Research suggests that the experience of meaningless work is prevalent in various occupations, and that it is destructive for organizations and individuals, making this an issue of major ethical importance. In this paper, we present the results of a qualitative study based on interviews with Canadian public servants who self-identified as experiencing meaninglessness at work. Our main goal is to better understand participants' responses to the experience of meaningless work and the broader implications their experiences (...) had on the rest of their lives. We surface and explore the harms inflicted on participants through their experiences with meaningless work and suggest that these harms may have been made worse by structural features of our study's public-sector setting. We contribute to organization studies literature by showing the intersection of meaningless work with three related concepts: bullshit jobs, empty labour, and functional stupidity and argue that our empirical findings complement and complicate these frameworks by presenting the complex but hidden emotional experiences that can accompany outwardly observable workplace behaviours. (shrink)

In this study of Giorgio Agamben's pre-Homo Sacer work, I assess his idea of the ethical subject. Over the course of these early writings, he adopts a Walter Benjamin-inspired redemptive aim as he endeavours to uncover the circumstances of alienated subjectivity and possibility of authentic experience. However, while Agamben borrows from Benjamin to elaborate on the ethical potential of the nihilist pose, a more Kantian conception of idealist autonomy becomes increasingly pronounced. This Kantianism is at odds with the Benjaminian (...) nihilism that guides his redemptive prescription, leaving Agamben's ethical subject mired in a realm of meaningless authenticity. (shrink)

In psychological and managerial literature, the meaning of work boasts a long tradition; in this topic, scholars and researchers have explored sources of meaning and meaningfulness of the working activity in workers' motivations, values, and beliefs. Less attention, however, is given to the function work has in terms of signifier of each individual's personal identity. This article aims at deeply examining the relationship between identity construction and meaning of work, focusing on this theme through the exploration of (...) Charles Bukowski's narrative world. My attention was particularly focused on representations and emotional connotations characterizing the relationship between identity and work, deduced by the content analysis of his literary production. Bukowski's difficult working experience sustainability intersects with the instability scenario of the second postwar period in the United States, recursively affecting the development of a self-reflexive thought around which an idea of oneself could be modeled. In this sense, the author's experience is paradigmatic for the contemporary condition, in so far as today's work experience, deprived of a shared meaning system, negatively influences the meaning attribution process involving one's own life experiences. (shrink)

Boredom is an affective experience that can involve pervasive feelings of meaninglessness, emptiness, restlessness, frustration, weariness and indifference, as well as the slowing down of time. An increasing focus of research in many disciplines, interest in boredom has been intensified by the recent Covid-19 pandemic, where social distancing measures have induced both a widespread loss of meaning and a significant disturbance of temporal experience. This article explores the philosophical significance of this aversive experience of ‘pandemic boredom.’ Using Heidegger’s work (...) as a unique vantage point, this article draws on survey data collected by researchers in an ongoing project titled ‘Experiences of Social Distancing During the Covid-19 Pandemic’ to give an original phenomenological interpretation of the meaninglessness and monotony of pandemic boredom. On a Heideggerian interpretation, pandemic boredom involves either a situative confrontation with relative meaninglessness that upholds our absorption in the everyday world, or an existential confrontation with absolute meaninglessness that forces us to take up the question of our existence. Arguing that boredom during the pandemic makes this distinction difficult to sustain, I consider some of the ways in which pandemic boredom might be seen to expose and then exceed the distinctive methodological limitations of Heidegger’s philosophical interpretation of boredom. (shrink)

What would the world be like if we no longer needed meaning? Australian sociologist Michael Casey's revealing work charts the collapse of the metaphysical world and the innate human need for meaning. With the decline of Christianity and the demise of secular universalism in the west, the meaning and value of metaphysical culture has been replaced by an entirely new post-metaphysical world. In Meaninglessness, Casey revisits the social theory of Nietzsche, Freud, and Rorty, in order to conceive how this (...) post-metaphysical culture may take shape in the third millennium. Framing questions of enduring significance to contemporary social and political theory in a new methodological light, this work will appeal to scholars and general readers interested in sociology, post-modernism, cultural studies, political theory, and philosophy. (shrink)

What would the world be like if we no longer needed meaning? Australian sociologist Michael Casey's revealing work charts the collapse of the metaphysical world and the innate human need for meaning. With the decline of Christianity and the demise of secular universalism in the west, the meaning and value of metaphysical culture has been replaced by an entirely new post-metaphysical world. In Meaninglessness, Casey revisits the social theory of Nietzsche, Freud, and Rorty, in order to conceive how this (...) post-metaphysical culture may take shape in the third millennium. Framing questions of enduring significance to contemporary social and political theory in a new methodological light, this work will appeal to scholars and general readers interested in sociology, post-modernism, cultural studies, political theory, and philosophy. (shrink)

The problem of suffering crucially focuses on meaninglessness. Meaningful suffering—suffering having some “point” or function—is not as problematic as absurd suffering that cannot be rendered purposeful. This issue is more specific than the problem of the “meaning of life” (or “meaning in life”). Human lives are often full of suffering experienced as serving no purpose whatsoever – indeed, suffering that may threaten to make life itself meaningless. Some philosophers—e.g., D.Z. Phillips and John Cottingham—have persuasively argued that the standard analytic (...) methods of philosophy of religion in particular ought to be enriched by literary reading and interpretation, especially when dealing with issues such as this. The problem of evil and suffering can also be explored from a perspective entangling literary and philosophical approaches (Kivistö & Pihlström, 2016). This double methodology is in this paper applied to the problem of evil and suffering by considering an example drawn from Holocaust literature: Primo Levi’s work is analyzed as developing an essentially ethical argument, with a philosophical-cum-literary structure, against theodicies seeking to render suffering meaningful. By means of such a case study, I hope to shed light on the problem of meaningless suffering, especially regarding the moral critique of “theodicist” attempts to interpret all suffering as meaningful. (shrink)

