In lieu of an abstract, here is a brief excerpt of the content:Anonymous Temporality and Gender:Rereading Merleau-PontyMegan M. BurkeThis Essay Provides a Feminist reading of Merleau-Ponty’s notion of anonymity in order to show that it is a critical resource for a feminist account of gender. For Merleau-Ponty, anonymity is a structure of temporality that is prior to the cogito; it is a time that actualizes the reflective self. It gestures away from ontological commitments rooted in presence and calls attention to (...) how senses inform and actualize one’s reflective experience, which illuminates how it is that certain habits become sedimented or deeply rooted into the structure of one’s lived experience. As such, anonymity provides a useful framework for understanding how and in what ways gender normativity is taken up and resisted in experience. Yet feminist readings of Merleau-Ponty and anonymity are divided. On the one hand, there is a strong criticism of his work in general and anonymity in particular and, on the other hand, there is an effort to recuperate aspects of his project, including anonymity. Four examples can help frame this disparate feminist reception of his work:1. Merleau-Ponty neglects sexual difference. For example, Elizabeth Grosz suggests, “Merleau-Ponty leaves out—indeed, is unable to address—the questions of sexual difference, the question of what kind of human body he is discussing, what kind of perceptual functions, and what kind of sexual desire result from the sexual morphology and particularity of the subject” (Grosz 1994, 10). [End Page 138]2. Anonymity neglects sexual difference. Shannon Sullivan is representative of this point, claiming, “Merleau-Ponty’s notion of the anonymous or impersonal body … leads one to overlook” difference; “Merleau-Ponty fails to realize” difference; “He is wrong” (Sullivan 2001, 71).3. Anonymity illuminates sexual difference. For Silvia Stoller “[W]ith the help of Merleau-Ponty … sexual difference presupposes an anonymous sexuality which underlies gender identifications,” making anonymity important to a phenomenological account of sexual difference (Stoller 2013).4. Merleau-Ponty’s account of embodied subjectivity provides insight into the lived experience of femininity. Feminist analyses of female body comportment, such as those of Iris Marion Young and Sandra Bartky, suggest that gender is a process of sedimentation (Young 1990; Bartky 1990). More specifically, they suggest gender becomes a lived experience through the repetition of particular behaviors and actions such that they become a deeply habituated part of one’s being in the world.While the feminist criticisms of Merleau-Ponty are important insofar as they caution against the acceptance of universal claims about existence, they also overlook anonymity’s relationship to time. Given that Merleau-Ponty’s characterization of anonymity is temporal through and through, this oversight is problematic. Without an account of anonymity as a kind of temporality, we miss the value of anonymity and the further insight that can be drawn from it in relation to gender. In what follows, then, I propose a solution to the disparate reception of his work. I suggest that reading anonymity as a structure of temporality illuminates how gender is taken up in lived experience. And, I suggest that anonymity can provide a strong account of gender normativity when one understands the parallels between sedimentation and anonymity with respect to temporality. By showing the strong connection between sedimentation and anonymous temporality, I suggest that it is ontologically and politically helpful to understand gender as a lived time.In the first section of this paper, I will address the main criticisms of anonymity provided by Shannon Sullivan and Luce Irigaray, while also paying attention to those from Elizabeth Grosz, Judith Butler, and Beata Stawarska. For Sullivan, Grosz, and Butler, Merleau-Ponty’s anonymous body is a neutral body, a body that fails to account for gender differences. Irigaray and Stawarska suggest that anonymity is the mark of patriarchy, making ethical and ontological solipsism fundamental to Merleau-Ponty’s work. In each of these cases, anonymity provides nothing useful for and is, in fact, a detriment to feminist projects.In the second section of this paper, I turn to Stoller’s positive reading of anonymity. For Stoller, anonymity is a political and ethical resource that challenges gender norms because it can allow for transformation in... (shrink)

