This article has two purposes. The first speaks to the compatibilist quality of Charles Mills’ Black Radical Kantianism (BRK), its strengths and weaknesses and the pertinence of W. E. B Du Bois to it. BRK turns from Mills’ previous critique of Kantianism as representative of arassenstaatlichpolitical liberalism, underwritten and tainted by the racial/domination contract, to his current defence of a compatibilist Kantianism as representative of arechtsstaatlichpolitical liberalism supported by a non-ideal racially corrective critique of both that contract and the (...) kind of political liberalism affiliated with it. The second focuses on what I introduce as the ‘Radicalization of Kant in Black’ (RKB). RKB isnota compatibilist project. Rather it re-examines issues first posed by ‘slave- and black-encoded’ blacks coming to act and struggle with the primacy of practical reason under the historically normative authority of freedom and the abolition of enslavement. What are the ramifications of each for Kant-/Kantian-radicalization? (shrink)

Recent years have witnessed intensive efforts to specify which requirements ethical artificial intelligence (AI) must meet. General guidelines for ethical AI consider a varying number of principles important. A frequent novel element in these guidelines, that we have bundled together under the term explicability, aims to reduce the black-box character of machine learning algorithms. The centrality of this element invites reflection on the conceptual relation between explicability and the four bioethical principles. This is important because the application of general (...) ethical frameworks to clinical decision-making entails conceptual questions: Is explicability a free-standing principle? Is it already covered by the well-established four bioethical principles? Or is it an independent value that needs to be recognized as such in medical practice? We discuss these questions in a conceptual-ethical analysis, which builds upon the findings of an empirical document analysis. On the example of the medical specialty of radiology, we analyze the position of radiological associations on the ethical use of medical AI. We address three questions: Are there references to explicability or a similar concept? What are the reasons for such inclusion? Which ethical concepts are referred to? (shrink)

Bandersnatch is a unique piece of television. Like the eponymous choose your own adventure book at the center of its winding narrative, the episode lets the viewer actively make choices that shape the direction of the story. In this same spirit, we present this chapter in an equally novel way: as a collection of miniature essays on a dozen or so philosophical topics, loosely bound together. Just as in the episode, the reader's choices will determine the philosophical path she takes (...) through the chapter. The authors engage primarily with questions about freedom: Do we have free will? Is there any relationship between free will and moral responsibility? Can artistic expression provide us with socio‐political freedom? How does technology restrict freedom? In addition, we explore existential concerns about choice, consider the possibility of time travel and multiple universes, and ethically take viewers to task for decisions they made while watching the episode. (shrink)

Conscious technology features in many Black Mirror episodes. For example, there are the cookies in White Christmas, the people uploaded into the San Junipero simulation, Robert Daly's digital copies of his coworkers in USS Callister, and the copy of Clayton Leigh that is exhibited in Black Museum. But would such pieces of technology really be conscious? Would they, for example, feel pain? And how could we tell? Is uploading or replicating someone's consciousness even possible? This chapter explores these (...) questions and discusses the ethical issues that are raised by consciousness technology. (shrink)

A careful reproduction of the 1931 Princeton University Press edition, including seven fine-screened black-and-white photographs on heavy coated paper of archival quality to preserve the finest detail. The Wright designed cover is treated with a protective coating to ensure that Wright’s subtle colors are protected from damage by abrasion or deterioration from extended exposure to sunlight. This book is one of the earliest statements by Wright of the principles of design that were to guide his entire career. Wright described (...) this book in a 1931 letter as “my Garden.” In these lectures are found not forms but fire, not formulas but ideas, not formality but vitality. They are not merely a monument to Wright’s work up to that time, but ideas that continue to bear fruit today. As E. Baldwin Smith writes in his preface, “[The lectures] are the sermons of an engaging, self-confident and enthusiastic artist fired with a faith, not in the machine itself, but in the power of man to master his creation, the machine, and to make it fashion a new manifestation of beauty.” He went on to prophesy that as Wright sought to “give men a new and hopeful outlook on the Machine, his philosophy of life, with his reactions, ideas and prejudices, will become a document in the history of art.” This fine new edition admirably fulfills that vision. (shrink)

