Review of "Reclaiming Enchantment: Humanity In A Creative Universe" by Stuart Kauffman NY: OUP, 2016.

In lieu of an abstract, here is a brief excerpt of the content:The Enchantment of Art: Abstraction and Empathy from German Romanticism to ExpressionismDavid MorganA familiar tradition since the eighteenth century has invested art with the power to heal a decadent human condition. Inheriting this ability from religion—the romantic enthusiast Wilhelm Wackenroder considered artistic inspiration to originate in “divine inspiration” in the case of his hero, Raphael 1 —art eventually replaced institutionalized belief in an evolutionary schedule of cultural development determined (...) by German idealism. Hegel, for instance, theorized the evolution of spirit from religion to art as a qualitative advancement over time. Rejecting the metaphysics of German idealism, Friedrich Nietzsche nevertheless contended that “Art raises its head where religions decline.” By assuming the “feelings and moods” of religion which had been dismantled by enlightenment, Nietzsche claimed that art gave new form to the life of feeling and imbued human endeavors with a “loftier, darker coloration.” 2 In the early twentieth century Wassily Kandinsky believed that the “spiritual in art” was the historical manifestation of an “inner necessity” that was in itself timeless and universal. Kandinsky portrayed the “life of the spirit” as “a large acute-angled triangle divided horizontally into unequal parts.” In a kind of “trickle down” aesthetic, the compartments of the triangle move slowly upward toward the apex, which is inhabited by the solitary genius of an age whose vision gradually elevates all those who occupy the lower stages. 3 [End Page 317]The point for proponents of the spiritual in art from romanticism to expressionism (and beyond) was to find in works of art what can best be described as an enchantment. 4 As the negotiation of the gaps or disjunctures separating human beings from complete power over their lives, enchantment conjoins the plane of immediate human experience to a desirable state of affairs through the mediation of such symbolic devices as rituals, incantations, or charms. Thus, evil can be warded off by the use of an apotropaic amulet, and fertility can be enhanced by the recitation of a suitable prayer or the performance of a certain ritual. In a modern analogy a sense of impotence is often alleviated by a trip to the mall where the bored therapeutically lose themselves in symbolic acts of self-renewing consumption. In the traditions of philosophy and science, systems of representation such as astrology, the microcosm, the harmony of the spheres, the great chain of being, the celestial hierarchies, or the mechanisms of theurgy and divination situate humanity within a cosmos that follows a particular order accessible to and in some degree manipulable by human beings. Enchantment consists of an apparatus of belief whose form of representation or enactment is thought to exert influence over the realities it configures.But enchantment is not limited to the spells and magic of premodern metaphysics (or modern consumerism). By means of religion, morality, and aesthetics, Nietzsche once averred, “man likes to believe that... he is touching the heart of the world.” 5 This study will focus on the manner in which art as constructed within the idealist tradition of German art theory functioned as an enchantment. Specifically, it will explore what the history of ideas about abstraction and empathy has to tell us about the spiritualization or enchantment of art. After identifying the philosophical and aesthetic wherewithal of enchantment in nineteenth-century Germany, attention focusses on Franz Marc’s early twentieth-century theorization of abstraction. It is certainly more customary to study Kandinsky, whose writings and early efforts at abstraction are much better known, but Marc’s ideas offer more immediate connections to German intellectual history and clarify the aims of his abstract art as a strategy of enchantment. Moreover, Marc was unusually articulate and wrote often, exploring ideas and artistic efforts with great insight. Focusing on Marc therefore offers a corrective to the historiography that has favored Kandinsky’s writings. Finally, Marc differed from his Russian friend over the cause of the war. Manifesting a difference that is portentous for this study, Kandinsky left Germany for Russia in 1914, while Marc enthusiastically took up arms for the fatherland. Given these circumstances and the unfortunate tendency of art historians to valorize expressionist art rather than situate it in the ideological context of... (shrink)

This essay challenges the thesis that the modern world is a ‘disenchanted’ one. I contend that enchantment has outlasted the Enlightenment; that it endures despite the demise of the ontology that allowed it paradigmatic expression in the sixteenth century writings of Paracelsus. I present two post‐medieval pictures of an enchanted world: the first appears, of all places, in Kant's Critique of Judgment, where a peculiar magic is required of nature if humans are to gain access to the ‘supersensible’ realm (...) of freedom and rational ideas; the second focuses upon the strange beauty of late modernity's admixtures of animal and human, organism and machine, the given and made. Here I use a little Kafka and lot of Deleuze to explore these hybrids as ‘technoenchantments’ operative in a world that fascinates without being expressive of a design or a will. I spotlight contemporary sites of enchantment in order to intensify the experience of them, and thus perhaps to erode the conviction that an undesigned universe calls above all for a cold‐eyed instrumentalism. (shrink)