There is a striking similarity between the philosophy of Martin Heidegger and Harry G. Frankfurt: they both argue that the temporal nature of human existence and agency is due to the fact that humans care about things. Even though Heidegger’s concept of care and Frankfurt’s concept of caring are very different, they are worth comparing because they play a similar role and have similar significance in their thinking. This comparison also offers an opportunity for a desired dialog between philosophers (...) working in those two different traditions. I argue that the two views can complement each other: Though Frankfurt provides a detailed psychological description of caring, his concept of caring is too mentalistic and leads to solipsism. Thus, his theory can be enriched with the help of Heidegger’s view based on the concept of Being-in-the-world. (shrink)

This contribution intends to explore patients’ lived experience, with a focus on the temporal dimension. On the basis of a qualitative study that led me to interview persons with Parkinson’s disease, caregivers, and medical professionals, I develop an empirical and philosophical investigation of the temporalities surrounding the implementation of deep brain stimulation in Greece. I raise the issue of access to DBS medical care, and show how distinct temporalities are implied when the patients face such a matter: that of (...) linear time, linked with the medical discourse, the bureaucratic time linked to administrative and financial hurdles in the implementation and maintenance of DBS, and the technological time of the body/technology fusion. I consider initially the impact of technology and health care settings on the lived experience of patients and the enactment of multiple bodies which are interrelated with the social world. I then expand my analysis in order to show that this experience cannot be a solipsistic one, or specific to one physician/patient relationship. It is fully socially shaped. (shrink)

This paper discusses Freud's model of the psychical apparatus in the “Project”, and concludes that it is a remarkably sophisticated work which even today is still highly relevant to neuropsychological theorising. Freud rejects the notion that what happens in the brain can be clearly localised in space and time. This anticipates the notion of a distributed system found in recent developments in computing (“neural net works”) and in Derrida's conception of systems characterised by différance. Every part of such a system (...) is constituted by its relation to the rest of the system. Although such systems are spatio-temporal, processes occur ring in them can not be pinpointed in space and time. Against the common charge that Freud has a passive hydraulic-reflex model of the psychical apparatus, the authors argue that Freud presents it as an open, complex, self-organising system. Ricoeur's (1972) claim that the model of the psychical apparatus in the “Project” is essentially solipsistic, is accordingly rejected. In conclusion the authors explain why they prefer the model in the “Project” to the more linear model found in Ch. VII of the Traumdeutung. S. Afr. J. Philos. Vol.20(3) 2001: 1- 21. (shrink)

The notion of memory storage, central to most contemporary theories of remembering, is challenged from a philosophical perspective as being contradictory and untenable. It criticizes this storage hypothesis as relying upon a linear explanation of time, an assumption which results in infinite regression, solipsism, and a failure to contact the real past. A model based on the phenomenological viewpoints of Edmund Husserl and Maurice Merleau-Ponty is offered as an alternative paradigm. Finally, a research method suggested by this descriptive approach (...) to memory is presented and illustrated. (shrink)

Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...) protracted agony across the cycle. The centralization of suffering, I argue, parallels the distance between viewer and image with the isolating nature of embodied existence. Thus, this article seeks to probe the relationship between form and content, asking what the image of death reveals about the death of the image. -/- . (shrink)

The moral pedagogy in the fairy tales is simple but powerful. It is concentrated in the lesson –according to the message of Aristotle– about the finalism sense of action: it makes the child understand that the human answer is an action with sense. Everything in the fairy tale leads to this perspective. Moreover, it exemplifies MacIntyre’s opinion which says that current people tend to be proto-aristotelian and to understand their own life and the other’s in narrative terms.

The moral pedagogy in the fairy tales is simple but powerful. It is concentrated in the lesson -according to the message of Aristotle- about the finalism sense of action: it makes the child understand that the human answer is an action with sense. Everything in the fairy tale leads to this perspective. Moreover, it exemplifies MacIntyre's opinion which says that current people tend to be proto-aristotelian and to understand their own life and the other's in narrative terms.