The views of John Dewey and Kurt Vonnegut are often criticized for opposite reasons: Dewey’s philosophy is said to be naively optimistic while Vonnegut’s work is read as cynical. The standard debates over the views of the two thinkers cause readers to overlook the similarities in the way each approaches tragic experience. This paper examines Dewey’s philosophic account of time and meaning and Vonnegut’s use of time travel in his autobiographical novel Slaughterhouse-Five to illustrate these similarities. This essay demonstrates (...) how both Dewey and Vonnegut embrace the ameliorative possibilities of art for preserving individuality and meaning in the face of tragic experience. (shrink)

This paper argues that the principles of spiritual traditions provide normative ‘standards of goodness’ within which practitioners evaluate meaningful work. Our comparative study of practitioners in the Buddhist and Quaker traditions provide a fine-grained analysis to illuminate, that meaningfulness is deeply connected to particular tradition-specific philosophical and theological ideas. In the Buddhist tradition, meaningfulness is temporal and rooted in Buddhist principles of non-attachment, impermanence and depending-arising, whereas in the Quaker tradition, the Quaker testimonies and theological ideas frame meaningfulness as (...) eternal. Surprisingly, we find that when faced with unethical choices and clashes between organizational normativity and spiritual normativity, Buddhist practitioners acknowledge the temporal character of meaningfulness and compromise their moral values, whereas in contrast, Quaker practitioners morally disengage from meaningless work. Our study highlights how normative commitments in different spiritual traditions can influence different levels of adaptability in finding work meaningful and stresses the central importance of normative commitments in meaningful work. Our study concludes with practical implications and future pathways for inter-disciplinary research. (shrink)

Meaningful work refers to the idea that human work is an integral part of the way we think of our lives as going well. The concept is prevalent in sociology and business studies. In philosophy, its discussion tends to revolve around matters of justice and whether the State should take steps to eradicate meaningless work. However, despite the breadth of the recent, general literature, there is little to no discussion about how it is in fact the (...) case that work is meaningful. There is a basic assumption that certain facts about work make it meaningful. After noting the shortcomings in the literature, this essay argues that we can better understand the production of meaning in work by an analogy to speech acts. Using Paul Ricoeur’s theory of action as discourse, one can see how meaning is predicated in the performance of work in ways that are locutionary, illocutionary, and perlocutionary. (shrink)

The concept of meaningful work is used to evaluate the quality of work. Typical cases of meaningless work that have been used to clarify this concept are assembly line work, and work involving other types of mindless tasks, but also David Graeber's ‘bullshit jobs’. I argue that there are at least two fundamental reasons to care about meaningful work: reasons from the wellbeing of the worker and reasons pertaining to meaningfulness of the worker's (...) life. I first argue that a concept of meaningful work needs to reflect these two values, but that these two values may come apart. Because of this, accounts that provide a single answer to the question to what extent a particular work context is meaningful work for a particular worker are unable to reflect these two values. I then survey three promising accounts of meaningful work: perfectionism, which captures the self-interested aspect of meaningful work well but fails to capture the meaningfulness aspect appropriately; consequentialism, which captures the meaningfulness aspect well but fails to capture the self-interested aspect; and Wolf's Fitting Fulfilment View of meaningful projects, which can be read as addressing both concerns but leads to implausible judgments about meaningful work. I then argue that we should conceive of the concerns that fall under the notion of meaningful work as two separate concepts and values. The best work incorporates both these dimensions but falling short on either dimension is problematic for different reasons. (shrink)

The concept of meaningful work is used to evaluate the quality of work. Typical cases of meaningless work that have been used to clarify this concept are assembly line work, and work involving other types of mindless tasks, but also David Graeber's ‘bullshit jobs’. I argue that there are at least two fundamental reasons to care about meaningful work: reasons from the wellbeing of the worker and reasons pertaining to meaningfulness of the worker's (...) life. I first argue that a concept of meaningful work needs to reflect these two values, but that these two values may come apart. Because of this, accounts that provide a single answer to the question to what extent a particular work context is meaningful work for a particular worker are unable to reflect these two values. I then survey three promising accounts of meaningful work: perfectionism, which captures the self-interested aspect of meaningful work well but fails to capture the meaningfulness aspect appropriately; consequentialism, which captures the meaningfulness aspect well but fails to capture the self-interested aspect; and Wolf's Fitting Fulfilment View of meaningful projects, which can be read as addressing both concerns but leads to implausible judgments about meaningful work. I then argue that we should conceive of the concerns that fall under the notion of meaningful work as two separate concepts and values. The best work incorporates both these dimensions but falling short on either dimension is problematic for different reasons. (shrink)

Meaningful work is both a moral issue and an economic one. Studies show that workers’ experience of meaninglessness in their jobs contributes to job dissatisfaction which has negative effects to business. If having a meaningful work is essential for the well-being of workers, providing them with one is an ethical requirement for business establishments. The essay aims to articulate an account of meaningful work in the Catholic social teachings. CST rejects the subjectivist and relativist notion of (...) class='Hi'>work which affirms the absolute freedom of individuals to choose their commitment and goals, even if this includes experiencing satisfaction in dehumanizing work. First, the paper will present a summary account of some of the current views on meaningful work from the objective-normative approach. This will be followed by a systematic treatment of the meaning and value of work in the CST, the similarities and differences it has with alternative views, and its implications for the way we promote meaningful work. The paper will argue that by recognizing the subjective and objective dimensions of work and affirming that although the two are inseparable, the former takes priority over the latter; CST develops a holistic, comprehensive, and coherent account of meaningful work which overcomes some of the difficulties that are usually encountered in dealing with this issue from a purely objective approach. (shrink)

In conflating opposing meanings of the term “ritual,” arising from historical Western cultural conflicts regarding church and state, this target article begs fundamental questions. Its appeals to cognitive science concepts such as “working memory” are poorly informed and obfuscate what could have been a far more penetrating and less biased discussion of stereotyped human action. (Published Online February 8 2007).