In this dissertation I examine the topics of ethics, religion, and their relationship in the work of Charles Taylor. I take Taylor's attempt to confront modern disenchantment by seeking a kind of re-enchantment as my guiding thread. Seeking re-enchantment means, first of all, defending an `engaged realist' account of strong evaluation, i.e., qualitative distinctions of value that are seen as normative for our desires. Secondly, it means overcoming self-enclosure and achieving self-transcendence, which I argue should be understood in terms of (...) transcending a `lower' mode of selfhood for a `higher' one in concern for `strong goods'. One of the main issues that Taylor raises is whether re-enchantment requires theism for its full adequacy. He advances - often as `hunches' - controversial claims regarding the significance of theism (1) for defending strong evaluative realism and (2) for motivating an ethic of universal human concern. I seek to fill out his hunches in terms of a theistic teleological perspective that is centered on the `telos of communion'. I argue that such a view is important for overcoming the problem of what Bernard Williams calls the `radical contingency' of ethical beliefs, which seems to undermine their normative authority. However, I argue that if a non-theistic view of cosmic purpose (e.g., Thomas Nagel's view) can be regarded as a viable option, then it could also help to address this problem and support a kind of re-enchantment. Taylor also advances the controversial view that (3) there is an ineradicable draw to `transcendence' in human life in connection to the quest for the meaning of life. Here he opposes certain mainstream theories of secularization that see it as a process involving the ineluctable fading away of the relevance of religion. I seek to fill out and defend Taylor's view in this matter. Besides providing a reading of Taylor's work as a whole and advancing further some of the issues he raises, I also examine his general evaluative framework based on his account of strong evaluation. In doing so I show how he provides a distinct and important perspective among contemporary moral philosophers. (shrink)

First, a joke that was circulating among academics a couple of years ago. In the version I heard, a Texan is walking across Harvard Yard. He stops a guy and asks him, in his nasal drawl, “Can you tell me where the library’s at?” The guy looks him up and down, pauses, and says, “At Harvard we do not end our sentences with prepositions.” The Texan apologizes, saying, “Excuse me. Can you tell me where the library’s at, asshole?”This story may (...) seem far removed from the subject of this essay, which is supposed to be a serious one. But what is the joke about, after all, if not the seriousness of language, its power, and the demystification of that power by our native brand of deconstructionist, the shrewd rube?[…]If we find the joke funny, I imagine that the experience with which most of us identify is this: we want the gumption to reject an arrogant cultural authority. This experience may be especially appealing to students, but it also may appeal to intellectuals conscious of those problems of power and knowledge that have been so celebrated in recent years. In fact, if Friedrich Nietzsche was right in suggesting that grammar is a metaphysical discipline comparable to God, then the pleasure of this joke may lie in its humiliation of law, pure and simple. Sigmund Freud, among others, has suggested that figures of authority in jokes are only stand-ins of that general power of society over all individuals which is contested in the very form of the joke. Thus, following Freud, or, say, those who have made Mikhail Bakhtin’s conception of carnival so popular a topic of academic discussion, we could see enjoyment of this joke as representing a momentary rebellion against every form of culture that, as the saying goes, it imposed upon us. From that perspective, even my use here of this joke is bound to seem ridiculous; indeed, academic psychologists who write on laughter and humor often preface their discussions with defensive remarks about people who find it funny to see intellectuals seriously and laboriously analyzing jokes.1 1. See, e.g., Anthony J. Chapman and Hugh C. Foot, eds., It’s a Funny Thing, Humour , and Paul E. McGhee and Jeffrey H. Goldstein, eds., Handbook of Humor Research, 2 vols. . Daniel Cottom is associate professor of English at Wayne State University. He is the author of The Civilized Imagination and is currently working on a study of the politics of interpretation. (shrink)