The primary goal of Peter Ludlow's Semantics, Tense, and Time is to illustrate how one can study metaphysical issues from a linguistic/semantic perspective by addressing the debate between tenseless theorists and tensed theorists. Ludlow's book is noteworthy in part because of the novelty of its approach to this debate and in part because it addresses and endeavors to solve the metaphysical problems of temporal solipsism that other temporal solipsists have not addressed.

This thesis develops a detailed account of the emergence of for all practical purposes continuous, quasi-classical world histories from the discontinuous, stochastic micro dynamics of Minimal Bohmian Mechanics (MBM). MBM is a non-relativistic quantum theory. It results from excising the guiding equation from standard Bohmian Mechanics (BM) and reinterpreting the quantum equilibrium hypothesis as a stochastic guidance law for the random actualization of configurations of Bohmian particles. On MBM, there are no continuous trajectories linking up individual configurations. Instead, individual configurations (...) are actualized independently of each other, carving out the decoherence-induced branching structure of the universal wave function. Yet, by contrast to the Everett interpretation, branches of the universal wave function are not actualized in parallel, i.e. all at the same time. Rather, world branches, on MBM, are actualized sequentially. -/- For an introduction to MBM, the transition from BM to MBM is described, and their empirical equivalence is established. I present the conditions under which MBM can be classified as a primitive ontology (PO) theory, regarded as crucial for the acceptance of a theory as Bohmian by many proponents of BM. While rendering MBM compatible with the PO approach, it must not fall prey to the problem of communication, arising from the two-space reading of BM. -/- The issue of temporal solipsism, identified by Bell as a serious problem for his “Everett (?) theory” – the historic predecessor of MBM – is discussed. I argue that Barbour’s time capsule approach does not provide a satisfactory solution. In particular, his adopting a more than minimal psychophysical parallelism between brain processes and experience of macroscopic change is argued to be reasonable in light of our current best neuroscience, yet problematic for theories relying solely on time capsules, understood as highly structured, individual, internally static configurations. As a solution, I introduce worlds, and world histories, as key concepts in providing a link between MBM’s micro dynamics and macroscopic phenomena. Worlds, other than time capsules, are coarse-grained regions in phase- or configuration space, defined as sets of possible micro states satisfying a relation of sufficient similarity from a macroscopic perspective, with respect to a given micro state. Hence, worlds may overlap. -/- I argue that worlds thus construed are a reasonable option for replacing the disjoint macro regions of phase space, resulting from the usual way of partitioning phase space in the standard framework of Boltzmannian statistical mechanics. This move solves the issue of discontinuous change of macro variables upon the micro state crossing the boundary between different macro regions. -/- I adapt this move for MBM’s discontinuous micro dynamics in configuration space. Issues revolving around the microscopic-macroscopic distinction, particle identity, impenetrability and haecceity in light of the desideratum of particle number conservation, etc., are discussed. I provide a detailed explanation of how overlapping worlds in MBM form world histories, thereby linking up macroscopically distinct worlds. Thus, the problem of temporal solipsism is resolved in a way that is compatible with a more than minimal psychophysical parallelism. (shrink)

This chapter contains sections titled: Another Intentionality Another Temporality Another Subjectivity From the View of Confucianism Endnotes.

A-theoretic presentness is commonly regarded as non-solipsist and non-relative. The non-solipsism of a non-relative, A-theoretic presentness requires at least two space-like separated things to be present simpliciter together – this co-presentness further implies the global, non-relative, non-conventional simultaneity of them. Yet, this implication clashes with the general view that there is no global, non-relative, non-conventional simultaneity in Minkowski space-time. In order to resolve this conflict, this paper explores the possibility that the non-solipsism of a non-relative, A-theoretic presentness does (...) not require at least two space-like separated things to be present simpliciter together. This can be done by holding exclusive disjunctivism –that mutually space-like separated things are present simpliciter exclusively disjunctively, and each one of them gets to be present simpliciter in a non-successive way (just like mutually time-like related things are present simpliciter exclusively disjunctively, and each one of them gets to be present simpliciter, but in a successive way). (shrink)