The increasing adoption of automated technologies in the world of work results in starkly opposing predictions. Some scholars argue that these technologies could lead to the utopian emancipation of society from economic necessity and meaningless work (Srnicek and Williams 2015, Bastani 2019, Danaher 2019 ); other scholars warn of the unintended technological unemployment and dystopian social upheaval that these technologies threaten (Ford 2015 ; Jones 2021 ; Mueller 2021 ). In either instance, the increasing presence of Artificial (...) Intelligence (AI) and automation in the world of work is forcing us to consider conceptions of work beyond economic necessity: but the drive to remove necessity as a whole from the human condition can lead to unintendedly bleak and inhuman futures, where meaningful work might be made redundant by the very technologies intended to provide it. In response, this paper will critique conceptions of work as paid employment, while also highlighting the limits of adopting wholly technological means to remove economic necessity. I will offer an alternate understanding of work beyond paid employment, as two distinct modes of activity: _labour_ and _work_. In doing so, I will recontextualise necessity in work beyond economics, and provide a foundation for pursuing meaningful work, both now and into the future. (shrink)

Remote work, understood here as a working environment different from the traditional office working space, is a phenomenon that has existed for many years. In the past, workers voluntarily opted, when they were allowed to, to work remotely rather than commuting to their traditional work environment. However, with the emergence of the global pandemic (corona virus-COVID-19), people were forced to work remotely to mitigate the spread of the virus. Consequently, researchers have identified some benefits and adverse (...) effects of remote work, especially in the age of COVID-19, ranging from flexible time and environment to technostress and isolation. In this paper, using a phenomenological approach, specifically, the sub-Saharan African experiences, I contend that remote work in the age of advanced technologies has obscured the value of relationality due to the problem of isolation in sub-Saharan African workplaces. For sub-Saharan Africans, relationality is a prerequisite moral value to becoming a person. In addition, relationality contributes to meaningfulness in the workspace. Obscuring the value of relationality in the aforementioned locale leads to meaninglessness in the workspace. Furthermore, this paper contributes to the existing literature on meaningful work by critically showing the importance of the value of relationality as a key element that adds meaning to work in sub-Saharan Africa. (shrink)

In general, meaningful work has been conceived to be a matter of institutional obligation and individual choice. In other words, solong as the institution has fulfilled its objective moral obligation to make meaningful work possible, it is up to the subjective volition of the individual to choose or not to choose work that is perceived to be meaningful. However, this conception is incomplete in at least two ways. First, it neglects the role of institutional volition; that is, (...) it does not emphasize enough that the institution’s purpose itself can be meaningful (or meaningless). Second, the standard conception of meaningful work says surprisingly little about the moral obligation of the individual—to anyone but the individual herself—to pursue meaningful work. The immediate and sustained responses to the September 11, 2001, attacks suggest that there is an important relationship between meaningful work and the moral worth of institutions and individuals. To explore that relationship, this paper examines stories of three jobs that tragically coincided on September 11, 2001: broker, firefighter, and terrorist. (shrink)

PurposeRobots have a history of replacing human labor in undesirable, dirty, dull and dangerous tasks. With robots now emerging in academic and human-centered work, this paper aims to investigate psychological implications of robotizing desirable and socially rewarding work.Design/methodology/approachTesting the holistic stress model, this study examines educational professionals’ stress responses as mediators between robotization expectations and future optimism in life. The study uses survey data on 2,434 education professionals.FindingsRespondents entertaining robotization expectations perceived their work to be less meaningful (...) and reported more burnout symptoms than those with no robotization expectations. Future optimism about life was not affected by robotization expectations alone, but meaninglessness and burnout symptoms mediated the relation between expectations of robotization and future optimism.Practical implicationsRobotization may be viewed as challenging the meaningfulness of educational work by compromising ethical values and interaction. To prevent excess stress among personnel, robotization should be planned together with employees in co-operation negotiations. This implicates the need for co-designing technological changes in organizations especially in the cases of social use of robots.Originality/valueWork’s meaningfulness in robotization is a novel research topic and a step toward socially sustainable robotization. (shrink)

As research on meaning in work progresses, access to theoretically integrated, differentiated survey instruments becomes crucial. In response to this demand, the present article introduces ME-Work, a modular inventory to measure meaning in work. Derived from research findings on meaning in life, the ME-Work inventory offers three modules that can be used separately or jointly. Module 1 assesses four facets of meaning in work, i.e., coherence, significance, purpose and belonging; module 2 measures the subjective assessment (...) of work as meaningful or meaningless, and module 3 records the extent to which work is perceived as a source of meaning. We report on the development of the instrument and the results of an exploratory factor analysis in a pilot study of 115 working adults. A further study with 278 working adults provided evidence for construct and incremental validity. Relationships with meaning in life, mental health, job satisfaction, socio-moral climate, burnout and work as meaning were investigated. Confirmatory factor analysis supported the factor structure. Gender-specific analyses of the four facets of meaning’s differential predictive power provided additional insights. Practical implications and further research needs are discussed. (shrink)

Growing economic inequality, workforce precarity, the perceived meaninglessness of many jobs, and the prospect of widespread technological unemployment have led to an unprecedented level of critical scrutiny of the institution of work. Some scholars go so far as to propose that we should take seriously, or even embrace, a “post-work” future. This volume aims to provide the first critical overview of the scholarly arguments about the design and desirability of such a “post-work” world. Topics addressed in its (...) chapters include the historical origins of the work ethic; work’s relation to freedom, leisure, and self-realization; alternative visions of a post-work world; the intersection of post-work thinking with economic justice; and post-work’s relevance to environmental sustainability, care work, and democratic change. (shrink)

