A Pragmatic Method of Reading Confused Philosophic Texts: The Case of Peirce's "Illustrations" In 1878, Charles Peirce introduced a method for making confused ideas clear. In this essay, I put Peirce's method to work as a method for making confused writing clear, in particular, for clarifying the meaning of confused philosophic arguments as they appear in philosophic essays. In Section I, I introduce the method as a Pragmatic Method of Reading Confused Philosophic (...) Texts. In Section II, I re• view Peirce's 1877-78 "Illustrations of the Logic of Science"\ as examples of confused texts. In Section III, I apply the Pragmatic Method, reading Peirce's "Illustrations' as expressions of fundamentally contradictory "leading tendencies of thought." While it does not resolve such contradictions, the Pragmatic Method renders a confused text clear by enabling us to read it as a collection of two "implicit" texts, or two sets of meanings. (shrink)

This book is the fruit of twenty-five years of study of Spinoza by the editor and translator of a new and widely acclaimed edition of Spinoza's collected works. Based on three lectures delivered at the Hebrew University of Jerusalem in 1984, the work provides a useful focal point for continued discussion of the relationship between Descartes and Spinoza, while also serving as a readable and relatively brief but substantial introduction to the Ethics for students. Behind the Geometrical Method is (...) actually two books in one. The first is Edwin Curley's text, which explains Spinoza's masterwork to readers who have little background in philosophy. This text will prove a boon to those who have tried to read the Ethics, but have been baffled by the geometrical style in which it is written. Here Professor Curley undertakes to show how the central claims of the Ethics arose out of critical reflection on the philosophies of Spinoza's two great predecessors, Descartes and Hobbes. The second book, whose argument is conducted in the notes to the text, attempts to support further the often controversial interpretations offered in the text and to carry on a dialogue with recent commentators on Spinoza. The author aligns himself with those who interpret Spinoza naturalistically and materialistically. (shrink)

An attempt to investigate philosophical texts (in this case, Hegelian ones) from the point of view of a single (in this case, Marxist-Leninist) ideology leads to a change in their meaning. Concepts or are interpreted in the exact opposite sense, which revives the old problem from Aristotle, the relationship between the name and the thing. When names are imposed on things that are opposite to those that originally exist, the correspondence between the name and the thing is violated, leading to (...) the destruction of the thing or the whole world, if they are consciously renamed, then the key things of the world are not recognized. If a person is self-consciousness, as Hegel defines it, then such a person loses both consciousness and the mind closely connected with it, he moves away from the mind (goes crazy) and receives the definition of an unreasonable (insane, demens) mortal living being, thereby losing and the name "man". About this in the VI century. Boethius wrote, Berdyaev defined it as a disease of being, and Nietzsche as degenerativeness. J. Agamben defined the current state that emerged after the pandemic as a rivalry between three religions: Christianity, capitalism and science. The upper hand in this rivalry is won by a science deprived of a theoretical status, which put forward as one of its modes medicine, understood as a religion and used by the authorities as a system of coercive rules. He calls this state the beginning of a world civil war. In turn, such a state is really capable of depriving the participants and supporters of such a war of self-consciousness desired by Hegel and, accordingly, the status of participation in the human race predicted by Boethius. (shrink)

The paper aims to contribute to the ongoing conversation on critical phenomenology with reflections on its method. The key argument is that critical phenomenology should be understood as a form of historico-transcendental inquiry and therefore it cannot forgo the phenomenological reduction. Rather, this methodological step should be centered in critical phenomenology, and appropriated in problematized and rethought forms. The methodological assessment of critical phenomenology has implications also for how we read its canon. The paper shows that while Simone de (...) Beauvoir did not adopt the phenomenological reduction in its full Husserlian meaning, her analyses of experience did not remain on the level of personal or experiential description either. The contention is that if we want to read her as a critical phenomenologist, we should focus on her seminal modification of the historico-transcendental method of phenomenology. (shrink)

This book is the fruit of twenty-five years of study of Spinoza by the editor and translator of a new and widely acclaimed edition of Spinoza's collected works.