In 2021, the men’s English national football team reached their first final at a major international tournament since winning the World Cup in 1966. This success followed their previous achievement of reaching the semi-finals (knocked-out by Croatia) at the 2018 World Cup. True to form, the defeats proved unfalteringly English; with the 2021 final echoing previous tournament defeats, as England lost to Italy on penalties. However, what resonated with the predictability of an English defeat, was the accompanying chant, ‘it’s coming (...) home’. A ubiquitous presence throughout the course of both tournaments—while chanted at England football matches, it was also repeated across social media, the press and commercial advertising—the chant originates from the 1996 single, Three Lions (Football’s Coming Home), performed by David Baddiel, Frank Skinner and The Lightning Seeds. In what follows critical attention will be given to examining how the song offers what will be argued is a melancholic outlook. By re-approaching examples of English nostalgia and hubris, this chapter will expose how illustrations of English melancholy offer the potential for promoting collective forms of expression, which, when contextualized alongside England’s lack of footballing success (for the men’s team, at least), can be offset against a melancholic mediation that is cognizant of the centrality of loss—both for the subject and our collective sporting endeavours. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Communities of Musical Practice by Ailbhe KennyFrank HeuserAilbhe Kenny Communities of Musical Practice ( New York: Routledge, 2016)When struggling in the confines of a practice room to overcome a technical difficulty on an instrument or explore different ways to shape a phrase, music learning can be a solitary and seemingly lonely enterprise. In such settings it is easy to assume that personal effort is the primary contributor to (...) an individual's musical expertise. Cognitive scientists steven sloman and Philip Fernbach1 argue against this view of human learning and suggest that much of what we know and accomplish results from working and living with others in a rich community of socially generated knowledge rather than by relying only on own efforts. This implies that the ability to develop sophisticated understandings in a discipline depends more on working collectively with others with whom we can share the labors of our cognitive efforts than on individual processes. This lends credence to the concept of learning in "communities of practice" that emerged during the 1990s.2Researchers have embraced this concept in music education and investigated the learning and relationships that develop in musical communities. June Countryman3 and N. Whitaker4 both examined how such communities impact learners in school-based music instructional settings. Deborah V. Blair developed [End Page 214] a professional development program for novice music educators that evolved into a community of practice.5 such communities offer members a place for identity formation and facilitate the acquisition of new knowledge in the discipline that is refined through active participation in meaningful learning experiences. In her book, Communities of Musical Practice, Ailbhe Kenny examines three music learning communities based in Limerick, Ireland and develops a model for community of practice that is specific to musical settings. This model can inform researchers investigating the fields of music education and community music. although it was not designed as a study in music education philosophy, the book is an example of excellent philosophical practices. as Wayne Bowman and ana Lucia Frega have suggested, if philosophy seeks to make "action more intelligent, more informed, more congruent with responsibly held beliefs,"6 Communities of Musical Practice offers a case study of the kind of reflective thinking that is central to philosophical practice. It is an example of how applying a reflective process to research data might provide the profession with both practical and philosophical insights.The book consists of seven chapters which are divided into three major sections. Part I, a Place for Communities of Musical Practice, defines communities of musical practice and describes the methodologies employed in the study. Part II, Illustrations of Communities of Musical Practices, offers case studies of three communities of musical practice that provide readers with examples of how the paradigm can be applied to investigate contrasting settings. Part III, Insights from Communities of Musical Practice, which summarizes the communities of musical practice framework, presents a model of how collective knowledge through common experiences contributes to senses of belonging, identity, and meaning-making and offers suggestions for nurturing these communities and developing policies that might contribute to increasing group music-making opportunities in communities. Following a review of these chapters, examples are given of how philosophical insights might be derived from this type of research.The central research question informing the work presented in the book is: How are communities of musical practice developed and sustained in practice?"7 This fundamental issue is refined through a series of sub-questions relating to the actual practices taking place within these communities of musical practices, the variety of relationships, actions, behaviors and experiences that are present within them, and the ways musical identities are created within and informed through participation in them. In Part I, Kenny develops a theoretical framework for examining communities of music practice by drawing from philosophy of practice, socio-cultural studies, and research in both education and music education which is based primarily on the writings of Bourdieu, Blacking, and Wenger. In particular, she employs etienne Wenger's framework of mutual engagement, [End Page 215] joint enterprise, and shared repertoire (or practices)8 as a scaffold to analyze and interpret "'situated' and collaborative musical... (shrink)

