According to Eugenie Scott, methodological materialism---the view that science attempts to explain the world using material processes---does not imply philosophical materialism---the view that all that exists are material processes. Thus one can consistently be both a scientist and a theist. According to Phillip Johnson, however, methodological materialism presupposes philosophical materialism. Consequently, scientists are unable to see the cogency of supernatural explanations, like creationism. I argue that both Scott and Johnson are wrong: scientists are not limited to explaining tbe world using (...) material processes and science does not presuppose materialism. Thus scientists’ rejection of creationism is not irrational. (shrink)

This study defends the legitimacy of the Enlightenment project by way of its different realizations in the philosophies of Immanuel Kant and Friedrich Heinrich Jacobi. Today, Enlightenment as a cosmopolitan project with a global claim is often considered synonymous with Western chauvinism. The assertion of a universally binding reason is all too obviously inconsistent with the much-cited recognition of cultural differences. In contrast, it is the conviction brought forward in this book that an adequately understood Enlightenment is an unconditional right (...) of every person taking an active interest in a self-determined way of life. Only the realization of this conception of Enlightenment can provide the required space for the reciprocal recognition of human differences to freely unfold. (shrink)

This brief, affordable text helps students to think critically, using examples from the weird claims and beliefs that abound in our culture to demonstrate the sound evaluation of any claim. It explains step-by-step how to sort through reasons, evaluate evidence, and tell when a claim is likely to be true. The emphasis is neither on debunking nor on advocating specific assertions, but on explaining principles of critical thinking that enable readers to evaluate claims for themselves. The authors focus on types (...) of logical arguments and proofs, making How to Think about Weird Things a versatile supplement for logic, critical thinking, philosophy of science, or any other science appreciation courses. (shrink)

This chapter contains sections titled: Human Needs Animal Desires The Good Life.

This chapter argues that the human perspective is not fully reducible – that is, that something would indeed be lost in the absence of the human perspective. It shows that epistemic subjectivity itself is an irreducible, ineliminable feature of the human standpoint. Subjectivity goes along with substantiality, and to be an epistemic subject is to be a substance with a mind. In E2p13, Spinoza identifies the mind's object with the body, thereby specifying where the multiplicity of epistemic subjects comes from (...) – how, that is, individual epistemic subjects are identified and differentiated. The chapter looks at how the three kinds of knowledge relate to the notions of epistemic subjectivity. These include: imaginative knowledge; reason, or knowledge from common notions; and intuitive knowledge. Imaginative knowledge works straightforwardly on the model of having ideas in the thick sense. (shrink)

When people talk about religion, most soon mention the major religious traditions of our times, but then, thinking further, most mention as well the religions of Indigenous peoples and of such vanished civilizations as ancient Greece and Egypt and Persia. That is, we have come to understand that there are-and have been-many different religions; anthropologists estimate the total in the thousands. They also estimate that there have been thousands of human cultures, which is to say that the making of a (...) culture and the making of its religion go together: each religion is embedded in its cultural history. True, certain religions have attempted, and variously succeeded, in crossing cultural boundaries to "convert the heathens," but the invaded cultures usually put their unmistakable stamp on what they import, as evinced by the pulsating percussive Catholic masses sung in Africa. In the end, each of these religions addresses two fundamental human concerns: How Things Are and Which Things Matter. How Things Are is articulated as a Cosmology or Cosmos: How the natural world came to be, how humans came to be, what happens after we die, the origins of evil and tragedy and natural disaster and love. Which Things Matter becomes codified as a Morality or Ethos: the Judaic Ten Commandments, the Christian Sermon on the Mount, the Five Pillars of Islam, the Buddhist Vinaya, the Confucian Five Relations, and the understandings inherent in numerous Indigenous traditions. The role of a religion is to integrate the Cosmology and the Morality, to render the cosmological narrative so rich and compelling that it elicits our allegiance and our commitment to its attendant moral understandings. As a culture evolves, a distinctive Cosmos and Ethos appears in its co-evolving religion. For billions of us, back to the early humans, the stories, ceremonies and art associated with our religions-of-origin have been central to our lives. I stand in awe of these religions. I have no need to take on their contradictions or immiscibility, any more than I would quarrel with the fact that Scottish bagpipe ceremonies coexist with Japanese tea ceremonies. And indeed, the failure of Soviet Marxism to obliterate Russian Orthodoxy, and of Maoism to obliterate Buddhism, Confucianism, or Daoism, and of Christianity to obliterate Indigenous understandings, reminds us that projects designed to overthrow religious traditions face strong headwinds. (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)

A number of physicists have recently been espousing what appears to be a strong form of subjective idealism. Clauser and Horne, professors of physics at Berkeley and Stonehill College, respectively, for example, report.

