The sublime has been a baffling concept since its introduction by Longinus nearly two thousand years ago. What do we mean when we say something is sublime? This paper will attempt to answer that question by proposing a radical new theory of the sublime, examining the aesthetic experience called the sublime through the lens of the Madhyamaka Buddhist philosophical view of emptiness (Skt. śūnyatā). Drawing on Guy Sircello’s work (1993), I critique traditional Western accounts of the sublime, with their explicit (...) or implicit—but always problematic—commitments to epistemological and ontological transcendence. A brief summary of the Madhyamaka Buddhist view of emptiness, as elucidated in the Prajñāpāramitā literature, Nāgārjuna’s Mūlamadhyamakakārikā, and elsewhere, provides a context for examining the dialectic of the sublime and emptiness. I make the argument that the sublime experience is, in fact, an experience of emptiness. I conclude by surveying five years of the early work of visual artist Robert Rauschenberg, which express the open, clear, vivid, and unselfconscious space of emptiness in his approach to, and process of, artistic expression. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that (...) composes the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

In The Postmodern Animal, Steve Baker explores how animal imagery has been used in modern and contemporary art and performance, and in postmodern philosophy and literature, to suggest and shape ideas about identity and creativity. Baker cogently analyses the work of such European and American artists as Olly and Suzi, Mark Dion, Paula Rego and Sue Coe, at the same time looking critically at the constructions, performances and installations of Robert Rauschenberg, Louise Bourgeois, Joseph Beuys and other significant (...) late twentieth-century artists. Baker's book draws parallels between the animal's place in postmodern art and poststructuralist theory, drawing on works as diverse as Jacques Derrida's recent analysis of the role of animals in philosophical thought and Julian Barnes's best-selling Flaubert's Parrot. (shrink)

Abstract:This article examines the role of maieutic dialogue and exponential power in creative work. Its thesis is that maieutic dialogue is the engine that drives the creative process, and exponential power is the engine that informs maieutic dialogue. The legacy of Socrates is rehabilitated, and then his example is used as a clinic to rehabilitate the legacies of Jackson Pollock, Robert Rauschenberg, and creative artists in general. Implications for aesthetic education are alluded to in a concluding section.

At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the (...) works of art where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation. (shrink)

It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions not (...) only distance Ashbery from the urgencies of the present, they also make it far more difficult to appreciate just how the best contemporary art actually defines the challenges and possibilities created by that present. By banishing writers like Ashbery to literary tradition, we leave the domain of the postmodern to two dominant discourses. One is driven by post-structural theory’s idealization of the nomadic, the undecidable, and the profusion of simulacra. The other champions Marxist values which cast as the most significant contemporary art the rather slight oppositional devices of artists like Sherrie Levine, Hans Haacke, and Barbara Kruger. These critical idealizations then ignore what might be the central historical problem facing contemporary art. Can it continue to elaborate new dimensions of that late fifties postmodernism which set the values of Marcel Duchamp, John Cage, and Robert Rauschenberg against the increasingly formalist versions of modernism that then dominated the art world and the poetry workshops? Or does the age demand the emergence of a new sensibility, strands of which are being woven in post-structuralist mills? Charles Altieri is professor of English and comparative literature at the University of Washington. Author of books on contemporary poetry and literary theory, he has just completed a book on abstraction in modern poetry and painting. This essay lays some groundwork for a book, Bourgeois Utopians, attempt to keep the arts central to our discussion of postmodernism. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