Frank Wilderson: I introduce a semiotic configuration. The point is, at important levels of abstraction, people who are positioned as Black—which is very different from saying people who think of themselves as Black. One of the basic premises of Afropessimism, which makes it resonate with psychoanalysis or Marxism, is that where one is positioned in a paradigm might not be where one thinks one is or where one desires to be. When I teach undergraduates, I say: “Look, (...) I used to study neorealism. In these neorealist films, we have these people who are bona fide fascists, and then you have those people in the Communist Party, so they could not agree on much. They don’t see themselves as having much of a connection. But in a Gramscian sense, they are both positioned as the host of capitalist parasites. Both groups rely on the wage. So, they are both workers.” One of the big points with respect to the narratological question is that I, as a Black person, trained at Columbia University in creative writing, trained at UC Berkeley in critical theory, love narrative, but narrative does not love me. In other words, it is impossible for me to be “emplotted” as a speaking subject. I can only be “emplotted” as an object of narrative. But I am always struggling to attain that love of humanity; and if I were to attain it, the Human would not have a foil against which to know itself. So, what I am saying is that in a book like Red, White & Black, I am just being very categorically clear about the divisions. In Afropessimism, I am actually talking about the desire of a sentient being who cannot be allowed into an arena where people are recognized and incorporated, in Lacanian terms, as “contemporaries” of human beings. So, there is all this back and forth. I don’t think this speaking subject in Afropessimism ever achieves anything in particular. It is always struggling toward being a subject that can actually travel on a narrative arc and yet ultimately is an object that can never travel from dispossession to redemptive recovery. (shrink)

The recent reception of Du Bois’ notion of “double consciousness” in the humanities has affirmed the notion as crucial and pivotal throughout his work. In contrast, its recent reception in the social sciences has tended to reject its centrality and importance. This essay will give general credence to the former position but, more importantly, show why a turn to Rousseau’s conception of amour‐propre may illuminate the importance of “double consciousness” in and for Du Bois’ 1903 work The Souls of (...) class='Hi'>Black Folk , despite the fact that he never elaborated on or embraced the notion in work subsequent to SBF’s publication. (shrink)

Suppose that, for one reason or another, the knowledge argument fails as a refutation of physicalism. Even so, it remains the case that there is a pressing question for physicalists raised by the argument. Does Mary acquire old information or misinformation when she leaves the black and white room? Answering this question requires physicalists to address the tricky question of the informational content of colour experiences – what information do colour experiences deliver by virtue of being the kinds of (...) experiences they are? (shrink)