This volume explores the concepts of reference and identity in public discourses. Its contributions study discourse-specific reference and labelling patterns, both from a historical and present-day perspective, and discuss their impact on self- and other-representation in the construction of identity. They combine multiple methodological approaches, including corpus-based quantitative as well as qualitative approaches, and apply them to a range of text types that are or were (intended to be) public, such as letters, newspapers, parliamentary debates, and online communication in the (...) form of reader comments, discussion pages and tweets. In addition to English, the languages studied include Polish as well as European and Latin American Spanish. The volume is aimed at researchers from different research paradigms in linguistics and related disciplines, such as media communication or the social and cultural sciences, who are interested in the interplay of reference and identity. (shrink)

High profile (and controversial) events and installations, like the Helter-Skelter in Norwich and the Crazy Golf Bridges in Rochester, have drawn attention to innovation and public engagement within Anglican cathedrals. The present study contextualised these innovations both empirically and conceptually. The empirical framework draws on cathedral websites to chronicle the wide and diverse range of events and installations hosted by Anglican cathedrals in England and the Isle of Man between 2018 and 2022. The conceptual framework draws on Edward Bailey’s theory (...) of implicit religion to classify and to explore these events and installations. Two insights from the theory of implicit religion emerged as of particular significance. First, the notion of implicit religion softens the boundaries between the sacred and the secular. This was exemplified by eight categories of events: scientific exhibitions, festivals, musical events, art exhibitions, theatre, markets, community events and installations. Second, the notion of implicit religion draws attention to the themes and activities that generate meaning and purpose. This was exemplified by seven themes: social justice and social conscience, violence and reconciliation, remembrance, migration and sanctuary, COVID-19 and lockdowns, personal well-being and nature and environment.Contribution: Situated within the science of cathedral studies, this article identifies the range of innovative events and installations hosted by Anglican Cathedrals in England and the Isle of Man and assesses the significance of these events and installations through Edward Bailey’s lens of implicit religion, discussing first the softening of boundaries between the sacred and the secular and then the generation of meaning and purpose through the core themes raised by these events and installations. (shrink)

Spricht man über die Aufklärung, taucht man, wie meist in der Philosophie in eine Männerwelt, Frauen sind darin Randfiguren. In einer Zeit, als die Männer die Grundlagen der modernen Zivilisation legten, hat man Frauen eine Nebenrolle zugewiesen. Trotzdem haben Aufklärerinnen durch ihr Denken, ihr Werk und ihr Beispiel viele weitere Generationen beeinflusst. Der Titel Aufklärerinnen beschreibt Philosophinnen, Literatinnen und Wissenschaftlerinnen, die in dieser Umbruchphase etwas bewegen wollten. Mangelnder Frauenbildung, wirtschaftlicher Abhängigkeit und ehelicher Unterwerfung hatten sie den Kampf angesagt. Und das (...) in einer Zeit, die den Frauen mehr denn je ein bürgerliches Korsett aufgezwungen hat. When one speaks about the Enlightenment, one is immersed, as is usually the case in philosophy, in a man's world; women are marginal figures in it. At a time when men were laying the foundations of modern civilisation, women were assigned a supporting role. Nevertheless, women Enlightenment thinkers have influenced many more generations through their thinking, their work and their example. The title Women Enlighteners describes female philosophers, writers and scientists who wanted to make a difference during this period of upheaval. They declared war on the lack of female education, economic dependence and marital subjugation. And they did so in a time that imposed a bourgeois corset on women more than ever before. (shrink)

Unter dem Titel Feuerbach und der Judaismus wird mit dieser Publikation ein neues Kapitel in der Feuerbachforschung aufgeschlagen, da erstmalig Feuerbachs Stellung zum Judaismus, aber auch sein Einfluß auf die deutsch-jüdische Philosophie ...

In this article, we present results from an interdisciplinary research project aimed at assessing consciousness in dreams. For this purpose, we compared lucid dreams with normal non-lucid dreams from REM sleep. Both lucid and non-lucid dreams are an important contrast condition for theories of waking consciousness, giving valuable insights into the structure of conscious experience and its neural correlates during sleep. However, the precise differences between lucid and non-lucid dreams remain poorly understood. The construction of the Lucidity and Consciousness in (...) Dreams scale was based on theoretical considerations and empirical observations. Exploratory factor analysis of the data from the first survey identified eight factors that were validated in a second survey using confirmatory factor analysis: INSIGHT, CONTROL, THOUGHT, REALISM, MEMORY, DISSOCIATION, NEGATIVE EMOTION, and POSITIVE EMOTION. While all factors are involved in dream consciousness, realism and negative emotion do not differentiate between lucid and non-lucid dreams, suggesting that lucid insight is separable from both bizarreness in dreams and a change in the subjectively experienced realism of the dream. (shrink)

