today, partly because reading silently is not social; we crave the company of loved ones at the end of the day, and so prefer to watch television with them. Silent reading does not fit today's multitasking lifestyle; you can listen to music while you drive or jog, but you cannot read a book. Or, then again, perhaps you can, if listening to an audio book is reading after all. Time does not need to be specifically set aside for an audio book the way it does with a conventional book—the lights don't even have to be on. And surprisingly, it is satisfying to listen to a book ten minutes at a time while running errands. Perhaps this is because getting started is as easy as pressing a button. By contrast, few people read printed books in ten minute blocks, presumably because it takes something for most people to warm up to reading. If they are going to read, then they are going to do it for a sustained time—something longer than a ten-minute block. It is easier to "push through" and finish an audio book. I nearly gave up on Catch-22; it's too thick and over the top with satire for my taste. And I surely would have given up on it if I had been reading the book silently. I stuck with [End Page 358] the audio book, however, largely because it was easy to continue; I just pressed play every time I got in my car.Books on tape have been available for quite some time, but, despite often being abridged, they were too clunky and cumbersome for most people. The availability of books on CD and for MP3 download makes it all much more convenient. Audio books are now the fastest growing segment of the book industry and are likely to become even more common and popular, perhaps some day eclipsing the sale of conventional books, perhaps some day becoming the normal way of "reading" literature. And far from being abridged, some audio books today include extras. For example, the audio version of The Amber Spyglass includes epigrams before each chapter that are not in the print version.IIHarold Bloom says, "Deep reading really demands the inner ear as well as the outer ear. You need the whole cognitive process, that part of you which is open to wisdom. You need the text in front of you."1 Before listening to audio books myself I would have agreed with Bloom; but now I suspect he simply has never listened to an audio book. Skeptical of literature on audio, I started my audio experience with nonfiction. Pleasantly surprised with nonfiction, I tried listening to fiction and found the presentation very different. Nonfiction books are simply read, whereas works of fiction are typically performed—characters get distinct voices and the reader really puts on a show. Most audio book performances of literature are much like a one-man play, taking us back to the days of traveling bards and rhapsodes.In The Performance of Reading Peter Kivy highlights that for most of its history Western literature has been experienced out loud.2 As is well known, Homer's Iliad and Odyssey were performed out loud by bards, as Beowulf was centuries later. But less well known is the fact that even after the invention of the printing press, when books were still scarce and expensive, even people in possession of books generally read them out loud to themselves and to others. So it is odd that along with Harold Bloom, my colleagues and students, look with mistrust at... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradoxical Pleasures of Human ImaginationOmar Sultan HaqueHow Pleasure Works: The New Science of Why We Like What We Like, by Paul Bloom. W. W. Norton, 2010, 280 pp., $26.95.Have you heard about that chump who dished out $48,875 for John F. Kennedy's dusty old tape measure? The rock star who allegedly snorted his father's ashes with some cocaine? The creepy German guy who put out an advertisement for (...) someone who would let themselves be eaten by him (only to have hundreds volunteer)? The story about the man who was tired with his wife, but powerfully aroused when he was convinced he was with an exact duplicate of her? How can a staunch atheist also believe in the numinous? Why do people buy expensive wines, and bottled water, even though in blind taste tests, they can't distinguish them from the cheap stuff? Why buy pâté when your palate can't distinguish it from dog food? Why do people pay hundreds of dollars to hear the famous violinist Joshua Bell perform, but then cannot even spare a dime when a disguised Bell plays the same music on the subway in regular garb? Why might someone who trains people to prevent falls and injury enjoy watching a comedian fall and hurt himself? Why would someone pay a few hundred thousand dollars for art that consisted of someone else's unmade bed?It may be is easy to feel smug when thinking about this panoply of apparent irrationality in individual decisions and general human propensities. But the things that uniquely delight us may not be as [End Page 182] capricious as they seem. Many of the pleasures (curious or ordinary) that we get from our relationships with food, sex, irreplaceable objects, performances, safety and pain, music, literature and the imagination may have a deeper logic. They may be explicable by a better understanding of how our evolved minds work, and don't work, amidst our historically novel environments. Or so argues Paul Bloom—a cognitive developmental psychologist at Yale University—in How Pleasure Works, a brilliant and articulate synthesis of philosophy, psychology, evolutionary biology and the arts that elucidates the seemingly whimsical and once mysterious sources of our uniquely human hedonic satisfactions.The theory Bloom utilizes to systematize aspects of a number of pleasure phenomena is called psychological essentialism. This is an idea that has been developed in the last two decades by Bloom and the psychologists Douglas Medin, Andrew Ortony, Frank Keil, and Susan Gelman, among others.1 Psychological essentialism claims that, as Bloom puts it, people reliably, at a very young age, cross-culturally and throughout history, think that "things have an underlying reality or true nature that one cannot observe directly and it is this hidden nature that really matters." We assume that objects, artifacts, non-human animals, people and groups have invisible essences and unseen orders that account for their surface properties. In one of Keil's experiments, for instance, children thought that a dog made to look like a toy dog, a porcupine that had a surgery to make it look like a cactus, and a tiger stuffed into a lion suit were still a dog, porcupine and tiger, respectively. However, when each animal had its 'innards' altered, children said the animals changed into different categories, like objects or plants.2 Psychological essentialism for artifacts or tools is somewhat different from that for animate entities; the essence of artifacts is their history and the intentions of their creators.3According to How Pleasure Works, because of psychological essentialism, many human delights seem to arise that cannot be explained by simply appealing either to their low-level sensual qualities or their practical utility. Thus, the theory helps clarify some of pleasure's paradoxes. Like parents who affectionately keep tokens of their children's time as a baby, someone can enjoy owning a tape measure from a famous person because of its history of uses or other associations with important places or people. Snorting dad's ashes (however noxious to the nostrils), or pigging out on someone whom you admire, can be deeply meaningful because it feels as if one is... (shrink)