In _A Philosophy of the Unsayable_, William Franke argues that the encounter with what exceeds speech has become the crucial philosophical issue of our time. He proposes an original philosophy pivoting on analysis of the limits of language. The book also offers readings of literary texts as poetically performing the philosophical principles it expounds. Franke engages with philosophical theologies and philosophies of religion in the debate over negative theology and shows how apophaticism infiltrates the thinking even of those who attempt (...) to deny or delimit it._ In six cohesive essays, Franke explores fundamental aspects of unsayability. In the first and third essays, his philosophical argument is carried through with acute attention to modes of unsayability that are revealed best by literary works, particularly by negativities of poetic language in the oeuvres of Paul Celan and Edmond Jabès. Franke engages in critical discussion of apophatic currents of philosophy both ancient and modern, focusing on Hegel and French post-Hegelianism in his second essay and on Neoplatonism in his fourth essay. He treats Neoplatonic apophatics especially as found in Damascius and as illuminated by postmodern thought, particularly Jean-Luc Nancy’s deconstruction of Christianity. In the last two essays, Franke treats the tension between two contemporary approaches to philosophy of religion—Radical Orthodoxy and radically secular or Death-of-God theologies. _A Philosophy of the Unsayable _will interest scholars and students of philosophy, literature, religion, and the humanities. This book develops Franke's explicit theory of unsayability, which is informed by his long-standing engagement with major representatives of apophatic thought in the Western tradition. "William Franke is an articulate spokesman for what cannot be said not only with regards to modern European poetry but also with respect to contemporary theology. _A Philosophy of the Unsayable _is essential reading for everyone working in religion and literature and in modern theology." — Kevin Hart, Edwin B. Kyle Professor of Christian Studies, University of Virginia __ "By now, it would seem that there could be no more to say about not-saying. Apophatic language and negative theology have been accused of meaninglessness, nihilism, and even ill-concealed ontologies. In this lovely and surprising book, William Franke not only deftly undoes these criticisms but shows that apophasis underlies and strangely grounds all language and thought, even of those very discourses that most vigorously reject it. _A Philosophy of the Unsayable_ demonstrates with elegance that there is indeed more to say, and more that is both meaningful and important." — Karmen MacKendrick, Le Moyne College__ "William Franke is an eminent scholar in comparative literature, who is schooled in philosophy and religion. He is recognized as one of the most creative contemporary thinkers working at the double intersection of philosophy and literature and philosophy and theology. _A Philosophy of the Unsayable_ shows an intellectual grasp of a dizzying array of discourses and sheds real light on all thinkers who are discussed." — Cyril O'Regan, Huisking Professor of Theology, University of Notre Dame_. (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form that this paper (...) will consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 363-381 [Access article in PDF] Imre Lakatos and Literary Tradition Suzanne Black ALTHOUGH THE CANON DEBATES have largely subsided, the categories of tradition and canon remain problematic and unhelpfully contentious. Some authors view tradition as weighty and oppressive, while cultural studies scholars criticize the concept itself as elitist and exclusionary. Yet literature, like other creative pursuits, cannot avoid its past; nor should it (...) seek to do so. Progressive ideas have a history and a logical development; to argue otherwise leaves them vulnerable to accusations of faddish trendiness. Artists learn from the work of other artists, and critics rely on older examples to describe and understand what they study. Thus activist critics, writers, and moderate scholars all need some way to react to and to conceive of literary history.E. Dean Kolbas has argued that shared assumptions such as a preoccupation with educational institutions limit the arguments of conservative humanists and canon openers alike. 1 If the perspective of literary critics is indeed narrow, they may benefit from broader and more interdisciplinary studies of tradition. For example, historicist philosophy of science devoted considerable energy to understanding how major accomplishments influence the work of scientists. This scholarship offers several complex accounts of the ways science is shaped by its past, and so can offer literary critics another, more structured, more rational, and even more flexible, view of tradition. In addition, some of its preoccupations, like the emergence of consensus or criteria for the selection of representative examples, are relevant to the canon debates. Finally, because writers and scientists understand the past differently and because their ideas develop in distinct social contexts, literary theory and philosophy of science have potentially complementary strengths and weaknesses. [End Page 363]In this article I first summarize Imre Lakatos's conception of the research program and explain some of its potential benefits for an understanding of literary tradition. Then, to show that the concept of a "literary research program" makes sense, I use the category to examine the ideas of Ricardo Reis, a neo-classical persona created by the Portuguese modernist Fernando Pessoa. Finally, I turn to a discussion of W. H. Auden's "Letter to Lord Byron" to identify some difficulties in applying Lakatos's model to literature. To view Auden as working within a Byronic program directs attention to his interpretation of the older poet, but the poem's formal innovation and its irony suggest some important differences between artistic and scientific approaches to the past, as well as some limitations of Lakatos's analytical framework.During the 1960s and 1970s, partly in response to Thomas Kuhn, but also in reaction against other approaches to their field, several important philosophers of science sought to incorporate the history of science into their work. David J. Hess terms this tendency a historicist "period and style" 2 within philosophy of science. As the Hungarian philosopher Imre Lakatos (echoing Kant) contended, "Philosophy of science without history of science is empty; history of science without philosophy of science is blind." 3 Generalizing about how scientists think (or ought to think) while still bearing in mind actual science led some philosophers of science to devise subtle and provocative ways of viewing the past. Kuhn's notion of paradigms as "models from which spring particular coherent traditions of scientific research" 4 is the best known and influenced Stanley Fish and Frank Kermode. Generally, however, literary critics are unaware of philosophers' responses to Kuhn and of their attempts to refine his category of paradigm. Larry Laudan, for example, sought to delineate the role of "research traditions" in the natural sciences. As his terminology suggests, these formulations overlap to some extent with literary understandings of past practice.But how much overlap is there, and is it significant? While Kuhn and Laudan both mention the arts, they disagree about the relevance of their work to the humanities. In 1969, noting that "topics" such as "competing schools," "changing standards of value" and "altered modes of perception" "have long been basic for the art historian," Kuhn argued that The Structure of Scientific Revolutions "makes them central to... (shrink)

