_The Arcades Project_, the monumental unfinished work of cultural criticism by Walter Benjamin, is the German philosopher’s effort to comprehend urban modernity through the 19th-century Parisian shopping arcade. _The Arcades: Contemporary Art and Walter Benjamin_ combines artworks with archival materials and poetic interventions to form an original, multifaceted response to this collagelike cultural text. Jens Hoffmann astutely pairs works by thirty-six well-known and emerging artists, including Lee Friedlander, Andreas Gursky, Pierre Huyghe, and Cindy Sherman, with the thirty-six “Convolutes,” or themes, (...) in Benjamin’s text. Bound into the main volume is a graphic novelette, from the imagination of Vito Manolo Roma, of Benjamin’s dream the night before he committed suicide while fleeing the Nazis. Scholarly essays by Hoffmann and Caroline A. Jones, texts selected by the poet Kenneth Goldsmith, reproductions of Benjamin’s handwritten notes, and a list of the main Paris arcades discussed by him round out this extraordinary publication. (shrink)

A few years ago, I found myself sitting next to a renowned Language poet at a poetry reading in a crowded downtown Manhattan venue. A longtime fan, I introduced myself and shared with him that I had just taught some of his infamously challenging poems in a poetry class at Tel Aviv University and that students were very responsive. When I mentioned that it was hard to get hold of some of his books but that we had found the poems (...) online, he told me how glad he was that, thanks to the internet, his work is accessible in Tel Aviv and everywhere else. Unable to resist the temptation to play language games with a Language poet, I responded by saying that his work was actually far from accessible. This pun/paradox seems to me to apply as well to the online archive UbuWeb—a “pirate library consisting of hundreds of thousands of freely downloadable avant-garde artifacts.” Founded in 1996, UbuWeb provides access to cultural artifacts in the form of video, text, and sound, works that are difficult to access not just because they are obscure, forgotten, unknown, rare, out of print, or otherwise hard to find, but because, as avant-garde, part of their operation involves, let us say, problematizing accessibility.UbuWeb's story is the subject of Duchamp Is My Lawyer, an accessible memoir/manifesto, deftly written by its founder and near-sole operator, the luminary conceptual artist Kenneth Goldsmith (“UbuWeb is mostly just me”). Its title, which Goldsmith takes from Virgil Abloh, raises at least two questions: Why does Ubu need a metaphorical lawyer, and why would Duchamp fill the bill? The first question has to do with the precarious legality of the website, which, as Goldsmith tells us in detail, almost never asks for permission from copyright holders, uploading materials first and dealing with consequences later. Much of the book deals with the maneuvering involved with “hiding in plain sight”—interpreting “fair use” broadly, and standing up to scary-sounding cease-and-desist letters that sometimes come from parties who are not even the actual rights holders of the material. Instead of playing the game of compliance, Ubu partakes in an anti-capitalist, free-for-all gift economy, never paying or asking for payment for the priceless treasures it houses. The democratic vision seeps into the selection and organization of the material on the website, which throughout the book Goldsmith describes as boundary-blurring, jumbled, unstable, biased, subjective, incomplete, fluid, idiosyncratic, and nonhierarchical.But again, why Duchamp? Ushering in an entire avant-garde tradition that Ubu celebrates, archives, and manifests in its own rebellious, outlaw spirit of operation, Duchamp, a hero in the book and, presumably, for its author, functions as both precedent and justification. After all, Ubu duplicates what Duchamp did in his most famous artistic intervention: the repurposing of found objects. In that sense, as Goldsmith writes, “UbuWeb can be considered one enormous appropriative artwork, a giant collage, which appropriates not a single object but rather the entire history of the avant-garde.” While the word entire is perhaps a stretch (and inconsistent with Goldsmith's many descriptions of the site's collection as inevitably partial and subjective), UbuWeb is best appreciated, I think, as a giant work of art made of works of art (some of which are themselves, in the tradition of “found art” and collage, made of works of art), a creative noncreation and akin to Goldsmith's own notion of “uncreative writing.” The radical accessibility it offers, from which so many users around the world continue to benefit, has thankfully not curtailed the equally radical inaccessibility of the material within. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Many people find comparisons of the value of persons distasteful, even immoral. But what can be said in support of the claim that persons have incomparable worth? This chapter considers an argument purporting to show that the value of persons is incomparable because it is so great—because it is infinite. The argument rests on two claims: that the value of our capacity for valuing must equal or exceed the value of things valued and that our capacity for valuing is unbounded (...) in a very strong sense. After laying out this argument, I consider its implications for how we should regard each other. In particular, I suggest that it complicates efforts to understand morality as a system of principles. Instead, I propose that an aesthetic attitude, not unlike our experience of the sublime, is an apt response to humanity’s infinite value. -/- . (shrink)