This article discusses Jan Narvesons Welfare and Wealth, Poverty and Justice in Todays World, and Is World Poverty a Moral Problem for the Wealthy? and their relation to my Thinking about the Needy, Justice, and International Organizations. Section 2 points out that Narvesons concerns differ from mine, so that often his claims and mine fail to engage each other. For example, his focus is on the poor, mine the needy, and while many poor are needy, and vice versa, our obligations (...) may differ regarding the poor than regarding the needy. Also, Narveson invokes a narrow conception of morality as those rules that government or society may compel people to follow. Given a broader, more plausible, conception of morality, many of Narvesons claims actually support my substantive views. Section 3 shows that many of Narvesons claims are relevant to the best means of aiding the needy, but do not challenge the validity of that end. This is true, for example, of his claims about the role of poor governments, the importance of freedom, the undesirability of mere handouts, and the effects of bad economic policies. Section 4 defends the importance of my distinction between acting justly and acting for reasons of justice. It illustrates that on several widely shared conceptions of justice there might be agent-neutralreasons of justice to aid the needy, even if from an agent-relative perspective one would not be acting unjustly if one failed to do so. Section 5 contests Narvesons portrayal of egalitarianism as concerned about inequality of wealth, per se, as insensitive to prior wrongs, and as holding that the worse-off have a right to be made better off at the expense of the well-off. In addition, it rejects Narvesons contention that egalitarians violate impartiality, and aim to impose their personal tastes on others. Section 6 challenges a fundamental assumption underlying Narvesons doctrine of mutual advantage. In addition, it denies that egalitarians are irrational merely because equality can conflict with the pareto principle. More generally, by appealing to impersonal ideals, it challenges the widely held view that the pareto principle is a condition of rationality. Section 7 argues that Narvesons meta-ethical assumptions are controversial, internally inconsistent, in tension with his normative views, and ultimately a version of skepticism. In addition, it challenges Narvesons view about the role intuitions play in moral theory. Section 8 clarifies points where Narvesons discussion of my views may be misleading. Finally, the paper notes the role that moral reasons may play in deliberation and action, but emphasizes the philosophical and theoretical nature of my work. My aim is to determine the moral considerations that are relevant to how people should act regarding the needy. Whether people will actually be moved to so act, for those reasons or otherwise, is another matter. (shrink)

This is a most significant publication. Buridan’s Summulae de Dialectica is among the finest contributions to philosophical logic, and aside from its own time, there is no better period than the present for it to be made available. No stage in the history of Western thought is closer to current work on logic and language than the fourteenth century. In their own way Ockham and Buridan dealt with the same central questions that Frege, Russell, Quine, Davidson, and Kripke have. It (...) has had quite a history—republished as late as 1740 and read carefully and cited by Schopenhauer. Anyone with a taste for logical problems will gain by studying this work, and not only gain, but enjoy it as well. We are in the debt of Gyula Klima and Yale University Press for this important publication. Klima has provided us with an excellent introduction to go along with his highly readable annotated translation. It would be a great service to the philosophical community if it were possible to make a much less expensive paperback version available. Yale University Press is to be commended for bringing out this and other works like it. However, while it is completely understandable why the book has its present price, I could not expect a graduate student in a class to purchase this relatively costly hardcover edition. (shrink)