I had not read To Kill a Mockingbird since I was assigned it in middle school. However, recently I revisited the novel because many of my students—future teachers—mentioned that it was their favorite book. From what I remembered from middle school, the book was about the courage of Atticus Finch as he makes the unpopular, though just, choice to defend an innocent black man in court. As well, I remember the narrator, Scout, a very strong young woman who—like her (...) father—follows her convictions, even if these put her at odds with others. What I remembered made me feel as if I understood why my students might like the novel. I worked with future teachers at a Southern women’s college.1 The strength of the female.. (shrink)

“Looking for Asian America shows real people engaged in the full range of human activity. This is no small accomplishment for the photographer or his subjects. For Asian Americans it is extraordinary to be merely ordinary. To others, even if not to themselves, Asian Americans appear to be contradictions of identity—a Chinese-Yankee is a knockoff.” —Frank H. Wu, from the Foreword In search of contemporary Asian America, celebrated photographer Wing Young Huie—the only member of his family not born in (...) China—traveled with his wife Tara through nearly forty states to explore and document the funny, touching, and sometimes strange intersection of Asian American and American cultures. Looking for Asian America illustrates their rich and surprising journey across the United States. Through Huie’s eyes, keenly aware of his own Midwestern roots and perspective, we witness such images as a Vietnamese Elvis, Miss Congeniality on her cell phone in San Francisco’s Chinatown, a Hmong street sign in rural North Carolina, a meditating Falun Gong protestor in Washington, D.C., a bubble tea Valley Girl, and a Chinese theme park in Orlando. Huie’s camera captures ABCs, FOAs, and a self-described “redneck” Chinese restaurant owner near the Okefenokee Swamp. Taken together the photographs reveal a complex portrait of the U.S. cultural landscape, and their dignified elegance invites a closer, deeper look. Accompanied by the personal reflections of both Wing and Tara Huie, the nearly one hundred spectacular photos tell a story that both mirrors and contradicts stereotypes of Asian Americans, ultimately questioning what it means to be ethnic and American in the twenty-first century. Wing Young Huie has received widespread acclaim for his works, including Lake Street USA, documenting the cultural landscape of his native Minnesota. He is a recipient of a Bush Artist Fellowship and two-time recipient of the McKnight Photography Fellowship. He lives in Minneapolis. Frank H. Wu is dean of Wayne State University Law School and the author of Yellow: Race in America Beyond Black and White. Anita Gonzalez teaches in the Master of Liberal Studies Program at the University of Minnesota. (shrink)