This dictionary, the first dedicated to the work of Gilles Deleuze, offers an in-depth and lucid introduction to one of the most influential figures in continental philosophy. It defines and contextualizes more than 150 terms relating to Deleuze's philosophy, including "becoming," "body without organs," "deterritorialization," "difference," "repetition," and "rhizome." The entries also explore Deleuze's intellectual influences and the ways in which his ideas have shaped philosophy, feminism, cinema studies, postcolonial theory, geography, and cultural studies. More than just defining and describing (...) specific terms, the dictionary elaborates on Deleuze's ideas to reveal the varied applications of his philosophy. The contributors, who include some of the most prominent Deleuze scholars, bring their expert knowledge and critical opinion to bear on the entries. Their work provides a range of theoretical, historical, and aesthetic contexts for anyone interested in Deleuzian thought. Contributors include: Ronald Bogue, University of Georgia; Rosi Braidotti, Utrecht University; Claire Colebrook, University of Edinburgh; Tom Conley, Harvard University; Eugene Holland, Ohio State University; Tamsin Lorraine, Swarthmore College; Paul Patton, University of New South Wales; Kenneth Surin, Duke University; Alberto Toscano, Goldsmiths College. (shrink)

George Berkeley is one of the greatest and most influential modern philosophers. In defending the immaterialism for which he is most famous, he redirected modern thinking about the nature of objectivity and the mind's capacity to come to terms with it. Along the way, he made striking and influential proposals concerning the psychology of the senses, the workings of language, the aims of science, and the scope of mathematics. In this Companion volume a team of distinguished authors not only examines (...) Berkeley's achievements but also his neglected contributions to moral and political philosophy, his writings on economics and development, and his defense of religious commitment and religious life. The volume places Berkeley's achievements in the context of the many social and intellectual traditions - philosophical, scientific, ethical, and religious - to which he fashioned a distinctive response. (shrink)

_Grounds of Pragmatic Realism_ shows Hegel is a major epistemologist, who disentangled Kant’s critique of judgment, across the Critical corpus, from transcendental idealism, and augmented its enormous evaluative and justificatory significance for commonsense knowledge, the natural sciences and freedom of action.

One of the boldest claims one finds in the enactivist and embodied cognition literature is that perceiving is bodily action. Research on the role of eye movements in vision have been thought to support PBA, whereas research on paralysis has been thought to pose no challenge to PBA. The present paper, however, will argue just the opposite. Eye movement research does not support PBA, whereas paralysis research presents a strong challenge that seems not to have been fully appreciated.

Schiller says that “it is only through beauty that man makes his way to freedom.” Here I attempt to defend a claim in the same spirit as Schiller’s but by different means. My thesis is that a person’s autonomous agency depends on their adopting an aesthetic identity. To act, we need to don contingent features of agency, things that structure our practical thought and explain what we do in very general terms but are neither universal nor necessary features of agency (...) as such. Without these things, the question of what to do for any individual would be underdetermined. The problem is that adopting such a contingent form of agency amounts to a restriction on what we can do, and so it is a prima facie threat to our autonomy. I will argue that one way, and indeed the only way, of meeting this challenge lies in aesthetic experience. Granting our capacity for aesthetic pleasure the authority to determine the particularities of our agency is compatible with autonomy because doing so means identifying with one’s capacity for pleasure in free and creative activity. Doing this allows us to be both particular sorts of agents and creatures regulated by the universalizing demands of reason. (shrink)