The author examines He Lin's interpretation of Zhu Xi's method of intuition from a phenomenological-hermeneutical perspective and by exposing Zhu's philosophical presuppositions. In contrast with Lu Xiangshan's intuitive method, Zhu Xi's method of reading classics advocates "emptying your heart and flowing with the text" and, in this spirit, explains the celebrated "exhaustive investigation on the principles of things (ge wu qiong li)." "Text," according to Zhu, is therefore not an object in ordinary sense but a "contextual (...) region" or "sensible pattern" that, when merged with the reader, generates meanings. Furthermore, by discussing the related doctrines of Lao Zi, Zhuang Zi, Hua-Yan Buddhism, Zhou Dunyi, and Zhu Xi's own "One principle with many manifestations (li yi fen shu)," the author identifies the philosophical preconditions of Zhu's method. Based on this analysis, the author goes on to illustrate Zhu's understanding of "observing potential yet unapparent pleasure, anger, sorrow and happiness" and "maintaining a serious attitude (zhu jing).". (shrink)

This paper concerns the Aristotelian inquiry on φαντασία’ in De Anima iii 3. I argue for a systematic interpretation of the chapter, according to which iii 3 neatly instantiates what David Charles has called the Three Stage View on scientific inquiry. The first stage establishes the meaning of the term φαντασία so it provides a nominal definition of the object, the second stage dialectically confirms the existence of φαντασία as something different from other already known cognitive powers (perception, thought), the (...) third stage posits a hypothetical essence (real definition), then it tests its power of enabling us to derive from such an essence those manifest and apparent features of φαντασία, that had been previously individuated. On the basis of such reading, some general suggestions on the status and role of φαντασία are also proposed, on the basis of which we can take the definition of iii 3 to be consistent with any other explanatory uses of φαντασία in the corpus. (shrink)

In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer and in Didi-Huberman’s (...) analysis of it, all the potencies credited to images as such are actually potencies of the words that accompany the images. Rancière comes to the conclusion that to “put images in motion,” as Didi-Huberman wants to do, or to regard them as being “active,” he has to put words, his own poetic and extensive writings, in motion. (shrink)

Abstrack In this study, the subject of preference, its conceptual field and its historical process, as well as the methods of determining and choosing different readings of mutawatir recitation imâms are discussed. The different phrasing of the Qur'an began from the revelation period of the revelation. It is seen that there were some discussions about the different readings of the Qur'an among the Companions in the early period, albeit a little. These different recitations of some of the Companions, who see (...) their own reading better or who are not aware of their friends' readings, are the Prophet's. The fact that they took them to the Prophet indicates this. As a matter of fact, Allah's command to "read whatever is easy from the Qur'an" (Muzzammil, 73/20) and the hadith of the Messenger of Allah "read whatever is easy from it", together with the different reading license, also implicate his preference. Arab tribes who used different dialects from the Quraysh dialect during the Medina period and those who converted to Islam from other non-Arab nations faced some difficulties in pronouncing and understanding the Qur'an, which was revealed in the Quraysh dialect. Wanting to solve this serious problem, Hz. Prophet was given the permission to read with seven letters, the differences in recitation began to be seen. The concepts of preference and elder refer to the practices of the imams of recitation in the process of creating their own recitations together with their proofs, which they chose from among the recitations of their predecessors. In the science of hujjat, the most used concepts, along with other concepts, are the concepts of old age, preference and need. Ihticaj is a concept that expresses choosing one among different recitations by citing evidences and proofs. As a matter of fact, when the works of the recitation scholars on this subject are examined, it is seen that the imâms made their choices by citing evidence from the Qur'an, Sunnah, Mushafs and language rules regarding the differences in recitation. In the science of recitation, some other concepts such as ulema, especially proof, and illet and evidence were also used. Whether it is the Qurra that stands out in the field of natural recitation, or the imams of mutawatir recitation, they have formed their preferences by bringing evidence from verses, sunnah, mushaf, saned and language in line with the criteria of sound recitation. (shrink)