Several commentators have argued that with his concept of anonymity Merleau-Ponty breaks away from classical Husserlian phenomenology that is methodologically tied to the first person perspective. Many contemporary commentators see Merleau-Ponty’s discourse on anonymity as a break away from Husserl’s framework that is seen as hopelessly subjectivistic and solipsistic. Some judge and reproach it as a disastrous misunderstanding that leads to a confusion of philosophical and empirical concerns. Both parties agree that Merleau-Ponty’s concepts of anonymity mark a divergence from classical (...) Husserlian phenomenology. I will question this view and demonstrate that Merleau-Ponty’s discourse on anonymity remains Husserlian in two important senses: it analyses senses in terms of constituting selves and communities of such selves, and it accounts for the formation of experience by the temporal sedimentation of intentional activity. The argument proceeds in four steps. The first section argues against the widely spread notion according to which Merleau-Ponty’s anonymous subject is collective. In the second section, I offer an alternative reading by demonstrating that Merleau-Ponty uses the term “anonymous” primarily to characterize the lived body of a personal subject. In section three, I introduce Merleau-Ponty’s idea of trace and show that for him both the perceived thing and the perceiving body are traces and as such refer to earlier constitutive acts of alien subjects. I then argue that Husserl’s concepts of sedimentation are crucial for the understanding of this idea. Finally, in section four, I show how Husserl’s theory of depresentation informs Merleau-Ponty’s discourse on anonymity. (shrink)

The foundational status that Edmund Husserl envisages for phenomenology in relation to the sciences would seem to suggest that the successful unfolding of contemporary debates in the field of social cognition will be conditioned by progress in resolving certain central controversies in the phenomenology of intersubjectivity, notably in long-standing questions pertaining to the priority of subjectivity in relation to intersubjectivity, and the priority of empathy in relation to other forms of intersubjectivity. That such controversies are long-standing is in no small (...) part attributable to the fact that the debate surrounding Husserl’s seminal attempts to elucidate these problems has placed his account, and certainly his published position, under a certain amount of pressure, pressure which stems from the suspicion that intentionality toward others may be more deeply embedded in subjectivity than the Husserl of Cartesian Meditations seems prepared to admit. Is the primordinally reduced solipsistic subject of the Fifth Meditation really capable of discovering intersubjectivity in the way that Husserl describes, or is such putative discovery (indeed, subjective transformation) already conditioned by a more primitive form of intersubjectivity? This paper investigates two ways in which this kind of “circularity” objection might arise. Firstly, it might be argued that Husserl presupposes an external perspective on one’s own body, a perspective which rationally would have to be correlated with an indeterminate foreign subjectivity. Secondly, the view has been advanced (Zahavi in Husserl and transcendental intersubjectivity: a response to the linguistic-pragmatic critique. Ohio University Press, Athens, OH, 2001b) that horizonal perceptual awareness of another spatio-temporal entity turns out to be essentially intersubjective, on the grounds that awareness of some of an object’s averted aspects commits one to positing the possibility in principle of those averted aspects being available to an indeterminate foreign subjectivity. Objections such as these seem to place the phenomenological enquiry into the encounter with another person at something of a crossroads. On the one hand, they have led some to argue that basic empathy, as Husserl conceives it, must indeed be conditioned by the anonymous constituting influence of a more primitive form of intersubjectivity. On the other hand, the option remains open to seek to defend Husserl’s published position against the charges of circularity. This paper pursues the latter alternative, and argues that, with appropriate clarification, the objections from circularity can be convincingly answered. It will be argued that the key to understanding why the standard Husserlian position can be sustained lies in recognising the centrality of the activity of the imagination as a condition for the possibility of intersubjectivity. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level (...) of subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