Collins, John Francis; Carroll, Sandra In the April 2012 edition of The Australasian Catholic Record John Duiker presented a useful overview and history of the Catholic Charismatic Renewal titled 'Spreading the Culture of Pentecost in the Midst of Disenchantment.' According to Duiker the CCR as an ecclesial movement 'has its origins in a retreat that was held at Duquesne University in Pittsburgh, Pennsylvania in the USA in February 1967.' Describing this event as a Pentecost experience Duiker writes that the movement (...) that was started by this event 'spread to other college campuses and continued to spread right across the world, and now exists in over 220 countries and has touched the lives of over 120 million Catholics.' Duiker's article draws on Charles Taylor's thesis that our post-enlightenment Western culture has been emptied-out of the idea of God's providence leading to 'a diminishing of the necessity of grace and a fading of the sense of mystery.' Duiker then presents a case for CCR being recognised 'as an example for the re-enchantment of a post-Enlightenment secular world.'. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...) fantasy, and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Bookworms to Enchanted Hunters: Why Children ReadMaria Tatar (bio)Sensation SeekersThe laws governing the conservation of cultural energy are particularly effective when it comes to children’s literature. Peter Pan, Alice in Wonderland, The Chronicles of Narnia, The Yearling, The Wizard of Oz, Pinocchio, The Wind in the Willows, The Secret Garden, The Snow Queen: these are just a few of the volumes that continue to pull and tug (...) on young readers, drawing them into enchanted other worlds. Their propulsive force has moved from one generation to the next, setting minds into motion, renewing senses, and almost rewiring brains. Favoring expressive intensity over intellectual heft, the books of childhood use no-holds-barred melodramatic strategies until we are under their spell. We can all remember the jolts and shimmer of books we read as children, the moments that sent shivers up and down the spine.“Wow” moments saturate children’s stories, exploiting the emotive power of language for maximum effect.1 Think of the multiple evocations of the web created by the spider Charlotte in E. B. White’s book, how it “glistens” in the light and makes a pattern of “loveliness and mystery.” “What a curious feeling,” Alice declares in Lewis Carroll’s Alice in Wonderland once she has tasted the contents of a bottle marked “Drink me.” After that, the world she enters only becomes “curiouser and curiouser.” Dorothy lands in Oz and her eyes grow “bigger and bigger” at the “wonderful sights” she sees. They continue widening as she follows the Yellow Brick Road to Oz with her three companions. “A million golden arrows” point the way to Neverland, as the Darling children begin to experience the first in a series of bursts of beauty and rumbles of violence. Those rumbles create similar wow effects. Who can forget the moment when Iorek Byrnison, one [End Page 19]Maria Tatar Maria Tatar is the John L. Loeb Professor of Germanic Languages and Literatures at Harvard University, where she chairs the Program in Folklore and Mythology. She is the author of Classic Fairy Tales, The Annotated Brothers Grimm, The Annotated Hans Christian Andersen, and The Hard Facts of the Grimms’ Fairy Tales and has written for the New York Times, the New Republic, and Slate.com.Copyright © 2009 Board of Trustees of the University of Illinois... (shrink)

In L. Sprague de Camp's fantasy story The Incomplete Enchanter (which set the mold for the many imitations that followed), the hero, Harold Shea, is transported from our own universe into the universe of Norse mythology. This world is based on magic rather than technology; so naturally, when Our Hero tries to light a fire with a match brought along from Earth, the match fails to strike.

"This book places important themes from the theology of Jonathan Edwards in the context of the Enlightenment. An intellectual history, it makes a bold case that Edwards was not primarily a provincial social figure nor an American literary figure, but a European philosophical figure whose context was the great international movement of modern thought."--Mark Valeri, Union Theological Seminary, Virginia "What most impresses me about this erudite and well-researched book is the deep contextualization of Edwards's philosophy of history within the intellectual (...) world of the Enlightenment. This is a very learned piece of scholarship, and several features set this study apart from other major accounts of Edwards."--Stephen J. Stein, Chancellor's Professor, Indiana University "A signal contribution in the ongoing rehabilitation of colonial America's greatest mind."--David W. Kling, "American Historical Review". (shrink)

Given the enchanted worldview of pentecost-alism, what possibility is there for a uniquely pentecostal intervention in the science-theology dialogue? By asserting the centrality of the miraculous and the fantastic, and being fundamentally committed to a universe open to surprise, does not pentecostalism forfeit admission to the conversation? I argue for a distinctly pentecostal contribution to the dialogue that is critical of regnant naturalistic paradigms but also of a naive supernaturalism. I argue that implicit in the pentecostal social imaginary (...) is a distinct conception of nature that is amenable to science but in conflict with naturalism. (shrink)