A concatenation of forces surrounded the rise of the photographic to the center of contemporary art practice. During the sixties the author-function was seriously critiqued. Roland Barthes announced the death of the author in 1967, and Michel Foucault answered his own question, what is an author? deconstructively in 1969, replacing what William Wimsatt and Monroe Beardsley had already termed the intentional fallacy with a model of the cultural constructedness of all notions of creative agency. At the same time, notions of (...) automatism generated by psychoanalytic models of mind and dada and surrealist conceptions of artistic and literary practice joined forces with sixties anticanonical, postexpressionist notions of the artwork as the deskilled, mechanical product of a consumerist society whose forces yielded the fantasy of individual will. Meanwhile, also during the sixties, painters such as Andy Warhol and Robert Rauschenberg began to use found photographs very overtly either as part and parcel of the generative process of their work or inside their work along with other kinds of materials. And thus the medium-specific boundaries between the photographic and the painterly, just to take the two, began to crumble for good, though the art-school disciplines and museum departments dedicated to these two media continued to hold sway. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.2 (2006) 105-117 [Access article in PDF] Art and Failure Daniel A. Siedell Sheldon Memorial Art Gallery and Sculpture Garden The Genius Decision: The Extraordinary and the Postmodern Condition, by Klaus Ottmann. Putnam, CT: Spring Publications, 2004, 181 pp., $18.50 paperback. Random Order: Robert Rauschenberg and the Neo-Avant-Garde, by Branden Joseph. Cambridge, MA: MIT Press, 2003, 450 pp., $34.95 hardcover. The most (...) optimistic ethics have all begun by emphasizing the element of failure involved in the condition of man; without failure, no ethics. Simone de Beauvoir, The Ethics of Ambiguity1Failure is an inescapable part of the human condition. It is also an inescapable part of extraordinary human achievement. In fact, it is because failure is woven so deeply into their fabric that makes certain endeavors, like the arts, philosophy, science, and even sports, so extraordinary, so compelling, and ultimately so meaningful. There is therefore a close—but often underexamined—connection between extraordinary achievement and failure in the history of the arts and culture in the West. Two very different books, one a work of philosophy and the other a work of art history, converge on the presence of failure in extraordinary human achievement. New York-based art critic and independent curator Klaus Ottmann offers a philosophical study of genius from a postmodern perspective entitled The Genius Decision: The Extraordinary and the Postmodern Condition. Art historian Branden Joseph, who is assistant professor at the University of California-Irvine, offers a revisionist interpretation of Robert Rauschenberg's aesthetic project in Random Order: Robert Rauschenberg and the Neo-Avant-Garde. The Genius Decision offers an illuminating philosophical framework within which to read Random Order.Ottmann begins his study with the following question: "How does one account for those extraordinary and exceptional works of art and literature that set one artist apart from the others; works that most artists, however skilled, would never be able to produce; that exert great influence on others" (13). Ottmann answers this question by interpreting the work of Franz Kafka, [End Page 105] Spinoza, Søren Kierkegaard, Friederich Nietzsche, Ludwig Wittgenstein, and Martin Heidegger through a postmodernist lens provided in part by Jean-François Lyotard, Julia Kristeva, and other theorists. For example, he reads Kafka through Gilles Deleuze and Félix Guattari; Spinoza's Ethics through Deleuze; Kierkegaard through Adorno; Nietzsche through Derrida, Jean-Luc Nancy, and Heidegger; and Wittgenstein through P. M. S. Hacker. Foundational for Ottmann's thesis is theorist Julia Kristeva's concept of the Abject and its relationship to Jouissance—meaning "enjoyment," often connoting a sensual, even sexual pleasure—which has entered philosophical discourse via literary theorist Roland Barthes and psychoanalyst Jacques Lacan. For Kristeva, the Abject is the pressing of the "Unrepresentable" that requires a "sacrifice" of Jouissance; that is, a leap toward or a response to the inability to represent or give adequate form to this primordial ground of pure experiential bliss. For Ottmann, extraordinary achievement in art and philosophy consists of intentional and absolute leaps into certain failure in giving representation to what cannot be represented—despite its impossibility. This is what Ottmann calls the "Genius Decision." In contrast to passive explanations of extraordinary achievement, such as "accidental genius" and "physical genius," in which the individual can claim fortuitous circumstances or innate talent, the Genius Decision involves intentionality; it is a "decision" of some kind. But what kind of decision is it? Ottmann argues that it is an "active-passive" one. He then analyzes each of these influential thinkers as offering unique manifestations of the Genius Decision in their attempt to represent the Unrepresentable.Key to the Abject-Jouissance relationship is Ottmann's understanding of postmodernism. Rather than viewing it as a historical movement, Ottmann, following Jean-François Lyotard, regards it as a "condition," that is, as a nascent state within modernism. Ottmann characterizes the modern as recognizing and dwelling in the Abject, while the postmodern leaves the ambiguity of the Abject behind for the "certainty of failure" (49). The Genius Decision, then, comes out of a postmodern awareness of the impossibility of its... (shrink)