During his prolific career, Reinhart Koselleck left his mark on a myriad of topics beyond the history of concepts: iconology, memory, and temporality. The first part of this piece is a never before published English translation of one of Koselleck’s numerous public interventions. Second, taking as a starting point his reflection about the end of the war and the impossibility to collectivize certain memories, this article links his considerations about the unsayable with his work on images and political sensuality. (...) Going beyond a simple analysis of Koselleck’s writings, the article opens a dialogue between the history of concepts and affective memories, offering news ways to link experiences, emotions, and practices while underlining the limits of communication and collective memory. (shrink)

A basic income might be able to correct for the income related losses of unemployment, but what about the meaning/purpose related losses? For better or worse, many people derive meaning and fulfillment from the jobs they do; if their jobs are taken away, they lose this source of meaning. If we are about the enter an era of rampant job loss as a result of advances in technology, is there a danger that it will also be an era of rampant (...) meaninglessness? In this chapter, I offer counsel against any such despair. I argue that we should encourage the withdrawal from the world of work into a more personal world of games.We should do this because (a) work is structurally bad and getting worse as a result of technology; and (b) a more ludic, game-like life would help us to attain a valuable form of human flourishing. I offer three arguments in support of this view, and respond to critics who argue that withdrawing from the demands of work would result in a more selfish and impoverished form of existence. (shrink)

Religious beliefs are defined as thinking, feeling and behaving in accordance with the beliefs and teachings of a religious system. In other words, religious beliefs are indicative of the role of religion in the individual and social life of people, as well as adherence to values and beliefs in daily life, performing religious practices and rituals and participating in activities of religious organisations. Religious beliefs are a set of dos and don'ts, and values are considered one of the most important (...) psychological supports that can provide meaning in all moments of life and save a person from meaninglessness by providing explanatory support in specific situations. In addition, work conscience is defined as a feeling of inner commitment to comply with agreed-upon requirements for work. In other words, work conscience means heartfelt satisfaction and practical commitment to the tasks that a person is supposed to perform properly, in a way that there will be no negligence in performing the duty even if no supervisor oversees the activity. Given the significant role of nurses in hospitals, especially during the coronavirus disease 2019 (COVID-19) pandemic, the religious beliefs of healthcare employees have become more important. Therefore, the present study aimed to evaluate the effect of religious beliefs on the work conscience of 1800 Muslim nurses in Iraq during the COVID-19 pandemic in 2021. Standard questionnaires were applied to assess the respondents' religious beliefs and work conscience. In addition, data analyses (Cronbach's alpha, Pearson's correlation, etc.) were performed in Statistical Package for the Social Sciences (SPSS). According to the results, religious beliefs have a positive effect on nurses' work conscience (p = 0.822). CONTRIBUTION: The findings of this study showed that the employees of an organisation, especially nurses and healthcare staff, can rely on their religious beliefs and benefit from their advantages in order to strengthen their work conscience during a hard time such as the COVID-19 pandemic. (shrink)

In the context of present capitalist societies, the book seeks philosophical reflections on new forms of domination, vulnerabilities and alienation in social relations of work. Following Hannah Arendt, who viewed labor and work as world-building activities, the book addresses the issues pertaining to the crisis of labor/work and loneliness as a political problem of exclusion and meaninglessness.

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crisis of Meaning in Sartor Resartus—Thomas Carlyle's Pioneering Work in Articulating and Addressing the Existential ConfrontationFrank Martelawhat i call an "existential confrontation" is the encounter with the possibility that human life is absurd: created for no purpose and devoid of any lasting value or meaning. It is "the hour of terror at the world's vast meaningless grinding" that William James (Will to Believe 173) examines, described by (...) Todd May (xi) as "the confrontation of our need for meaning with the unwillingness of the Universe to yield it to us." This confrontation with the existential void and the potential absurdity of human existence is often not just an intellectual dilemma, but felt as a deep personal crisis accompanied by melancholia, angst, nausea, or even suicidal thoughts. Young William James confessed in a letter to a friend that "all last winter" he "was on the continual verge of suicide" (quoted in Gunnarsson), writing later that "too much questioning" leads "to the edge of the slope" wherein lies "nightmare or suicidal view of life" (James, "Is Life Worth Living?" 6). Similarly, Leo Tolstoy (54) reports how his inability to identify a lasting meaning of life drove him to a "state of lunacy" where "the best I could do was to hang myself."Despite a few earlier allusions—most famously the Book of Ecclesiastes proclaiming that "all is vanity and a striving after wind," and Shakespeare's Macbeth lamenting that life is "a tale told by an idiot … signifying nothing"—the existential confrontation is predominantly a modern phenomenon (Martela, A Wonderful Life). The modern history of descriptions of existential confrontations start at the turn of the nineteenth century, and includes Søren Kierkegaard's Sickness Unto Death, Leo Tolstoy's A Confession, Fyodor Dostoevsky's Notes from Underground, Camus's Outsider, Sartre's Nausea, and T. S.Eliot's The Waste Land.There are many responses that the confrontation with the existential void has generated. Sartre embraced the lack of values imposed from outside and [End Page 80] emphasized human freedom. Human beings are "cast into this world … condemned to be free" without any "luminous realm of values" providing "justification or excuse," as Sartre famously summarized in "Existentialism Is a Humanism" (29). Other responses range from Søren Kierkegaard's leap of faith and William James's will to believe to Albert Camus's happiness from absurdity.While some of the responses end up finding a new way of connecting with God and faith, and others are explicitly atheistic, embracing the "death of God," a common thread in most responses is an acknowledgment of the situatedness of human experience and an emphasis placed on human subjectivity and the opportunity to live one's life more authentically. While existentialism, broadly conceived, is often seen as the central philosophical tradition dealing with the existential void, the confrontation was very much alive in the United States as well, visible in both literature and philosophy. As already alluded, William James had an existential confrontation in his youth, writing about the topic in "Is Life Worth Living" and other essays in Will to Believe. There has also been much back-and-forth between Europe and the United States around these themes, with the influences crossing the Atlantic on many occasions. For example, William James cites Thomas Carlyle in Will to Believe, while Sartre cites William James in Nausea, when discussing themes related to the existential confrontation. Similarly, Emerson inspired Nietzsche who inspired Josiah Royce. Typically, the histories tracing the early encounters with the existential confrontation acknowledge Friedrich Nietzsche, Søren Kierkegaard, and Fyodor Dostoevsky as key nineteenth-century predecessors to Existentialism, as all faced directly the question of the meaning of life and the dreadful possibility that life might not have any meaning or value to it.However, there is a key author usually not mentioned in these histories, despite the fact that he played a pivotal role in introducing existentialist themes to the English-speaking audience, coining the phrase "meaning of life" in the English language. Thus, in writing the prehistory of Existentialism, we need to examine Thomas Carlyle and his Sartor Resartus, which has been described by literary historians as "one of... (shrink)