The article is addressing one of the central but maybe the most ambiguous and multilayered concepts of Husserl’s phenomenology. Husserl’s insisting on a form of intentionality that implies not just conscious directedness towards objects, but also a constitutive function of mental acts, led to some serious accusations of his idealism and solipsism. Justification of such accusations depends exclusively on whether we understand constitution in an ontological sense, as a creative process which brings worldly entities into being, or in an (...) epistemological sense, as a process which enables us to identify and to interpret a particular givenness as something. In early stages of phenomenology, a so-called “hylomorphic” theory of constitution prevailed, which stated that object of our experience can be present for us only if some sense-data is formed in our intentional acts by a meaning-giving component. This theory proved to be unsatisfying when Husserl turned to a phenomenological description of temporal objects, discovering that not just objects, but also intentional acts have a distinct temporal structure. However, the analysis of temporal constitution reaches even further, because the idea of the “living present”, and its triadic structure of retention-primal impression-protention, holds the key to an explanation of horizon-intentionality, and offers the answer to an essential transcendental question: How is it possible for us to be aware of the world towards which all of our intentional life is directed, and from which all of the motivation for our actions originates? (shrink)

At least for Schleiermacher, religion is life in immediate feeling. Whether or not we agree with him, immediacy can be understood as one essential aspect of feeling that makes feeling congenial as the means by which we tend to express the source of religious experience. Yet in general, immediacy is difficult to define and qualify. Is there a hope for immediacy in seeking “to be delivered from contingency”? Is immediacy expressed in the instantaneity of how qualities of things are given (...) in a “total interpenetration”? Or are “immediacy and mediation” always inseparable, thus leaving any “opposition between them to be a nullity”??[i] Might immediacy entail a threat to faith through the absolutizing of the relative? And finally, would not the absolute insistence upon mediation morph it into a new form of immediacy? It is against the backdrop of these questions that this paper investigates the constellation of roles immediacy might play in religious experience, and it does so through building upon the claims of Jean-Yves Lacoste and Anthony Steinbock in regards to religion. For Lacoste, “feeling” is not an adequate means by which we should give expression to religion, in part because it leaves religion responsive to an all too volitional and intentional account. Lacoste also prefers to conceive relation with the Absolute/God not as an experience, but as a non-experience. Whereas for Steinbock, even though emotions all to often are conceptualized according to sentimentality and solipsism, he undertakes to reveal that they in fact have an inherent inter-personal/Personal or Moral intelligibility. The paper builds up to the final claims that immediacy is a temporal expression of the unconditioned, yet that it is precisely this temporal element in relation to the Absolute that complicates the mediation/immediacy interaction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:William James’s Ethical RepublicTrygve ThrontveitFor William James (1842–1910), all philosophical problems were ultimately ethical. In Pragmatism (1907), James invoked the logical theory of his friend Charles Peirce to argue that the “meaning” of any belief consisted solely in “what conduct it is fitted to produce.” There was “no difference in abstract truth,” he elaborated, “that doesn’t express itself in a difference in concrete fact and in conduct consequent upon (...) that fact, imposed on somebody, somehow, somewhere, and somewhen.” Indeed, James concluded that truth was not just reflected in the consequences of conduct but shaped by them: “Truth is made,” he wrote, “just as health, wealth, and strength are made, in the course of experience.”1 This major thesis of Pragmatism distilled a career spent describing an unfinished world, in which human thoughts and actions made differences for which thinkers and actors were responsible. As early as 1878, James insisted that beliefs imply action to advance goals, creating effects valued in light of those goals. The mind, he reiterated in his 1890 masterpiece The Principles of Psychology, is a “fighter for ends,” and thinking, a “moral act.” Later, in “The Will to Believe” (1896), James argued that when evidence is inconclusive, belief might create conditions in which hypotheses could be verified and potential goods realized—or lost. That frank (if often overlooked) assessment of the moral risks as well as rewards of intellectual life echoed James’s most explicitly ethical work, “The Moral Philosopher and the Moral Life” [End Page 255] (1891), where he asserted that when choosing what to believe, it is “simply our total character and personal genius that are on trial; and if we invoke any so-called philosophy, our choice and use of that also are but revelations of our personal aptitude or incapacity for moral life.”2In short, James, as John Dewey elegized in 1910, “was everywhere and always the moralist.”3 Yet for much of the twentieth century critics deemed James’s philosophy ethically vacuous, a warrant for moral solipsism. In 1909, Bertrand Russell criticized James for privileging belief over suspension of judgment, and thus encouraging people to live in private moral universes rather than seek objective grounding for common values. Today, some intellectual historians continue to echo Russell and likeminded contemporaries, judging ethical pragmatism tantamount to moral relativism, even moral apathy.4 Others, acknowledging James’s impassioned pronouncements on lynching, industrial conflict, imperialist expansion, and other public moral issues, have interpreted them as expressing a particularly cosmopolitan but otherwise unremarkable American liberalism, rather than a coherent moral philosophy.5These criticisms are unfounded, but understandable. They reflect a general [End Page 256] antipathy toward James’s broader conceptions of knowledge, truth, and experience, and frustration with his unorthodox mode of philosophizing. In Pragmatism, James followed Peirce in arguing that beliefs are not copies of reality, but “rules for action” resembling the probabilistic predictions guiding scientific inquiry. James, however, extended Peirce’s argument, claiming there is no static reality that beliefs can once-for-all describe. A self-proclaimed “radical empiricist,” James held that the universe is pluralistic, and the only reality accessible to human minds is constantly changing—not least through the ceaseless flux of human consciousness, a fact as natural and consequential as any other.6 This blurring of subject-object distinctions scandalized contemporaries. It also underpinned James’s equally scandalous claim that ideas not only demonstrate their meaning through conduct, but derive both meaning and value from their origins and verification in human activity. To ask what is true in such a world was to ask which ideas, moral or otherwise, allow people to navigate it successfully—which “carry us prosperously from any one part of our experience to any other part”—and which do not.7 Because of these commitments James never made hard distinctions between ethics and other branches of inquiry, or defined his ethics as a separable component of his philosophy easily analyzed on its own terms. Meanwhile, his further refusal to dislodge theory from practice has frustrated those conceiving ethics as a logically and temporally consistent program of conduct. Instead, James insisted that ethical principles emerge organically from individuals’ collective experience in... (shrink)