_The Decision Between Us _combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical (...) construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, _The Decision Between Us _opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published _Writing Degree Zero_, then moves to 1980 and the “neutral mourning” of Barthes’ _Camera Lucida_, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, _The Decision Between Us_ is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning. (shrink)

Are interpersonal comparisons of desire possible? Can we give an account of how facts about desires are grounded, that underpins such comparisons? This paper supposes the answer to the first question is yes, and provides an account of the nature of desire that explains how this is so. The account is a modification of the interpretationist metaphysics of representation that the author has recently been developing. The modification is to allow phenomenological affective valence into the “base facts” on which correct (...) interpretation is grounded. To use this extra resource within that theory to vindicate interpersonal comparisons, we will need to appeal rational connections between level of valence and level of desire, which this paper sets out and examines. (shrink)

Drawing on a passage from Ramsey's Truth and Probability, we formulate a simple, plausible constraint on evaluating the accuracy of credences: the Calibration Test. We show that any additive, continuous accuracy measure that passes the Calibration Test will be strictly proper. Strictly proper accuracy measures are known to support the touchstone results of accuracy-first epistemology, for example vindications of probabilism and conditionalization. We show that our use of Calibration is an improvement on previous such appeals by showing how it answers (...) or sidesteps problems that have been raised for previous work in this area. (shrink)

The general concept of a trope – that of a non-shareable character-grounder – admits of a distinction between modifier tropes and module tropes. Roughly, a module trope is self-exemplifying whereas a modifier trope is not. This distinction has wide-ranging implications. Modifier tropes are uniquely eligible to be powers and fundamental determinables, whereas module tropes are uniquely eligible to play a direct role in perception and causation. Moreover, each type of trope theory faces unique challenges concerning character- grounding. Modifier trope theory (...) faces challenges concerning the inscrutability of predication and the incompatibility with bundle theory, whereas module trope theory faces challenges concerning character overdetermination and a collapse into austere nominalism. These differences indicate that the modifier/module distinction divides the advantages of general trope theory and thus presents the trope theorist with a pivotal choice. (shrink)

In this paper I explore Michael Loux’s important distinction between “tropes” and “tropers”. First, I argue that the distinction throws into relief an ambiguity and discrepancy in the literature, revealing two fundamentally different versions of trope theory. Second, I argue that the distinction brings into focus unique challenges facing each of the resulting trope theories, thus calling into question an alleged advantage of trope theory—that by uniquely occupying the middle ground between its rivals, trope theory is able to recover and (...) preserve the insights of these views. Ultimately, the distinction suggests that trope theory is a divided house. (shrink)

Der Wandel der kulturellen Verhältnisse führt zu einer Zuspitzung des Verhältnisses von Gesellschaft und Rechtssystem. In diesem Prozess gestaltet New Political Ecology (NPE) Umwelt und Rechtssystem und ist zugleich evolutiv ausgerichtet. NPE erfährt Evolution in der Zeit als Überfluss und in eigenartiger Vernetzung als knappes Gut. Diese Verbindung basiert auf Zusammenhängen, die bisher noch nicht systematisch bearbeitet worden sind. Dabei geht es ganz wesentlich auch um das Verhältnis von Staat und moderner Risikogesellschaft. Wissenschaftlicher Fortschritt erweist sich vor diesem Hintergrund selbst (...) als ein evolutiver Prozess. (shrink)