This discussion paper offers a critical provocation to my mental health nursing colleagues. Drawing upon David Graeber's account of bullshit work, work that is increasingly meaningless for workers, I pose the question: Is mental health nursing a bullshit job? Ever‐increasing time spent on record keeping as opposed to direct care appears to represent a Graeberian bullshitisation of mental health nurses' work. In addition, core aspects of the role are not immune from bullshit. Professional rhetoric would have (...) us believe that mental health nursing is a therapeutically beneficent occupation organised around ideals of care and compassion and providing fulfilling work for practitioners. Yet, there are some key characteristics of the experience of mental health nursing work that afford alternative judgements on its value and meaningfulness. Not least of these is the fact that many mental health nurses feel quite existentially unsettled in the practise of their work and many service users do not recognise the professional ideal, especially when compelled into increasingly coercive and restrictive services. In this context, Graeber's thesis is explored for its applicability to mental health nursing with a conclusion that many aspects of mental health nursing work are commensurate with bullshit but that mental health care can possibly be redeemed from bullshitisation by authentically democratising reforms. Engaging with posthumanist ideas, this exploration involves a flexing of aspects of Graeber's theory. (shrink)

RESUMEN Se aborda el pensamiento de E.M. Cioran desde la perspectiva de un sinsabor vital denominado sentimiento de muerte. El término, aunque aparece solo en su primer escrito, es transversal a toda su obra, puesto que para el autor los seres humanos nos intuimos como posesos de la muerte en cada momento de nuestra existencia. Esto cambia el tono normal de la vida, al poner frente a la persona una realidad carente de sentido y dominada por circunstancias radicales y limitantes (...) como el dolor y la agonía, que culmina en una atmósfera gobernada por la intuición trágica de la vida. ABSTRACT The article addresses the thought of E.M. Cioran from the perspective of that vital uneasiness known as the sentiment of death. Although the term appears only in his first book, the idea cuts across his entire work given that, for Cioran, human beings intuit themselves as possessed by death at every moment of their lives. When persons are faced with a meaningless reality, dominated by radical and limiting circumstances such as pain and agony, the whole tenor of life changes until it becomes a tragic intuition of life. (shrink)

"The sixties' political agenda may have been ground down to ambiguity at best, but moral and spiritual America will never again be quite what it was before the coming of the hippies, and Miller has shown how and why."—Robert S. Ellwood, University of Southern California The hippies of the late 1960s were cultural dissenters who, among other things, advocated drastic rethinking of certain traditional American values and standards. In this lucid, lively survey, Timothy Miller traces the movement's ethical innovations and (...) analyzes the impact of its ideas on subsequent American culture. Dedicated to such tenets as the primacy of love, trust in intuition and direct experience, the rejection of meaningless work, and a disdain for money and materialism, the hippies advocated dropping out of the dominant culture, and proposed new and more permissive ethics in several areas. They argued that, while some drugs were indeed harmful, others provided useful insights and experiences and therefore should be freely available and widely used. They endorsed a liberal ethics of sex, in which no sexual act between or among consenting adults would be banned. They developed an ethics of rock-and-roll music, arguing that rock was the language of a generation and that it helped promote new ways of thinking and living. They also revived the venerable American tradition of communal living. In contrast to most available literature on the 1960s, this book deals with the cultural revolutionaries and not the political radicals of the New Left. And instead of relying on later interviews with persons who were active in the 1960s, Miller draws mainly on underground newspapers of the day, the most important literary creation of the hippies themselves. The result is a historical encounter of rare immediacy. Timothy Miller is assistant professor of religious studies at the University of Kansas. (shrink)

This chapter contains sections titled: Background Atheism and Meaninglessness The Positivist Verifiability Theory of Meaning Three Typical Responses Three Standard Criticisms of the Theory and Its Present Standing Can the Standard Criticisms be Answered? Conclusion Works cited.

In earlier work I defended Intrinsic Attitudinal Hedonism—a view about what makes for individual personal welfare. On this view, a person’s level of welfare is entirely determined by the amounts of intrinsic attitudinal pleasure and pain he or she takes in things. The view seems to run into trouble in cases involving individuals who take their pleasure in disgusting, immoral things; and in cases involving individuals who take their pleasure in things that really don’t actually happen; and in cases (...) involving individuals who enjoy pleasures but who lead meaningless lives; and in cases involving individuals whose lives fail to manifest an attractive narrative structure. After sharpening up the objections, I introduce a distinction between Pure Welfare Narrowly Conceived and Enriched Welfare Broadly Conceived. I go on to claim that if this distinction is recognized, we will be able to say that each of the objections rests on the fallacy of equivocation. If, years ago, I had been more sensitive to the distinction between Pure Welfare and Enriched Welfare I would have been able to respond to the objections in a more coherent and effective way. I present that response here. In an appendix, I compare my current view with a related view defended by Shelly Kagan in ‘Me and My Life’. (shrink)