The Implicit Association Test (IAT) was used to measure population levels of conceptual alignment among two polar sensory metaphors and clusters of concepts to which they are commonly applied. A total of 873 participants were tested online, to compare within- and between-cluster alignments of concepts associated with two different polar sensory metaphors (up/down and black/white). IAT results were sensitive to semantic alignments that were also picked up by Latent Semantic Analysis (LSA) using a large-scale corpus of English. However, even (...) with these semantic alignments taken into account, the dual categorization results demonstrated strong metaphor-cluster alignments over and above the predictions of LSA. It is proposed that, rather than ontogenetic development of metaphoric concepts based on sensorimotor experience, conventionalized sensorimotor metaphors in language may be cognitive tools that provide language learners with insights supported by conceptual properties of a phylogenetically evolved perceptual interface. (shrink)

In Black Museum, a young woman is out to take revenge on the man who imprisoned her father's digital self in a museum exhibit that allows sadistic visitors to reenact his execution. While the exhibit is morally detestable and some may think that the museum's curator gets what he deserves in the end, the woman's act of vengeance is morally disturbing. This chapter explores Martha Nussbaum's account of anger and forgiveness and considers Christian and Buddhist teachings. An argument by (...) David Kyle Johnson for the moral permissibility of revenge under certain circumstances is considered and rejected. The authors conclude that the act of revenge in Black Museum is not morally justified. (shrink)

In this essay, I sketch a preliminary, phenomenological definition of black horror cinema. I argue that black horror films are films in which blackness and antiblackness are depicted as unintelligible. I build this definition first by arguing that horror films generally evoke a mood of Heideggerian uncanniness, by which I mean that they create a global affective state in which the world is experienced as unintelligible. I then turn to the Afropessimist theorizing of Frank B. Wilderson, who (...) proposes both that blackness and antiblackness are phenomenologically graspable as unintelligible, and that cinema resists this unintelligibility by warping blackness and antiblackness. However, I thus contend that black horror is an exception to this rule. Black horror films take advantage of horror’s uncanny mood to craft a filmic world in which blackness and anti blackness are unintelligible. (shrink)

Knowledge is good, ignorance is bad. So it seems, anyway. But in this dissertation, I argue that some ignorance is epistemically valuable. Sometimes, we should suspend judgment even though by believing we would achieve knowledge. In this apology for ignorance (ignorance, that is, of a certain kind), I defend the following four theses: 1) Sometimes, we should continue inquiry in ignorance, even though we are in a position to know the answer, in order to achieve more than mere knowledge (e.g. (...) understanding) while minimizing the effects of confirmation bias. 2) It’s false that we should believe every proposition such that we are guaranteed to be right about it (and even such that we are guaranteed to know it) if we believe it. 3) Being in a position to know is the norm of assertion: importantly, this does not require belief or (thereby) knowledge, and so proper assertion can survive speaker-ignorance. 4) It can be permissible and conversationally useful to tell audiences things that it is logically impossible for them to come to know: Proper assertion can survive (necessary) audience-side ignorance. Cumulatively, this project suggests that, properly understood, ignorance has an important role to play in the good epistemic life. (shrink)

Does the universe embody beautiful ideas? Artists as well as scientists throughout human history have pondered this "beautiful question." With Nobel laureate Frank Wilczek as your guide, embark on a voyage of related discoveries, from Plato and Pythagoras up to the present. Wilczek's groundbreaking work in quantum physics was inspired by his intuition to look for a deeper order of beauty in nature. In fact, every major advance in his career came from this intuition: to assume that the universe (...) embodies beautiful forms, forms whose hallmarks are symmetry--harmony, balance, proportion--and economy. There are other meanings of "beauty," but this is the deep logic of the universe--and it is no accident that it is also at the heart of what we find aesthetically pleasing and inspiring. As he reveals here, this has been the heart of scientific pursuit from Pythagoras, the ancient Greek who was the first to argue that "all things are number," to Galileo, Newton, Maxwell, Einstein, and into the deep waters of twentieth-century physics. Gorgeously illustrated, A Beautiful Question is a mind-shifting book that braids the age-old quest for beauty and the age-old quest for truth into a thrilling synthesis. Yes: the world is a work of art, and its deepest truths are ones we already feel, as if they were somehow written in our souls.--From publisher description. (shrink)