Die Meisterwerke der Moralistik haben Millionen von Menschen als philosophische Lebensbegleiter gedient. Doch worum geht es in der Moralistik eigentlich? 0Die Moralistik befasst sich mit der Natur des Menschen und mit Möglichkeiten kluger, individueller Selbstbehauptung. Sie führt die antiken Ansätze einer philosophischen Klugheitslehre fort und besetzt damit einen in der neuzeitlichen Ethik vernachlässigten Teil der praktischen Philosophie. Ihre Meisterwerke vermitteln uns Menschenkenntnis und soziale Orientierung und stehen uns auf dem Weg eines gelingenden Lebens beratend zur Seite. In ihnen liegt der (...) Ursprung der modernen Philosophie der Lebenskunst. Das Buch stellt sowohl die Entwicklung der Moralistik als auch ihr philosophisches Anliegen anschaulich und gut lesbar dar. (shrink)

The paper offers an analysis of Protagoras’ fr. DK 80 B 1 and rejects the traditional reading of Protagoras as relativist. By considering the ipsissima verba that Protagoras makes use of in his passage, it is argued that alternative interpretations are possible, of which epistemological reism and psychological individualism are proposed. On a more general level, it is discussed to what extent Protagoras’ fragment contains descriptive rather than normative claim.

My aim is to propose affectivity as a criterion for personal identity. My proposal is to be taken in its weak version: affectivity as _only one_ of the criteria for personal identity. I start by arguing for affectivity being a better candidate as a criterion for personal identity than thinking. Next, I focus on synchronic vs. diachronic and on ontic vs. epistemic distinctions (my proposal will concern diachronic ontic personal identity) and consider the realm of affectivity in its temporal dimension. (...) In my argument, I rely on the genuineness of affectivity and I exploit chiefly long- or everlasting feelings (or emotions) and those which involve the feeling subject more rather than less. I conclude by stating that genuine long-lasting feelings (or emotions) are constitutive of diachronic ontic personal identity. (shrink)

_In Defense of Anarchism_ is a 1970 book by the philosopher Robert Paul Wolff, in which the author defends individualist anarchism. He argues that individual autonomy and state authority are mutually exclusive and that, as individual autonomy is inalienable, the moral legitimacy of the state collapses.

Robert Alexy develops his influential theory of legal reasoning exploring the nature of legal argumentation and its relation to practical reasoning. In doing so he sheds light on fundamental questions of law and rationality, which are as crucial to practising lawyers and law students as they are to scholars of legal theory.

Contribución de eruditos autores sobre aspectos trascendentales de la teoría pura del derecho. Esta obra debe verse como una expresión de esa renovada ocupación con los problemas de la doctrina de Kelsen.

Effective public policy to mitigate climate change footprints should build on data-driven analysis of firm-level strategies. This article’s conceptual approach augments the resource-based view of the firm and identifies investments in four firm-level resource domains to develop capabilities in climate change impact mitigation. The authors denote the resulting framework as the GISTe model, which frames their analysis and public policy recommendations. This research uses the 2008 Carbon Disclosure Project database, with high-quality information on firm-level climate change strategies for 552 companies (...) from North America and Europe. In contrast to the widely accepted myth that European firms are performing better than North American ones, the authors find a different result. Many firms, whether European or North American, do not just “talk” about climate change impact mitigation, but actually do “walk the talk.” European firms appear to be better than their North American counterparts in “walk I,” denoting attention to governance, information management, and systems. But when it comes down to “walk II,” meaning actual Technology-related investments, North American firms’ performance is equal or superior to that of the European companies. The authors formulate public policy recommendations to accelerate firm-level, sector-level, and cluster-level implementation of climate change strategies. (shrink)

Fourteen new essays by a distinguished team of authors offer a broad and stimulating re-examination of transcendental arguments. This is the philosophical method of arguing that what is doubted or denied by the opponent must be the case, as a condition for the possibility of experience, language, or thought.The line-up of contributors features leading figures in the field from both sides of the Atlantic; they discuss the nature of transcendental arguments, and consider their role and value. In particular, they consider (...) how successful such arguments are as a response to sceptical problems. The editor's introduction provides historical context and philosophical orientation for the discussions. This is the first major appraisal of transcendental arguments since the 1970s; they have continued to play a significant role in philosophy, and recent developments in epistemology and metaphysics have raised new questions and challenges for them. Transcendental Arguments will be essential reading for anyone interested in this area of philosophy, and the starting-point for future work. (shrink)