The charged debate on the ‘C‐S‐R‐ization’ of organizational practices seems to have produced two opposing and seemingly incompatible explanations for why organizations should engage in corporate social responsibility (CSR): one, the normative rationale based on an appeal to ethics; and the other, the instrumental rationale, based on an appeal to business pragmatism. This paper argues that a missing link in this debate is the failure to recognize that the normative and instrumental approaches to corporate social responsibility are underpinned by substantively, (...) differentiating, relative logics of emotional rationalism on the one hand, and instrumental rationalism on the other. The paper makes a case that for CSR as a management practice to be practicable and actionable within a sustainable business agenda, it will need to be stripped of its current normative undertone and reconstructed in the instrumentally, pragmatic (utlish) language of business. Otherwise, the whole concept of CSR may continue to dwell in the realm of abstract theorizing without yielding many beneficial and practicable outcomes. The paper concludes that such an approach that situates CSR within a pragmatic business lingua, rather than a non‐business lingua, will help in legitimizing CSR as a ‘neutral’ management practice. (shrink)

‘Universalist’ moral principles have fallen into disfavour because too often they have been pretexts for unilateral impositions upon others, whether domestically or internationally. Too widely neglected has been Kant’s specifically Critical re-analysis of the scope and character of rational justification in all non-formal domains, including the entirety of epistemology and moral philosophy, including both justice and ethics. Rational judgment is inherently normative because it is in part constituted by our self-assessment of whether the considerations we now integrate into a candidate (...) judgment have been integrated as they ought, so as to form a cogent, justifiable judgment. Constitutive of this self-assessment is that rational judgments must be based upon considerations which can be communicated to all others, such that they too can assess them as sufficiently cogent justification; also constitutive of this rational self-assessment is that we actually engage with others who do assess our judgments. Kant’s Critical principles rule out in principle any unilateral imposition upon others, whether in cognition or morals. Using Kant’s Critical principles and methods in connection with ‘practical anthropology’ and the enormously important domain of acquired rights and obligations shows how Kant had already justified fundamentally universal principles of justice which can be institutionalised in variously distinctive cultures, and which form the proper bases for our acquired, specifically social rights and obligations, including those of friendship and community. (shrink)

A philosopher may develop ideas on his or her own or follow them in the works of others. Different kinds of documentary threads will develop. Historians of a subject may follow either kind. In the period of _Toward “Principia Mathematica”, 1905–08_, Russell engaged with developments in the writings of Poincaré, Haldane, Schiller and Berry, among others. What follows are remarks on supplementary documents (one being on-line) for a fuller study of logical and philosophical threads in the period.

Traditionally, questions about the role of the arts in moral thought have focused on the arts’ role in the acquisition of new moral knowledge, the refinement of moral concepts, and the capacity to apply our moral view to particular situations. Here I suggest that there is an importantly different and largely overlooked role for the arts in moral thought: an ability to reconfigure the structure of our moral thought and effect what we might call a revolution in that framework. In (...) this article I explain this distinction between two kinds of change in view, suggest the second type has not been addressed by the extant literature, provide examples of this role, and argue for its importance. (shrink)

Anne Conway’s Principles of the Most Ancient and Modern Philosophy, first published in 1690, is probably the most ambitious contribution to early modern metaphysics by a woman writing in the English language. This beautifully prepared edition makes Conway’s treatise available to twentieth-century readers in an accessible English translation of the 1690 Latin text—itself a translation of an original English manuscript that has long been lost.

Includes generous selections from the Essay, topically arranged passages from the replies to Stillingfleet, a chronology, a bibliography, a glossary, and an index based on the entries that Locke himself devised.

In the article Privacy and Health Practices in the Digital Age, the authors describe current privacy challenges for digital health data and review the theoretical framework on privacy in the contex...

This book, published in 1976, presents an entirely original approach to the subject of the mind-body problem, examining it in terms of the conceptual links between the physical sciences and the sciences of human behaviour. It is based on the cybernetic concepts of information and feedback and on the related concepts of thermodynamic and communication-theoretic entropy. The foundation of the approach is the theme of continuity between evolution, learning and human consciousness. The author defines life as a process of energy (...) exchange between organism and environment, and evolution as a feedback process maintaining equilibrium between environment and reproductive group. He demonstrates that closely related feedback processes on the levels of the behaving organism and of the organism’s nervous system constitute the phenomena of learning and consciousness respectively. He analyses language as an expedient for extending human information-processing and control capacities beyond those provided by one’s own nervous system, and shows reason to be a mode of processing information in the form of concepts removed from immediate stimulus control. The last chapter touches on colour vision, pleasure and pain, intentionality, self-awareness and other subjective phenomena. Of special interest to the communication theorist and philosopher, this study is also of interest to psychologists and anyone interested in the connection between the physical and life sciences. (shrink)