Veblen’s work contains a neglected, since for the most part implicit, theory of recognition centred on his concepts of waste and workmanship. This article tries to develop this theory in order to shed new light on the theorem of conspicuous leisure and consumption. The legitimacy of violence at the ‘predatory stage’ of culture has been partly superseded by a legitimacy of industrial efficiency, so that the leisure classes need to disguise their conspicuous waste as socially useful productive endeavours. At (...) the same time waste remains a powerful symbol of legitimate status, so that even the industrial classes turn to it in order to assert their social worth and demand social recognition. Waste - which is far more central in Veblen’s theory than is emulation - becomes an ambiguous symbol which can stand for both unproductive privilege and industrial efficiency. The utilitarian urge for efficiency and the meaninglessness of a struggle for recognition through conspicuous waste produce a desire for a romantic escape, also acknowledged by Veblen, but often overlooked in his sharp criticism of consumerism. (shrink)

This paper works on the relation between spectacles and death. I present a decolonial genealogy, of the relation between sovereignty and spectacle, and specifically what coloniality does to this relation, how it shifts the very core of sovereign punishment. I demonstrate the formation of what I call “colonial sovereignty” as the emergence of a new relation between sovereignty and terror: in colonial sovereignty, terror is an inseparable element of sovereignty, formed through not the uniqueness but rather the repetition and proliferation (...) of spectacles of death. The colonial/modern nation-state functions as a government by terror, where death becomes meaningless, and the spectacles of dead bodies outlive death. (shrink)

I use Nietzsche's work on theodicy to explore gendered valuation systems around women's bodies. The notion of theodicy provides a different entry point to questions of ideology, as it begins with an account of people's attempts to find meaning in their lives. Nietzsche traced humans' propensity to look for and create stories that give meaning to their lives, even when this meaning is one that may ultimately oppress them or celebrate something negative, such as suffering. For him it is (...) not the suffering that torments humans, but rather its meaninglessness. In the slums of Northeast Brazil, Afro-Brazilian women invest in the Christian glorification of suffering in a context where they experience their bodies in terms of loss, shame and alienation. I explore how, through a process of creative deception, this suffering comes to be experienced as pleasure. That is, the women reconstruct their bodies using two dominant stories to which they have access: Christianity and glamorous Brazilian soap operas. South African Journal of Philosophy Vol. 26 (1) 2007: pp. 31-43. (shrink)

I use Nietzsche's work on theodicy to explore gendered valuation systems around women's bodies. The notion of theodicy provides a different entry point to questions of ideology, as it begins with an account of people's attempts to find meaning in their lives. Nietzsche traced humans' propensity to look for and create stories that give meaning to their lives, even when this meaning is one that may ultimately oppress them or celebrate something negative, such as suffering. For him it is (...) not the suffering that torments humans, but rather its meaninglessness. In the slums of Northeast Brazil, Afro-Brazilian women invest in the Christian glorification of suffering in a context where they experience their bodies in terms of loss, shame and alienation. I explore how, through a process of creative deception, this suffering comes to be experienced as pleasure. That is, the women reconstruct their bodies using two dominant stories to which they have access: Christianity and glamorous Brazilian soap operas. (shrink)

In this work I reject the contention that there is a perceptual stage which is devoid of contributions from the agent's cognitive framework. This contention is expressed in two different noncognitive views of perception. The traditional sensory core view which has prevailed since the seventeenth century; it claims that there is a stage of pure sensory core which precedes the interpretive percepts . The recent ecological approach whose main representative is J. J. Gibson; it claims that not only a (...) certain perceptual stage, but the whole perceptual process, is devoid of cognitive contributions. Before I deal with these views, I discuss the basic features of cognition in general. ;Cognition is concerned with the establishment of relations and order; it is a purposive placing of a cognized object into a meaningful order. Cognition begins with modifying a given order for the purpose of making it fit into a given meaningful framework. Throughout the work I show that, contrary to the aforementioned noncognitive views, perception fulfills this depiction of cognition. ;In the discussion of the sensory core view, I illustrate its main assumptions in various philosophical writings, and then indicate main reasons for its appearance in the seventeenth century. These reasons stem from the intermediate role sensation was supposed to have in the mental-physical gap. Sensations were considered to be primitive mental entities with physical causes; their physical origin prevents them from containing complex mental features such as the cognitive ones, and, thus, they are regarded as pure. This stage of pure sensation was postulated primarily out of theoretical considerations. Those did not coincide with the empirical and phenomenological description of that stage; hence, the empirical characterization and the phenomenological status of that stage were constantly modified. The various suggestions for describing that stage are examined and criticized from both empirical and theoretical respects. The empirical evidence presented indicates that there is no qualitative difference between perceiving what is regarded as pure sensations and what is regarded as inferential perceptions. The theoretical criticism points out that the assumption regarding pure sensation is not necessary for an adequate explanation of perception; and, since it has no empirical grounds, it is superfluous. ;After rejecting the sensory core view, I examine the ecological approach. This view rejects the traditional sensation-perception distinction and contends that we do not have to assume the existence of cognitive activities that interpret meaningless sensations into meaningful perceptions, since the perceiver directly encounters meaningful features. I claim that this solution is similar to Kant's approach, and, therefore, it has to pay a price which is similar to that which Kant pays, viz. the relational nature of the perceptual environment. The neglect of this feature results in unsolvable difficulties in central notions of the ecological approach. ;I conclude the work by suggesting a crude outline for approaching perception; in many respects it is close to Aristotle's view. I contend that causal explanations of the physiological processes cannot wholly explain perceiving; these processes are necessary supportive bases for perceiving and not the causes which precede and produce it. Accordingly, we should not assume the existence of separate percepts in the agent's head. The cognitive system is an integral part of the perceptual system; hence, perception may be conceived of as direct understanding. (shrink)