The standard view of academic freedom and free speech is that they play complementary roles in universities. Academic freedom protects academic discourse, while other public discourse in universities is protected by free speech. Here I challenge this view, broadly, on the grounds that free speech in universities sometimes undermines academic practices. One defense of the standard view, in the face of this worry, says that campus free speech actually furthers the university’s academic aims. Another says that universities have a secondary (...) democratic function, which cannot be fulfilled without free speech on campus. I identify shortcomings in both types of arguments. (shrink)

This essay assesses the rationale for regulating research administrators as carefully as they regulate researchers. The reasons for such regulation are identical: protecting scientific integrity, ensuring responsible use of public funds, addressing the lack of effective recourse for victims, creating negative consequences for misbehaving actors, and addressing high incentives for misconduct. Whereas the reasons compelling us to regulate research administrators are obvious, counterarguments to administrative oversight are based on suggestions that the incidence and prevalence of cases of administrative misconduct are (...) too low to warrant formal regulation. I briefly describe examples of the phenomenon drawn from publicly available records. My analysis suggests that the misconduct of research administrators is both serious and worthy of better oversight. Improved oversight of research administration will help steward tax dollars appropriately and enhance the overall integrity of the scientific record and of the free pursuit of knowledge more generally. (shrink)

The impressive variation amongst biological individuals generates many complexities in addressing the simple-sounding question what is a biological individual? A distinction between evolutionary and physiological individuals is useful in thinking about biological individuals, as is attention to the kinds of groups, such as superorganisms and species, that have sometimes been thought of as biological individuals. More fully understanding the conceptual space that biological individuals occupy also involves considering a range of other concepts, such as life, reproduction, and agency. There has (...) been a focus in some recent discussions by both philosophers and biologists on how evolutionary individuals are created and regulated, as well as continuing work on the evolution of individuality. (shrink)

This paper explores the relationship between eugenics, disability, and dehumanization, with a focus on forms of eugenics beyond Nazi eugenics.

At the heart of this book is the age-old question of how law and morality are related. The legal positivist, insisting on the separation of the two, explicates the concept of law independently of morality. The author challenges this view, arguing that there are, first, conceptually necessary connections between law and morality and, second, normative reasons for including moral elements in the concept of law. While the conceptual argument alone is too limited to establish a sufficiently strong connection between law (...) and morality, and the normative argument alone fails to address the nature of law, the two arguments together support a nonpositivistic concept of law, toppling legal positivism qua comprehensive theory of law. (shrink)

McGowan argues that everyday verbal bigotry makes a key contribution to the harms of discriminatory inequality, via a mechanism that she calls sneaky norm enactment. Part of her account involves showing that the characteristic of conversational interaction that facilitates sneaky norm enactment is in fact a generic one, which obtains in a wide range of activities, namely, the property of having conventions of appropriateness. I argue that her account will be better-able to show that everyday verbal bigotry is a key (...) factor in social inequality if it tries to isolate a more specific property of conversation as the thing that facilitates sneaky norm enactment. (shrink)

This book analyses the general structure of constitutional rights reasoning under the German Basic Law. It deals with a wide range of problems common to all systems of constitutional rights review. In an extended introduction the translator argues for its applicability to the British Constitution, with particular reference to the Human Rights Act 1998.