I consider Ralph Waldo Emerson’s creative appropriation of a philosophical doctrine that helps to make sense of an attitude towards life, its gifts and its burdens, that is often expressed in Puritan diaries. The doctrine, now known as the doctrine of continuous creation, holds that in conserving the world, God re-creates it at every moment, making the same creative effort at each ever-advancing now that God made at the very beginning. Continuous creation was explicitly endorsed by at least one Puritan (...) diarist, Jonathan Edwards, and it helps to explain the intense self-inspection and valiant response to life to which other Puritan diarists (including Emerson's aunt, Mary Moody Emerson) testify. Continuous creation was an important ingredient in the idealism of Edwards and, once translated, it became an important ingredient in the idealism of Emerson. My primary aim to describe Emerson’s creative translation of the doctrine as Edwards understood it, but I also discuss Emerson's relation to the Puritan diary, considered as a literary form. I close by suggesting that for us, a version of the doctrine of continuous creation can perhaps be a source of optimism and an incentive to action, as I believe it was for Emerson. I also comment briefly on Emerson's grateful reliance on text-to-text translations. When Emerson studied translations of sacred texts from around the world, what he heard was not difference and dissent, but agreement: agreement on the very points that united him with Edwards, different as they were in other ways. (shrink)

Applying the analytical methods of modern logic to problems of interpretation in Plato, the author traces the development of Plato's analytic method from the crude form expressed in the Phaedo to the considerably more sophisticated and powerful techniques practiced in the later methodological dialogues.

_A study of the first half of Kant’s Critique of Judgment._.

Some philosophers posit a connection between normativity and agency. This connection allows us to infer propositions about what we ought to do or what reason we have to do from the conditions of action. This chapter considers arguments for this connection. In particular, the chapter argues that not only do the conditions of generic agency have important normative implications for us, but so too do the conditions of narrower, more contingent, and more local kinds of agency. Finally, objections to this (...) thesis are summarized and rejected, in part because they presuppose our having far more control over what our deliberations require in the way of agency than we actually do. -/- . (shrink)

_Mirroring and Attunement_ offers a new approach to psychoanalysis, artistic creation and religion. Viewing these activities from a broadly relational perspective, Wright proposes that each provides a medium for creative dialogue: the artist discovers himself within his self-created forms, the religious person through an internal dialogue with ‘God’, and the analysand through the inter-subjective medium of the analysis. Building on the work of Winnicott, Stern and Langer, the author argues that each activity is rooted in the infant’s preverbal relationship with (...) the mother who ‘holds’ the emerging self in an ambience of mirroring forms, thereby providing a ‘place’ for the self to ‘be’. He suggests that the need for subjective reflection persists throughout the life cycle and that psychoanalysis, artistic creation and religion can be seen as cultural attempts to provide the self with resonant containment. They thus provide renewed opportunities for holding and emotional growth. _Mirroring and Attunement_ will provide essential reading for psychoanalysts, psychotherapists, and art therapists and be of interest to anyone working at the interface between psychoanalysis, art and religion. _ _. (shrink)