When I raise my arm, what makes it the case that my arm's going up is an instance of my raising my arm? In this paper, I discuss Aristotle's answer to this question. His view, I argue, is that my arm's going up counts as my raising my arm just in case it is an exercise of a certain kind of causal power of mine. I show that this view differs in an interesting way both from the Davidsonian ‘standard causal (...) account’ of action and from accounts put forward by recent critics of Davidson, such as Hornsby, Alvarez and Hyman. (shrink)

Some writers have noted that valuation is often focused on foreseen changes. They say that we often don't value situations in terms of what we would have in them only but also in terms of the gains or losses that they offer us — that we then focus on departures from our status quo. They argue that such thinking conflicts with basic economic analysis, and also that it violates logic: they say that it is irrational. I agree that it seems (...) to be common. But is such a way of setting one's values a challenge to economics? And does it conflict with being rational? (shrink)

Levi’s work in decision theory has for many years been a major influence on the field. His writings have raised important new issues and opened new lines of inquiry. This collection of his papers brings out the range of his recent studies and the close bearing of his work on the work of others.

Subversive Pedagogies draws attention to creative and critical pedagogies as a resource for engaging pressing problems in global politics. The collection explores the radical potential of pedagogy to transform students, scholars, citizens and institutions. It brings together scholars and students from a range of disciplinary backgrounds, including international relations, political science, indigenous studies, feminist theory and theatre studies, as well as practitioners in theatre and the arts. These diverse voices explore innovative pedagogical practices that extend our understanding of where pedagogy (...) happens, invite critical assessment of the ways the neoliberal university shapes and restricts pedagogical engagement, and offer both theoretical and practical tools to explore more creative and broader understandings of what pedagogy can and should do. (shrink)

By studying how different societies understand categories such as time and causality, the Durkheimians decentered Western epistemology. With contributions from philosophy, sociology, anthropology, media studies, and sinology, this volume illustrates the interdisciplinarity and intellectual rigor of the "category project" which did not only stir controversies among contemporary scholars but paved the way for other theories exploring how the thoughts of individuals are prefigured by society and vice versa.

What is the relation between time and change? Does time depend on the mind? Is the present always the same or is it always different? Aristotle tackles these questions in the Physics. In the first book in English exclusively devoted to this discussion, Ursula Coope argues that Aristotle sees time as a universal order within which all changes are related to each other. This interpretation enables her to explain two striking Aristotelian claims: that the now is like a moving (...) thing, and that time depends for its existence on the mind. (shrink)

In a conflict between two people, one person wants one thing and the other wants something else and they think they can't both have what they want. Suppose that what they want can only be the outcome of some joint action. Adam must do either y or z and Eve either y ' or z ' – here y -and- y ' would be one joint action, y -and- z ' would be another, and so on. Adam wants the outcome (...) of his doing z while Eve is doing y '. Eve wants the outcome of her doing z ' while Adam is doing y. Each thinks that these outcomes can't both be had. (shrink)

Since the last two decades of the 20th century it has been widely accepted that testimony has to be acknowledged as a source of knowledge. As a side effect, any form of epistemic individualism has been discredited. The article provides some arguments against the dismissive attitude towards epistemic individualism. I distinguish between three forms of epistemic individualism, and I argue that only the most extreme form can be flatly rejected while there are good reasons for maintaining the other two forms (...) of epistemic individualism. I show that weak individualism, according to which individuals are the bearers of knowledge, is concerned with a necessary condition of the instantiation of knowledge. We only accept knowledge claims if there is good reason to believe that they are maintained by at least one individual. My main interest, however, is focused on a discussion of the third more challenging form of epistemic individualism, namely normative epistemic individualism, which claims that priority of one’s own epistemic experiences over the testimony of others. I first swow that such a priority claim can only be understood as a local device, i.e. if a belief based on our own experiences is challenged by other people’s assertations, then we are committed to trust our own experiences more than the words of others. In a second step, the relations between such a restricted version of the individualist priority claim and the ideal of rationality are discussed. (shrink)

This paper attempts to analyse and criticize the arguments and motives of those who reject any discussion of active euthanasia. A distinction is drawn between freedom of discussion in academic and in public con texts. Academic discussion demands unrestricted freedom, whereas in public debates the feelings of the groups concerned should be considered. The author argues that these restrictions are not serious enough to justify suppressing the debate. Problems of euthanasia are too vital to be left to the experts without (...) public control. (shrink)