The underlying claim of this essay is that we live in a multiverse, that is a universe of many universes that occupy the same space and time, not as an exotic excursion into the realms of science fiction, but as an everyday necessity that affects our social and economic interchange. Faced with such instability, the convenient way that this was managed was through an arbitrary division of labour that assigned the rational to the ‘real’ and the irrational to the (...) ‘imagined’. Recent speculation in cosmology and the science of consciousness studies has obliged us to reconsider the concept of reality as an ‘absolute given’ from which all laws can be verified. In string theory in particular, the dispute now hinges on the existence of ten or eleven dimensions in rippling membranes that discharge energy at the point of contact. In consciousness studies, similar models have appeared in order to embrace what might be understood as an apparent moment of enchantment essential to turn consciousness into awareness. The inevitable realization in scientific circles that the reality of the imagined has as an equivalent epistemological significance to the reality of the material, raises fascinating questions as it invites a sceptical reconsideration of the essential basis of knowledge and a revision of procedures. While the radical shift in scientific thought provides the moment of profound satisfaction for those artists, designers and scientists who have long argued for a transdisciplinary world-view, it also provides a moment of great challenge as we begin to consider how knowledge might be extended, codified and distributed in a multiverse, and begin to reflect on the relationships between text and world when any given world is only defined by the temporary consensus dependent on an arbitrary episteme. (shrink)

In introducing his argument - which resumes and develops the philosophical analysis of the phenomenon of globalisation advanced in his book Westward Passage (forthcoming from Verso, London-New York) - Giacomo Marramao takes the film Babel, by the Mexican director Alejandro Gonzáles Iñárritu, as the point of departure for his discussion: the film depicts the globalised world as a complex space at once interdependent and differentiated in character, constituted like a mosaic, composed of a multiplicity of "asynchronic" ways and forms of (...) life which are brought together by the manifold flux of events that traverse them. This cinematographic depiction perfectly captures the disconcerting bi-logic of globalisation: the logic through which the mix of the global market and of digital technologies operating in "real time" generates an increasing diaspora of identities. The Babel of our contemporary world thereby reveals itself as a kind of planetary extension of the world of Kakania described by Robert Musil: a cacophonous compendium of proliferating and mutually untranslatable languages. In order to conceptualise, and produce a suitably fluid and dynamic account, of this new "world picture," we must not only dissolve the spurious dilemma between universalism and relativism, but move beyond the current impasse encouraged by a normative political philosophy which tends to reify "cultural identities" and "struggles for recognition" by treating these as givens rather than as problems. The philosophical approach pursued in the following discussion attempts to liberate the concept of "the universal" - despite the etymology of the word - from the logic of the reductio ad unum, and apply it instead to the realm of multiplicity and difference. Developing a double phenomenology of the increasingly homogenising phenomenon of the market on the one hand and of the internally conflicted pandemic of identitarian and communitarian approaches on the other, the author indicates a variety of universalising tendencies whose potential can only fully be evaluated in the context of a new theory and practice of translation. Marramao's proposal for a universalism of difference is predicated on the failure of the two principal models of "democratic" inclusion that have previously been attempted in the West: the republican or assimilationist model (that of a Republique founded upon what could be called a universalism of indifference) and the "strong" multiculturalism model (the so-called Londonistan model that derives from a mosaic of differences that also provides fertile ground for the growth of fundamentalist ideas). But to advance beyond the antagonistic complicity generated by this dilemma calls for a re-enchantment of the political: the only way in which we may be able to read the prognostic signs of our present. (shrink)

Corruption has been a major obstacle to economic growth around the world. In this paper, we examine how firms interact with corrupt government officials either to minimize the impact of corruption on their operations or to maximize their benefit of paying a bribe. Our estimates show that firms know exactly what they need and use their limited resources to bribe only relevant government authorities. In other words, firms are rational bribers who know exactly what they need and optimize their bribes (...) to fulfill that need. This type of intentional bribery could be reduced by enhanced institutional environments and improved openness of the economy. (shrink)