The embodiment approach has shown that motor neural networks are involved in the processing of action verbs. There is developmental evidence that embodied effects on verb processing are already present in early years. Yet, the ontogenetic origin of this motor reuse in action verbs remains unknown. This longitudinal study investigates the co-occurrence of manual verbs and actions during mother-child daily routines when children were 1 to 2 and 2 to 3 years old. Eight mother-child dyads were video-recorded in 3-month intervals (...) across 12 months, and the timing of verbs and manual actions were coded by independent observers. Results showed that the probability of matched verb-action co-occurrences were much higher than that of random co-occurrences for Group 1 and Group 2, respectively. The distributions of the verb-action temporal intervals in both groups were quite symmetrical and skewed with the peak corresponding to both 0.00 s synchronic intervals and the shortest +5 s interval. Mother-led instances occurred in both groups whereas child-led instances were restricted to Group 2. Mothers pragmatically aligned their verbal productions, since they repeatedly used those verbs they shared with their children’s repertoire. In conclusion, the early multisensory communicative and manipulative scene affords grounding of verb meanings on the ongoing actions, facilitating verb-action pairing in the realm of social interactions, providing a new dimension to the prevailing solipsistic approach to embodiment. (shrink)

Abstract This paper proposes a new phenomenological approach to social history by clarifying, critiquing and developing key insights from Husserl’s late work. First, it clarifies how Husserl began to refute phenomenology’s so-called solipsism and ahistoricality by advancing a concept of history that integrates subjective, intersubjective and communal organizations of experience. This concept, his “history of presence”, can be called a “temporal mode of oriented constitution”. Its value is to show how a single recursive series of determinations organizes a (...) diverse set of epistemic norms, personal memories, and intersubjective apperceptions. As we analyze each moment of this series, the history of presence emerges as highly relevant to social inquiry, inasmuch as it highlights the roles of intersubjective awareness and shared “world-time”. Second, however, the paper shows that Husserl grounded his history, not in this self-other-world triad, but in metaphysical foundations. By falling back on an atemporal principle of identity, Husserl’s thirst for Cartesian certainty obscured some of his insights. To develop these, the paper concludes with a new look at Les maîtres fous, a famous and controversial ethnographic film by Jean Rouch. Much of Rouch’s film echoes Husserl’s own problems, but Rouch’s use of montage replaces metaphysics with rhythm, identity with alterity, hegemony with mimicry, harmonious perception with dissonant yet generative apperception. Thus, Rouch dramatizes Husserl’s relevance to the phenomenology of social history. This paper’s internal critique and cross-cultural juxtaposition of Husserl’s late work portrays such relevance more accurately than Derrida’s uncharitable “metaphysics of presence” critique. (shrink)