One of our great contemporary scientists presents ten insights that illuminate what every thinking person needs to know about what the world is and how it works. Nobel Prize winner Frank Wilczek's Fundamentals is built around a simple but profound idea: the models of the world we construct as children are practical and adequate for everyday life, but they do not bring in the surprising and mind-expanding revelations of modern science. To do that, we must look at the world (...) anew, combining clear thinking with an openness to wonder. This "born again" world is in many ways larger, fuller, and much stranger than it appears. Through an exploration of space, time, matter, and ideas--and equipped with facts, questions, and brilliant speculations--Wilczek guides us through the past, present, and future of fundamental science. Readers will emerge with an expanded vision of our universe. Author Bio: Frank Wilczek won the Nobel Prize in Physics in 2004 for work he did as a graduate student. He was among the earliest MacArthur fellows, and has won many awards both for his scientific work and his writing. He is the author of A Beautiful Question, The Lightness of Being, Fantastic Realities, Longing for the Harmonies, and hundreds of articles in leading scientific journals. His "Wilczek's Universe" column appears regularly in the Wall Street Journal. Wilczek is the Herman Feshbach Professor of Physics at the Massachusetts Institute of Technology, founding director of the T. D. Lee Institute and chief scientist at the Wilczek Quantum Center in Shanghai, China, and a distinguished professor at Arizona State University and Stockholm University. (shrink)

Die {raquo}Revolution der Denkart{laquo} hat nicht nur den Anlauf genommen, welchem sie ihren Namen verdankt.! Gezahlt werden noch weitere Umstellungen der Theorie bildung als bloG die kopernikanische Kants. Hier interessieren gleich zwei. Die eine liefert den Gegenstand, die entsprechende, RevolutionPhanomenologie.

This paper describes the stakes of ongoing conversations in areas of queer theory and black studies on the epistemological, ethical, and political role of unintelligibility. In line with longstanding philosophical questions about the value of aporia as gap or absence in our understanding, thinkers like Lee Edelman and Frank Wilderson III have articulated how black and queer people have regularly fallen into spaces of unintelligibility as they have run against given formations of the social world. These thinkers (...) have theorized what this unintelligibility – what they will call this queerness or blackness – is other than an impetus for integration. The paper describes the dichotomy between two key positions in this conversation, resistance and refusal, suggesting these positions offer challenges better addressed through a conception of estrangement. (shrink)

I argue that popular understandings of white nationalist double speak strategies do not fully represent the practice of these strategies, and identify a linguistic tactic used by white nationalists that I call sugar-coating. Sugar-coating works by packing an otherwise unacceptable utterance together with some kind of reward, thereby promoting uptake. I contrast this with existing notions of double speak, such as figleaves (Saul 2017, 2021), dogwhistles (Haney-López 2014), and bullshit (Kenyon and Saul 2022). I argue that sugar-coating more accurately reflects (...) the practice of white nationalist recruitment rhetoric, as described in the Daily Stormer Style Guide. (shrink)

A long line of epistemologists including Sosa (2021), Feldman (2002), and Chisholm (1977) have argued that, at least for a certain class of questions that we take up, we should (or should aim to) close inquiry iff by closing inquiry we would meet a unique epistemic standard. I argue that no epistemic norm of this general form is true: there is not a single epistemic standard that demarcates the boundary between inquiries we are forbidden and obligated to close. In short, (...) such norms are false because they are insensitive to the potentially ambitious epistemic goals that agents may permissibly bring to bear on an inquiry. Focusing particularly on knowledge-oriented versions of the norm, I argue that ignorance has a positive role to play in epistemic life by licensing prolonged inquiry into questions that we especially care about. (shrink)