Nozick argues, in “Anarchy, State, and Utopia”, correctly I think, that we can go from an equal distribution of wealth to an unequal one through just means. Nozick then asks: If people voluntarily move from a just distribution of wealth, D1, to a different distribution, D2, “isn’t D2 also just?” While Nozick thinks the new distribution of wealth, D2, is just, I think that it is at least possible to go from a just state of affairs to an un-just state (...) of affairs by just means. I then argue that any unequal distribution of wealth can not maximize the good derived from wealth. Therefore, on the basis of plausible utilitarian ideas, any distribution of wealth that isn’t at least roughly equal is un-just, even it was arrived at by just means from aa equal and just distribution of wealth. (shrink)

J. Willard Gibbs derived the following equation to quantify the maximum work possible for a chemical reaction$${\text{Maximum work }} = \, - \Delta {\text{G}}_{{{\text{rxn}}}} = \, - \left( {\Delta {\text{H}}_{{{\text{rxn}}}} {-}{\text{ T}}\Delta {\text{S}}_{{{\text{rxn}}}} } \right) {\text{ constant T}},{\text{P}}$$ Maximum work = - Δ G rxn = - Δ H rxn - T Δ S rxn constant T, P ∆Hrxn is the enthalpy change of reaction as measured in a reaction calorimeter and ∆Grxn the change in Gibbs energy as measured, if (...) feasible, in an electrochemical cell by the voltage across the two half-cells. To Gibbs, reaction spontaneity corresponds to negative values of ∆Grxn. But what is T∆Srxn, absolute temperature times the change in entropy? Gibbs stated that this term quantifies the heating/cooling required to maintain constant temperature in an electrochemical cell. Seeking a deeper explanation than this, one involving the behaviors of atoms and molecules that cause these thermodynamic phenomena, I employed an “atoms first” approach to decipher the physical underpinning of T∆Srxn and, in so doing, developed the hypothesis that this term quantifies the change in “structural energy” of the system during a chemical reaction. This hypothesis now challenges me to similarly explain the physical underpinning of the Gibbs–Helmholtz equation$${\text{d}}\left( {\Delta {\text{G}}_{{{\text{rxn}}}} } \right)/{\text{dT}} = - \Delta {\text{S}}_{{{\text{rxn}}}} \left( {\text{constant P}} \right)$$ d Δ G rxn / dT = - Δ S rxn constant P While this equation illustrates a relationship between ∆Grxn and ∆Srxn, I don’t understand how this is so, especially since orbital electron energies that I hypothesize are responsible for ∆Grxn are not directly involved in the entropy determination of atoms and molecules that are responsible for ∆Srxn. I write this paper to both share my progress and also to seek help from any who can clarify this for me. (shrink)