In “Rescuing Conservatism: A Defense of Existing Value,” G. A. Cohen offers an anticapitalist philosophy of valuing that takes as given the existence itself of particular valuable and valued things, and commitment through time to cherishing relationships to them. In this article, I argue that “being placed,” in precolonial senses, and decolonial “being in” and “seeking place,” are the givens of being valuing, living creatures among valuing, living creatures. Valuing as placed and valuing being placed are intrinsic to decolonial feminist (...) resistance to the gendered, racialized, and denatured ideological warfare on the terms of life. Place is not one among other values; place and placed temporality must be accepted as given. In place, the past is living in the present. Placed decolonial valuing is the only resistance to solipsistic destruction of all that has value, to a coloniality that would fragment the past to destroy the life force of the capacity to value present existing and living. Thus I bring Cohen's rescuing valuable things, and the capacity to value them, to intergenerational, interspecies, temporally located placedness shared across diverse peoples prior to fifteenth- and sixteenth-century conquests and nineteenth-century imperialism, and in perpetual resistance to contemporary settler societies and coloniality. (shrink)

Joachim Renn argues that Schutz fails to integrate two fundamental strands in his work: phenomenology and pragmatism. Gaps between separated consciousnesses block synchronization and access to others, and objective symbol schemes, absorbed within the egological outlook, cannot bridge these gaps. Renn, however, construes phenomenology as practicing a solipsistic withdrawal of a self cut off from its environs, denies that contents correlative to individual intentional acts can be objective and common, and overlooks the intricacies of Schutz's descriptive methodology. Furthermore, for Renn, (...) Schutz's distinctions between inner and outer time and ego and alter congeal into hardened dualisms. Renn expects more than Schutz's methodology can deliver, but correctly points to problems of the social world that need to be addressed by several philosophical strategies, including pragmatism and Schutzian phenomenology. (shrink)

The paper explores the distinction between two doctrines, both of which inform theory construction in much of modern cognitive psychology: the representational theory of mind and the computational theory of mind. According to the former, propositional attitudes are to be construed as relations that organisms bear to mental representations. According to the latter, mental processes have access only to formal (nonsemantic) properties of the mental representations over which they are defined.The following claims are defended: (1) That the traditional dispute between (...) “rational” and “naturalistic” psychology is plausibly viewed as an argument about the status of the computational theory of mind. Rational psychologists accept a formality condition on the specification of mental processes; naturalists do not. (2) That to accept the formality condition is to endorse a version of methodological solipsism. (3) That the acceptance of some such condition is warranted, at least for that part of psychology which concerns itself with theories of the mental causation of behavior. This is because: (4) such theories require nontransparent taxonomies of mental states; and (5) nontransparent taxonomies individuate mental states without reference to their semantic properties. Equivalently, (6) nontransparent taxonomies respect the way that the organism represents the object of its propositional attitudes toitself, and it is this representation which functions in the causation of behavior.The final section of the paper considers the prospect for a naturalistic psychology: one which defines its generalizations over relations between mental representations and their environmental causes, thus seeking to account for the semantic properties of propositional attitudes. Two related arguments are proposed, both leading to the conclusion that no such research strategy is likely to prove fruitful. (shrink)