From the late 1950s until 1975, cognition was understood mainly as disembodied symbol manipulation in cognitive psychology, linguistics, artificial intelligence, and the nascent field of Cognitive Science. The idea of embodied cognition entered the field of Cognitive Linguistics at its beginning in 1975. Since then, cognitive linguists, working with neuroscientists, computer scientists, and experimental psychologists, have been developing a neural theory of thought and language (NTTL). Central to NTTL are the following ideas: (a) we think with our brains, that is, (...) thought is physical and is carried out by functional neural circuitry; (b) what makes thought meaningful are the ways those neural circuits are connected to the body and characterize embodied experience; (c) so-called abstract ideas are embodied in this way as well, as is language. Experimental results in embodied cognition are seen not only as confirming NTTL but also explained via NTTL, mostly via the neural theory of conceptual metaphor. Left behind more than three decades ago is the old idea that cognition uses the abstract manipulation of disembodied symbols that are meaningless in themselves but that somehow constitute internal “representations of external reality” without serious mediation by the body and brain. This article uniquely explains the connections between embodied cognition results since that time and results from cognitive linguistics, experimental psychology, computational modeling, and neuroscience. (shrink)

One of the most important and influential philosophers of the last 30 years, John Searle has been concerned throughout his career with a single overarching question: how can we have a unified and theoretically satisfactory account of ourselves and of our relations to other people and to the natural world? In other words, how can we reconcile our common-sense conception of ourselves as conscious, free, mindful, rational agents in a world that we believe comprises brute, unconscious, mindless, meaningless, mute (...) physical particles in fields of force? The essays in this collection are all related to the broad overarching issue that unites the diverse strands of Searle's work. Gathering in an accessible manner essays available only in relatively obscure books and journals, this collection will be of particular value to professionals and upper-level students in philosophy as well as to Searle's more extended audience in such fields as psychology and linguistics. (shrink)

Is business ethics a contradiction in terms? Absolutely not, says Robert Solomon. In fact, he maintains that sound ethics is a necessary precondition of any long-term business enterprise, and that excellence in business must exist on the foundation of values that most of us hold dear. Drawing on twenty years of experience consulting with major corporations on ethics, Solomon clarifies the difficult ethical choices all people in business are faced with from time to time. He takes an "Aristotelian" approach to (...) ethical questions, reminding readers that a corporation--like an individual--is embedded in a community, and that corporate values such as fairness and honesty are meaningless until transformed into action. Values--coupled with action--become virtues, and virtues make possible any good business corporate relationship. Without a base of shared values, trust and mutual benefits, today's national and international business world will fall apart. In keeping with his conviction that virtue and profit must thrive together, Solomon both examines the ways in which deficient values actually destroy businesses, and debunks the pervasive myths that encourage unethical business practices. Complete with a working catalog of virtues designed to illustrate the importance of integrity in any business situation, this compelling handbook contains a goldmine of wisdom for either the small business manager or the corporate executive struggling with ethical issues. (shrink)

In the two-volume work _Theism and the Analytical Philosophy _(1985; 1988a) Joseph Życiński took up the challenge of renewing Christian metaphysics so that it could appear as a full-fledged partner in the dialogue with other streams of contemporary philosophy. This renewal should use two sources: the methodological principles of analytic philosophy, especially its philosophy of language, and certain elements of Whitehead’s process philosophy. This study presents a critical reconstruction of Życiński’s arguments contained in the first two chapters of (1985), (...) which are devoted to the problem of language. Main results of this part of Życiński’s work are negative, that is, they refute the arguments and interpretations of those analytical philosophers who show the meaninglessness of the theistic language or try to assimilate it to other standard languages, depriving it of a reference to the transcendent reality. How can a positive part of the Życiński program be developed? It seems that only by formulating specific problems in the field of philosophy of God, or even theology, and choosing the right linguistic tools to drill down on a given problem and seek its solution. This is in line with Wittgenstein’s concept of language games. Życiński tries to do this in (1988a). Życiński turned out to be a precursor of nowadays increasingly developing analytical theology. (shrink)

The Hegelian-Marxist idea of alienation fell out of favor during the post-metaphysical rejection of humanism and essentialist views of human nature. In this book Jaeggi draws on phenomenological analyses grounded in modern conceptions of agency, along with recent work in the analytical tradition, to reconceive of alienation as the absence of a meaningful relationship to oneself and others, which manifests itself in feelings of helplessness and the despondent acceptance of ossified social roles and expectations. A revived approach to alienation (...) helps critical social theory engage with phenomena, such as meaninglessness, isolation, and indifference, which have broad implications for issues of justice. By severing alienation's link to a problematic conception of human essence while retaining its social-philosophical content, Jaeggi provides resources for a renewed critique of social pathologies, a much-neglected concern in contemporary liberal political philosophy. Her work revisits the arguments of Rousseau, Hegel, Kierkegaard, and Heidegger, placing them in dialogue with Thomas Nagel, Bernard Williams, and Charles Taylor. (shrink)

Excerpt from The Concept of Morals In morals finally we have the doctrine of ethical rela tivity.' It IS the same story over again. Morality ls doubtless human. It has not descended upon us out of the sky. It has grown out of human nature, and is relative to that nature. Nor could it have, apart from that nature, any meaning whatever. This we must, accept. But if this is interpreted to mean that whatever any social group thinks good is (...) good (for that group), that there is no common standard, and that consequently any one moral code is as good as any other, then this relativism in effect denies the difference between good and evil altogether, and makes meaningless the idea of progress in moral con ceptions. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (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)