The verb to legitimate is often used in political discourse in a way that is prima facie perplexing. To wit, it is often said that an actor legitimates a practice which is officially prohibited in the relevant context – for example, that a worker telling sexist jokes legitimates sex discrimination in the workplace. In order to clarify the meaning of statements like this, and show how they can sometimes be true and informative, we need an explanation of how something that (...) is officially illegitimate can have a kind of ersatz legitimacy conferred on it, and how this can occur even when the actor ‘doing the legitimating’ lacks formal authority. I examine one putative explanation centred around the phenomenon of normalization, and I highlight some advantages that this account has in comparison to an alternative explanation, one that makes reference to the phenomenon of licensed authority. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Preface: Virtual Entities in ScienceRobert Harlander, Jean-Philippe Martinez, Friedrich Steinle, and Adrian WüthrichIt is not only since the sudden increase of online communication due to the COVID-19 situation that the concept of the “virtual” has made its way into everyday language. In this context, it mostly denotes a digital substitute for a real object or process. Virtual reality is perhaps the best-known term in this respect. With these digital (...) connotations, “virtuality” has also been used in science and research: Chemists use virtual laboratories, biologists do virtual scanning of molecular structures, and geologists engage in virtual field trips. But the concept of the virtual has a much longer tradition, dating back to long before the dawn of the digital age. Virtual images and virtual displacements were introduced in classical physics already in the late seventeenth and eighteenth centuries, respectively. They represent auxiliary objects or processes without instantiation, with the purpose of efficiently describing specific physical systems. In today’s physics, the term “virtual” is mostly associated with the quantum world, first and foremost with the “virtual particle” of quantum field theory. It has become such an integral part of modern high energy physics that its ontological character may be considered to go beyond the purely auxiliary, which is typically associated with the virtual. [End Page 263]In other disciplines, however, use of the term virtual without a digital connotation is much rarer. While concepts like “virtual adrenaline” show up in physiological research around 1940s, and Charles Darwin, in a private note in January 1840,1 spoke of “virtual change” in the context of embryology, these examples seem to be singular occurrences of entities that were explicitly called “virtual.” The basic idea behind the terminology of the virtual, however, might be much more common, even outside of physics. The “invisible hand” in economics, or the “vital force” in biology, for instance, may carry aspects of a virtual entity, even if they have not been referred to that way.These different observations raise several questions about the status of virtual entities in science. What has led scientists to call one entity “virtual” and not another? Do all virtual entities in science have the same roots and meet the same characteristics? Are they more than auxiliary objects or processes? Why does physics seem to occupy a specific position with respect to the use of the notion of virtuality? These are some points that led us to discuss virtual entities in science during a workshop, out of which grew the present collection. We invited contributions that addressed the historical formation and philosophical interpretation of concepts of virtual entities in physics and other disciplines—in whatever terms they may come. The main goal of the workshop was to bring to the fore similarities and differences in the meanings and functions of these concepts, so as to be able to precisely characterize why certain entities are considered virtual in specific contexts, why a different terminology was often used in each individual case, and in what sense the virtual entities relate to the real world.The organization of the workshop was part of our project “The formation and development of the concept of virtual particles,” a subproject of the Research Unit “The Epistemology of the Large Hadron Collider,” funded by the Deutsche Forschungsgemeinschaft (DFG) and Der Wissenschaftsfonds (FWF). The workshop took place online on four consecutive Fridays in March 2021. It brought together contributors who discussed the role of the concept of the virtual in theoretical as well as experimental activities, and investigated into the origins of the terminology of the virtual as it was applied to the various disciplines of natural science. Dealing with historical, philosophical, but also methodological questions, the presentations covered a wide time range, from the Middle Ages to the present day. While physics naturally emerged as the dominant field, natural philosophy, computer science and biology were also addressed. The papers in this volume were contributed by participants in this workshop and approach the subject from different angles. [End Page 264]First, Friedrich Steinle provides us with an introductory piece that reflects on the specific meaning of the use of the term ‘virtual’ in science. He highlights and... (shrink)

It can sometimes be difficult to think about “everyday” objects, those things we are so familiar with that they become taken-for-granted aspects of the backdrop of our world. But what if those objects, despite their everydayness, are politically fraught and call for closer examination? I suggest that insights from two contemporary perspectives, postphenomenology and actor-network theory, are useful for drawing out the experiential, social, and political dynamics of everyday things. In this paper, I review and resituate several key concepts from (...) these two theoretical frameworks and outline a method for using them together for the evaluation of technology. As a guiding example, I explore a paradigmatic everyday device: fire hydrants. Despite their everyday character, hydrants fulfill multiple social roles, some of them loaded with difficult and important political implications. (shrink)