Solipsism indicates an epistemological position that denies the existence of ‘others’ by asserting that the ‘self’ is the only thing that can be known to exist. For sophist philosophers, the belief that “we can not know anything, and even if we do so, we cannot communicate it” is central to this theory. However, until now there has been little academic scholarship that has tried to provide answers to the pressing issues raised by solipsism. In Solipsist Ontology: Physical Things (...) and Personal Perceptual Space, Ural aims to redefine solipsism by analyzing and elaborating on traditional philosophical problems, such as empiricism and rationalism, as well as discussing problems of language, communication, and meaning. Ural reveals where solipsism has been previously ignored, pseudo-problems have arisen that disguise the sources of the problems with prejudices that concern the philosophical problems in question. Notably, many current, as well as traditional problems of ontology, epistemology, and language are bound up in discourses of solipsism. Ural argues that discarding solipsism as a philosophical discourse hinders new interpretations of traditional philosophical thought. This book offers a fresh perspective to solipsism by defining it in relation to concepts such as ‘physical things,’ ‘personal perceptual space’ and ‘identity.’ Importantly, Ural proposes that an understanding of ‘identity’ is not necessary in order to redefine solipsism. By building a logical system that fashions communication and solipsism as interrelated, it is possible to reject ‘identity’ as a useless concept and thus overcome the classic solipsist dilemma of “we are not able to communicate.” This original piece of research is an important and timely contribution to the field of philosophy that will be of great interest to teachers, researchers, and students. (shrink)

A person skeptical about other minds supposes it is possible in principle that there are no minds other than his. A person skeptical about an external world thinks it is possible there is no world external to him. Some philosophers think a person can refute the skeptic and prove that his world is not the solitary scenario the skeptic supposes might be realized. In this paper I examine one argument that some people think refutes solipsism. The argument, from Wittgenstein, (...) is grounded in a thesis about language. Some people believe that in using language a person necessarily is linked to persons other than himself. Some people think a person can use the ‘communalist’ principle to refute forms of solipsism. I show that people do not refute solipsism with the Wittgensteinian, language-necessarily-is-shared principle. (shrink)

Abstract Temporal Externalism is the view that future events can contribute to determining the present content of our thoughts and utterances. Two objections to Temporal Externalism are discussed and rejected. The first is that Temporal Externalism has implausible consequences for the epistemology of biology and other taxonomic sciences (Brown, 2000). The second is that it is committed to implausible claims about dispositions.

I show that some of the most initially attractive routes of refuting epistemological solipsism face serious obstacles. I also argue that for creatures like ourselves, solipsism is a genuine form of external world skepticism. I suggest that together these claims suggest the following morals: No proposed solution to external world skepticism can succeed which does not also solve the problem of epistemological solipsism. And, more tentatively: In assessing proposed solutions to external world skepticism, epistemologists should explicitly consider (...) whether those solutions extend to knowledge of other minds. Finally, and also tentatively: epistemological solipsism warrants more philosophical attention than it currently enjoys. (shrink)

Temporal Logic: From Ancient Ideas to Artificial Intelligence deals with the history of temporal logic as well as the crucial systematic questions within the field. The book studies the rich contributions from ancient and medieval philosophy up to the downfall of temporal logic in the Renaissance. The modern rediscovery of the subject, which is especially due to the work of A. N. Prior, is described, leading into a thorough discussion of the use of temporal logic in (...) computer science and the understanding of natural language. Temporal Logic: From Ancient Ideas to Artificial Intelligence thus interweaves linguistic, philosophical and computational aspects into an informative and inspiring whole. (shrink)

Causes always seem to come prior to their effects. What might explain this asymmetry? Causation's temporal asymmetry isn't straightforwardly due to a temporal asymmetry in the laws of nature—the laws are, by and large, temporally symmetric. Nor does the asymmetry appear due to an asymmetry in time itself. This Element examines recent empirical attempts to explain the temporal asymmetry of causation: statistical mechanical accounts, agency accounts and fork asymmetry accounts. None of these accounts are complete yet and (...) a full explanation of the temporal asymmetry of causation will likely require contributions from all three programs. (shrink)