The philosophy of Ernest Gellner was much influenced by his studies in the social sciences. The philosophical problems he examined and the solutions he proposed originated there. To what extent does the legacy of Gellner influence the social sciences and current events and social transformations? More than a few of the essays in Ernest Gellner and Contemporary Social Thought find that while the questions he raised are fruitful, the answers he gave them do not pass the test of time. By (...) contradiction, John Hall, in Ernest Gellner: An Intellectual Biography, finds that Gellner laid the grounds for understanding the origins and development of current events and social transformations. Gellner’s distinguished three spheres in modernity which eventually created a mosaic of nations in Europe - agraria, industria and nationalism. Most of Gellner’s critics found the creation a threat to enchantment; Hall found it disenchanting and cold yet an illuminating way to reach solutions to our contemporary problems. Assessing Gellner in the current context namely, global fluctuations and through the spectacles of these two books, I find that Gellner’s spheres in modernity are called to overlap exerting pressure on the mosaic of nations and, to a large extent, transforming it into an imagined seamless community of people in which our human rationality accommodates only a touch of reenchantment. I suppose that Gellner would agree. (shrink)

In this paper I develop a theory of 'function' and function as a deontic modal word and phenomenon. Kratzer’s account of the semantics for the deontic modals is invoked and using her approach a formal schema for the semantics of 'function'-sentences is proposed. My account of function is a modalized and extended version of Cummins’ systems-type account of function. In the biological and physical sciences, on this account, function is a complex empirical deontic modal property. It is built on the (...) property of X’s doing Y well enough to enable Z, which is implicitly deontic because of the evaluative but nonetheless empirical in its biological and physical applications. This account of function resolves many of the traditional puzzles about biological and physical function, and extends naturally to include the other types of function. With a variant treatment of the semantics, this account is argued also to apply to mathematical function, where it is shown to be interestingly related to Frege’s account of function. (shrink)

The word 'athletics' is derived from the Greek verb 'to struggle for a prize'. After reading this book, no one will see the Olympics as a graceful display of Greek beauty again, but as war by other means. Nigel Spivey paints a portrait of the Greek Olympics as they really were - fierce contests between bitter rivals, in which victors won kudos and rewards, and losers faced scorn and even assault. Victory was almost worth dying for, and a number of (...) athletes did just that. Many more resorted to cheating and bribery. Contested always bitterly and often bloodily, the ancient Olympics were not an idealistic celebration of unity, but a clash of military powers in an arena not far removed from the battlefield. (shrink)

Contribution of Malay Muslims in science and modern world; proceedings of a seminar.

This paper gives two complete and elementary proofs that if the speed of light over closed paths has a universal value c, then it is possible to synchronize clocks in such a way that the one-way speed of light is c. The first proof is an elementary version of a recent proof. The second provides high precision experimental evidence that it is possible to synchronize clocks in such a way that the one-way speed of light has a universal value. We (...) also discuss an old incomplete proof by Weyl which is important from an historical perspective. (shrink)

This paper asks the following question: can an atheist reader fully taste the aesthetic meaning of poetry written by a theist author? This question is discussed with specific reference to the devotional poetry of Tagore. The paper discusses forms of pre-modern religious thinking which influenced Tagore’s conceptions of God, his relation to Nature, human society, and the human self. But it stresses that Tagore’s time was different from those of pre-modern believers. Tagore, as a modern thinker, had to fashion a (...) response to the ‘problem’ of disenchantment. He constructed a philosophic vision that embraced modern science, but argued that it did not dispel the sense of living in an enchanted universe. Consequently, it is argued that a nastika can enjoy his poetry. This requires the nastika to view the idea of God not as a failure of cognition, but as a triumph of the imagination. I can continue to enjoy Tagore’s poetry without unease. (shrink)

Since its birth in 1600 opera has been interpreted as an attempt to revive Greek tragedies in its marvelous music. Its provocative presentation of action and narration entirely in music has been seen as a manifestation of the enchanted universe of sixteenth-century hermeticism. Viewed as a final homage to the magical incantations of the premodern era, late Renaissance operas have been interpreted as the culmination rather than the dissolution of Renaissance culture. This paper proposes that the relationship between (...) the natural and the supernatural in early opera represents a rational mediation between the real and the unreal rather than an enchanted bond between these realms. The paper situates the birth of opera in the context of the epistemological shift of the new science and suggests that opera played a key role in the transition from the old to the modern notions of meaning and truth. (shrink)