By “essentially embodied Kantian selves,” I mean necessarily and completely embodied rational conscious, self-conscious, sensible (i.e., sense-perceiving, imagining, and emoting), volitional or willing, discursive (i.e., conceptualizing, judging, and inferring) animals, or persons, innately possessing dignity, and fully capable not only of free agency, but also of a priori knowledge of analytic and synthetic a priori truths alike, with egocentric centering in manifestly real orientable space and time. The basic theory of essentially embodied Kantian selves was spelled out by Kant over (...) the course of slightly less than two decades, between 1768 and 1787, but above all, it flows from an empirical realist and metaphysical reading of the “Refutation of Idealism” that Kant inserted into the Postulates of Empirical Thought section in the 1787 edition of the first Critique. In my opinion, all rational but also “human, all-too-human” creatures like us are, synthetic a priori necessarily, essentially embodied Kantian selves. Let’s call that the essentially embodied Kantian selves thesis, or for short, EEKST. If EEKST is true, then it’s synthetic a priori impossible for the selves of creatures like us to exist independently of our own living organismic animal bodies or beyond the deaths of those bodies, whether temporarily or permanently, by any means whatsoever. Indeed, the very ideas of disembodied selves, their survival after death, and of human immortality, while minimally logically consistent, are in fact conceptually empty and incoherent, even over and above the synthetic a priori impossibility of such things, since the term “myself” indexically picks out an essentially embodied Kantian self, all of whose core features require grounding in a particular living organismic animal body. According to the recent and contemporary movement of transhumanism, the selves of creatures like us can not only exist independently of our bodies, as functional systems of representational content that are inherently able to be implemented or realized in digital-mechanical technology and uploadable to servers, but also to survive accidental or natural human death in server-limbo, then be downloaded into technologically enhanced partially mechanical humanoid bodies or even into wholly artificially-created completely mechanical non-humanoid bodies, survive in these new implementations or realizations for an indefinitely long time, repeat that process, and possibly even become immortal. Transhumanism is in fact metaphysically equivalent to Swedenborgianism, which Kant so effectively criticizes and wittily derides in his 1766 book, Dreams of a Spirit-Seer Elucidated by Dreams of Metaphysics. Moreover, and more importantly, if EEKST is true, then, just like Swedenborgianism, transhumanism is not only conceptually empty and incoherent, but also synthetic a priori impossible. And what’s more, it’s also existentially and morally reprehensible. In short, then, the belief in transhuman selves is nothing but a reprehensible noumenal fantasy or Hirngespinst. (shrink)

Robert B. Brandom is one of the most original philosophers of our day, whose book Making It Explicit covered and extended a vast range of topics in metaphysics, epistemology, and philosophy of language--the very core of analytic philosophy. This new work provides an approachable introduction to the complex system that Making It Explicit mapped out. A tour of the earlier book's large ideas and relevant details, Articulating Reasons offers an easy entry into two of the main themes of Brandom's (...) work: the idea that the semantic content of a sentence is determined by the norms governing inferences to and from it, and the idea that the distinctive function of logical vocabulary is to let us make our tacit inferential commitments explicit. Brandom's work, making the move from representationalism to inferentialism, constitutes a near-Copernican shift in the philosophy of language--and the most important single development in the field in recent decades. Articulating Reasons puts this accomplishment within reach of nonphilosophers who want to understand the state of the foundations of semantics. Table of Contents: Introduction 1. Semantic Inferentialism and Logical Expressivism 2. Action, Norms, and Practical Reasoning 3. Insights and Blindspots of Reliabilism 4. What Are Singular Terms, and Why Are There Any? 5. A Social Route from Reasoning to Representing 6. Objectivity and the Normative Fine Structure of Rationality Notes Index Displaying a sovereign command of the intricate discussion in the analytic philosophy of language, Brandom manages successfully to carry out a program within the philosophy of language that has already been sketched by others, without losing sight of the vision inspiring the enterprise in the important details of his investigation ' Using the tools of a complex theory of language, Brandom succeeds in describing convincingly the practices in which the reason and autonomy of subjects capable of speech and action are expressed. --J'rgen Habermas. (shrink)

This book is an attempt to lead the way through the moral maze that is our relationship with nonhuman animals. Written by an author with an established reputation in this field, the book takes the reader step by step through the main parameters of the debate, demonstrating at each turn the different positions adopted. In the second part of the book, the implications of holding each position for the ethical permissibility of what is done to animals - in laboratories, farms, (...) the home and the wild - are explained. Garner starts by asking whether animals have any moral standing before moving on to assess exactly what degree of moral status ought to be accorded to them. It is suggested that whilst animals should not be granted the same moral status as humans, they are worthy of greater moral consideration than the orthodox animal welfare position allows. As a result, it is suggested that many of the ways we currently treat animals are morally illegitimate. In the final chapter, the issue of political praxis is tackled. How are reforms to the ways in which animals are treated to be achieved? This book suggests that currently dominant debates about insider status and direct action are less important than the question of agency. That is, the important question is not what is done to change the way animals are treated as much as whom is to be mobilised to join the cause. Students of philosophy, politics and environmental issues will find this an essential textbook. (shrink)