In Erwiderung auf Kohlbergs Theorie moralischer Entwicklung betont Gilligan (1982, 2. Aufl.: 1993, S. 18 – 9), dass seine Theorie völlig von ihrem postulierten Ziel abhänge, nämlich einer prinzipien-geleiteten Urteilskraft. Hier wird nun analysiert, inwiefern Gilligans Diagnose nur die Spitze eines moralischen sowie theoretischen Eisbergs dadurch beleuchtet, dass ihre Untersuchungen der Klärung dienen, inwiefern Kohlbergs Etappen „Fünf“ und „Sechs“ eine spezifische Theorie des „moralischen Standpunkts“ voraussetzen, bei der Fragen der Gerechtigkeit und zu viel von dem, was wir einander und auch (...) uns selbst schulden, vernachlässigt werden. Um dies zu zeigen, untersuche ich zunächst, wie klassische Gerechtigkeitsfragen für teleologische Ethiktheorien nicht nur einmal, sondern zweimal verloren gegangen sind (§ 2). Ein wichtiges Beispiel dafür ist die radikale Kehre in der „ethischen Theorie“ zu Beginn des anglophonen 20. Jahrhunderts (C.E.), repräsentiert durch die Kehre von Moore, Prichard und Ross hin zu Partikularismus und Intuitionismus und deren prinzipielle Missachtung des tatsächlichen Verhaltens im tatsächlichen Kontext eines jeglichen Agenten (§ 3). Ein zweiter wichtiger Fall betrifft die liberal-individualistische Grundlage von Untersuchungen zu „der“ moralischen Sichtweise aus der Mitte des 20. Jahrhunderts (C.E.) und Vorstellungen von „Unparteilichkeit“, die Kant oft, aber fälschlicherweise zugeschrieben werden (§§ 4 – 7). Diese Überlegungen ermöglichen es, einige zentrale methodologische Verwirrungen zu identifizieren (§ 8), die unvermeidlich auch einige schwerwiegende moralische Verwirrungen erzeugen – Verwirrungen, die Kohlbergs Theorie der moralischen Entwicklung zugrunde liegen, von denen einige durch Gilligans Einwände gegen seine Theorie identifiziert werden (§ 9). Diese kritischen Überlegungen erlauben es mir dann, wesentliche Züge von Kants kritischem Ansatz zur Moralphilosophie zu charakterisieren (§ 10). Kants scharfsinnige Theorie moralischer Urteile und moralischer Rechtfertigung erfordert keine Berufung auf den einzigen inkommensurablen Wert der „Würde“; auch ist seine Darstellung nicht individualistisch: Die „Universalität“, die erforderlich ist, um Prinzipien, Handlungen und unsere moralischen Verpflichtungen, Erlaubnisse oder Verbote zu identifizieren und zu bewerten, ist im Prinzip und in der Praxis kosmopolitisch. Kants ‚konstruktiver‘ Ansatz zu diesen Fragen ist nicht der von Rawls; er wird vielmehr von Onora O’Neill korrekt identifiziert. Kants Explikation des rationalen Urteils und der rationalen Rechtfertigung kann das Pyrrhonsche Kriteriumsdilemma auflösen; alternative Methoden, die in der Moralphilosophie bevorzugt worden sind, können dies nicht. (shrink)

Skeptical theists have been charged with being committed to global skepticism. I consider this objection as it applies to a common variety of skeptical theism based on an epistemological principle that Stephen Wykstra labeled “CORNEA.” I show how a recent reformulation of CORNEA (provided by Stephen Wykstra and Timothy Perrine) affords us with a formal apparatus that allows us to see just where this objection gets a grip on that view, as well as what is needed for an adequate response. (...) I conclude by arguing that, given some plausible, modest, and independently motivated anti-skeptical principles, this objection poses no threat to Wykstra’s brand of skeptical theism. (shrink)

Catholic evolutionists have proposed to reconcile evolutionary anthropogenesis with Catholic doctrine by suggesting that a created soul could be infused into a body produced by evolution from an animal body. Could such an infusion yield not just a Platonic composite but a being with the unity of substance required by a Thomistic philosophy of nature? How could such a soul be the form of the body into which it was infused? This paper suggests that animals seem to have sense-powers with (...) a level of complexity, if not sufficient to underlie the abstraction of concepts in a being that also has a rational soul, then at least nearly so. The burden of proof lies rather on those who think that evolutionary development of such powers is not possible. In its final section, the paper argues that the existence of Eve as a second, and the only additional, initial rational being does not create special problems for the view here articulated. (shrink)

Michel Foucault is often criticised in English-speaking circles for being interested only in power as domination, and of being uninterested in freedom and social reform. This paper shows, however, that Foucault's overarching concern was with the constitution of the self under conditions of modernity. It emphasises the significance of his interest in the Classical project of ‘Self-care’, and of his countermodernist educational programme in which the skills of self-governance and the ethical (non-dominating) governance of others, as well as the practice (...) of freedom through self-creation, are the key ingredients. (shrink)