How are we to make sense of madness and psychosis? For most of us the words conjure up images from television and newspapers of seemingly random, meaningless violence. It is something to be feared, something to be left to the experts. But is madness best thought of as a medical condition? Psychiatrists and the drug industry maintain that psychoses are brain disorders amenable to treatment with drugs, but is this actually so? There is no convincing evidence that the brain (...) is disordered in psychosis, yet governments across the world are investing huge sums of money on mental health services that take for granted the idea that psychosis is an illness to be treated with medication. Although some people who use mental health services find medication helpful, many do not, and resist the idea that their experiences are symptoms of illnesses like schizophrenia. Consequently they are forced into having treatment against their wishes. So, how do we make sense of this situation? Postpsychiatry addresses these questions. It involves an attempt to rethink some of the fundamental assumptions of mental health work, showing how recent developments in philosophy and ethics can help us to clarify some of the dilemmas and conflicts around different understandings of madness. Throughout, the authors examine the conflicting ways in which politicians, academics, and mental health professionals appear to understand madness, and contrast this with voices and experiences that are usually excluded - those of the people who use mental health services. They then examine the power of psychiatry to shape how we understand ourselves and our emotions, before considering some of the basic limitations of psychiatry as science to make madness meaningful. In the final section of the book they draw on evidence from service users and survivors, the humanities and anthropology, to point out a new direction for mental health practice. This new direction emphasises the importance of cultural contexts in understanding madness, placing ethics before technology in responding to madness, and minimising 'therapeutic' coercion. (shrink)

Quine is routinely perceived as saving metaphysics from Carnapian positivism. Where Carnap rejects metaphysical existence claims as meaningless, Quine is taken to restore their intelligibility by dismantling the former’s internal–external distinction. The problem with this picture, however, is that it does not sit well with the fact that Quine, on many occasions, has argued that metaphysical existence claims ought to be dismissed. Setting aside the hypothesis that Quine’s metaphysical position is incoherent, one has to conclude that his views on (...) metaphysics are subtler than is often presupposed; both the received view that Quine saved metaphysics and the opposite view that Carnap and Quine are on the same anti-metaphysical team seem too one-sided if we take seriously Quine’s own pronouncements on the issue. In this paper, I offer a detailed reconstruction of Quine’s perspective on metaphysical existence claims. Scrutinizing his published work as well as unpublished papers, letters, and notebooks, I show how Quine is able to both blur the boundary between scientific sense and metaphysical nonsense and to argue that we cannot ask what reality is really like in a distinctively philosophical way. I argue that although Quine’s position is much closer to Carnap’s than the received view suggests, it still differs in two crucial respects. (shrink)

What is the mind? How does it work? How does it influence behavior? Some psychologists hope to answer such questions in terms of concepts drawn from computer science and artificial intelligence. They test their theories by modeling mental processes in computers. This book shows how computer models are used to study many psychological phenomena--including vision, language, reasoning, and learning. It also shows that computer modeling involves differing theoretical approaches. Computational psychologists disagree about some basic questions. For instance, should the (...) mind be modeled by digital computers, or by parallel-processing systems more like brains? Do computer programs consist of meaningless patterns, or do they embody (and explain) genuine meaning? (shrink)

From Bishop Wilberforce in the 1860s to the advocates of "creation science" today, defenders of traditional mores have condemned Darwin's theory of evolution as a threat to society's values. Darwin's defenders, like Stephen Jay Gould, have usually replied that there is no conflict between science and religion--that values and biological facts occupy separate realms. But as James Rachels points out in this thought-provoking study, Darwin himself would disagree with Gould. Darwin, who had once planned on being a clergyman, was convinced (...) that natural selection overthrew our age-old religious beliefs. Created from Animals offers a provocative look at how Darwinian evolution undermines many tenets of traditional philosophy and religion. James Rachels begins by examining Darwin's own life and work, presenting an astonishingly vivid and compressed biography. We see Darwin's studies of the psychological links in evolution (such as emotions in dogs, and the "mental powers" of worms), and how he addressed the moral implications of his work, especially in his concern for the welfare of animals. Rachels goes on to present a lively and accessible survey of the controversies that followed in Darwin's wake, ranging from Herbert Spencer's Social Darwinism to Edward O. Wilson's sociobiology, and discusses how the work of such influential intellects as Descartes, Hume, Kant, T.H. Huxley, Henri Bergson, B.F. Skinner, and Stephen Jay Gould has contributed to--or been overthrown by--evolutionary science. Western philosophy and religion, Rachels argues, have been shaken by the implications of Darwin's work, most notably the controversial idea that humans are simply a more complex kind of animal. Rachels assesses a number of studies that suggest how closely humans are linked to other primates in behavior, and then goes on to show how this idea undercuts the work of many prominent philosophers. Kant's famous argument that suicide reduces one to the level of an animal, for instance, is meaningless if humans are, in fact, animals. Indeed, humanity's membership in the animal kingdom calls into question the classic notions of human dignity and the sacredness of human life. What we need now, Rachels contends, is a philosophy that does not discriminate between different species, one that addresses each being on an individual basis. With this sweeping survey of the arguments, the philosophers, and the deep implications surrounding Darwinism, Rachels lays the foundations for a new view of morality. Vibrantly written and provocatively argued, Created from Animals offers a new perspective on issues ranging from suicide to euthanasia to animal rights. (shrink)

The study of expertise is difficult to do in a laboratory environment due to the challenge of finding people at different skill levels and the lack of time for participants to acquire mastery. In this paper, we report on two studies that analyze naturalistic gameplay data using cohort analysis to better understand how skill relates to practice and habit. Two cohorts are analyzed, each from two different games. Our work follows skill progression through 7 months of Halo matches for (...) a holistic perspective, but also explores low-level in-game habits when controlling game units in StarCraft 2. Players who played moderately frequently without long breaks were able to gain skill the most efficiently. What set the highest performers apart was their ability to gain skill more rapidly and without dips compared to other players. At the beginning of matches, top players habitually warmed up by selecting and re-selecting groups of units repeatedly in a meaningless cycle. They exhibited unique routines during their play that aided them when under pressure. (shrink)