In this series of dialogues, Derrida discusses and elaborates on some of the central themes of his work, such as the problems of genesis, justice, authorship and death. Combining autobiographical reflection with philosophical enquiry, Derrida illuminates the ideas that have characterized his thought from its beginning to the present day. If there is one feature that links these contributions, it is the theme of singularity - the uniqueness of the individual, the resistance of existence to philosophy, the temporality of the (...) singular and exceptional moment, and the problem of exemplarity. The second half of this book contains an essay by Maurizio Ferraris, in which he explores the questions of indication, time and the inscription of the transcendental in the empirical. A work of outstanding philosophy and scholarship, the essay is developed in close proximity to Derrida and in dialogue with figures such as Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby provides a useful introduction to the philosophy of one of Italy's most prominent philosophers as well as an excellent complement to Derrida's own ideas. A Taste for the Secret consists of material that has never before appeared in English. It will be of interest to second-year undergraduates, graduate students and academics in philosophy, modern languages, literature, literary theory and the humanities generally. (shrink)

It is commonplace to consider taste as the organ through which we know beauty and enjoy beautiful things. Looking beyond this facade, the newest translation of Italian philosopher Giorgio Agamben's work lays bare the far-from-comforting character of a fault line that irremediably divides the human subject. At the crossroads of truth and beauty, cognition and pleasure, taste appears as a knowledge that is not known and a pleasure that is not enjoyed. From this vantage point, aesthetics and economics, Homo aestheticus (...) and Homo economicus reveal their secret and uncanny complicity. With Taste, Agamben takes a step into the history of philosophy, reaching to the very origins of aesthetics, to critically recover the roots of a cardinal concept for Western culture. Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and with taste he turns his critical eye to the realm of Western art and aesthetics. Originally written in 1979, this essay illuminates a key category in his most recent writings, promising to engage not only the author's readers in philosophy, sociology and literary criticism but also his growing audience among art theorists and historians as well. (shrink)

Using a vague predicate can make commitments about the appropriate use of that predicate in the remaining part of the discourse. For instance, if I assert that some particular pig is fat, I am committed to judging any fatter pig to be fat as well. We can model this update effect by recognizing that truth depends both on the state of the world and on the state of the discourse: the truth conditions of ‘This pig is fat’ rule out evaluation (...) points for which the pig in question in world w is thinner than the cutoff for fatness in the discourse d. Then disagreements about taste are disagreements about the discourse. Unlike disagreements about the world, disagreements about the discourse can be faultless, given that none of the discourse participants has privileged authority to make pronouncements about conventions for appropriate use of a predicate. Thus on the dynamic view developed here, whether or not a dispute about taste turns out to be faultless depends in part on predictable features of the previous discourse. On this account, faultless disagreement involving predicates of personal taste does not force relativizing truth to a judge or assessor. (shrink)

The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just (...) as obvious to many philosophers that aesthetic judgment requires first-person experience. In this article we argue that, despite its initial appeal, the claim that gustatory and critical judgments are analogous in this way is mistaken. The two sorts of judgments are, as a matter of fact, similar in their epistemology, but earlier theorists have got things entirely backward—neither gustatory judgment nor aesthetic judgment requires first-hand acquaintance with their objects. Our particular focus in this article is on arguing that first-person experience is not required to know how an item of food or drink tastes. In fact, there are a wide variety of ways in which we can acquire this knowledge. (shrink)

“There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s pretty (...) clear is that what’s right about the aphorism, that there’s no disputing about taste, isn’t that there’s no disputing about taste. There’s heaps of disputing about taste. People engage in disputes about which movies, music, paintings, literature, meals, furniture, architectural styles, etc. are good, beautiful, tasty, fun, elegant, ugly, disgusting, etc. all the time. This is obvious to anyone who has watched dueling-movie-critics shows, read theater reviews, or negotiated with a group or partner about which movie or restaurant to go to, or which sofa or painting to put in the living room. It takes great care and good aim to fling a brick without hitting somebody who’s engaged in a dispute about taste. (shrink)