The paper aims to contribute to the ongoing conversation on critical phenomenology with reflections on its method. The key argument is that critical phenomenology should be understood as a form of historico-transcendental inquiry and therefore it cannot forgo the phenomenological reduction. Rather, this methodological step should be centered in critical phenomenology, and appropriated in problematized and rethought forms. The methodological assessment of critical phenomenology has implications also for how we read its canon. The paper shows that while Simone de (...) Beauvoir did not adopt the phenomenological reduction in its full Husserlian meaning, her analyses of experience did not remain on the level of personal or experiential description either. The contention is that if we want to read her as a critical phenomenologist, we should focus on her seminal modification of the historico-transcendental method of phenomenology. (shrink)

Engaging with the question of the extent to which the so-called human, economic or social sciences are actually sciences, this book moves away from the search for a criterion or definition that will allow us to sharply distinguish the scientific from the non-scientific. Instead, the book favours the pursuit of clarity with regard to the various enterprises undertaken by human beings, with a view to dissolving the felt need for such a demarcation. In other words, Read pursues a ‘therapeutic’ approach (...) to the issue of the status and nature of these subjects. Discussing the work of Kuhn, Winch and Wittgenstein in relation to fundamental question of methodology, Wittgenstein among the Sciences undertakes an examination of the nature of (natural) science itself, in the light of which a series of successive cases of putatively scientific disciplines are analysed. A novel and significant contribution to social science methodology and the philosophy of science and ‘the human sciences’, this book will be of interest to social scientists and philosophers, as well as to psychiatrists, economists and cognitive scientists. (shrink)

Book Reviews James c. Klagge and Nicholas D. Smith, eds., Methods of Interpreting Plato and His Dialogues. Oxford Studies in Ancient Philosophy, Supplementary Volume 1992. Oxford: Clarendon Press, 1992. Pp. ~8o. Cloth, $65.oo. The modern debate about how to interpret Plato and his dialogues has been going on at least since Schleiermacher argued for the interpretive importance of literary and dramatic characteristics, against the prevailing practice of reading Platonic doctrines directly out of the texts as if they were disguised (...) treatises 9 Important contributions to the discussion earlier in the twentieth century were made by Schaerer and Gold- schmidt, Friedl~inder, Stefanini, Woodbridge and Randall, Strauss, Kr~imer and Gaiser, and the disciples of these scholars, although you would hardly know it from the present volume. For those who are new to the discussion, and especially for those who come from the.. (shrink)

Background: Low rates of participation of adolescents and young adults (AYAs) in clinical oncology trials may contribute to poorer outcomes. Factors that influence the decision of AYAs to participate in health research and whether these factors are different from those that affect the participation of parents of children with cancer. Methods: This is a secondary analysis of data from validated questionnaires provided to adolescents (>12 years old) diagnosed with cancer and parents of children with cancer at 3 sites in Canada (...) (Halifax, Vancouver, and Montreal) and 2 in the United States (Atlanta, GA, and Memphis, TN). Respondents reported their own research participation and cited factors that would influence their own decision to participate in, or to provide parental authorization for their child to participate in health research. Results: Completed questionnaire rates for AYAs and parents were 86 (46.5%) of 185 and 409 (65.2%) of 627, respectively. AYAs (n = 86 [67%]) and parents (n = 409 [85%]) cited that they would participate in research because it would help others. AYAs perceived pressure by their family and friends (16%) and their physician (19%). Having too much to think about at the time of accrual was an impediment to both groups (36% AYAs and 47% parents). The main deterrent for AYAs was that research would take up too much time (45%). Nonwhite parents (7 of 56 [12.5%]) were more apt to decline than white parents (12 of 32 [3.7%]; P < .01). Conclusions: AYAs identified time commitment and having too much to think about as significant impediments to research participation. Addressing these barriers by minimizing time requirements and further supporting decision-making may improve informed consent and impact on enrollment in trials. (shrink)

J. B. Schneewind's Sidgwick's Ethics and Victorian Moral Philosophy was the single best philosophical commentary on Henry Sidgwick's Methods of Ethics produced in the twentieth century. Although Schneewind was primarily concerned to read Sidgwick's ethical theory in its historical context, as reflecting the controversies generated by such figures as J. S. Mill, F. D. Maurice, and William Whewell, his reading also ended up being highly neo-Kantian, reflecting various Rawlsian priorities. As valuable as such an interpretation of Sidgwick surely is, (...) Schneewind's approach has always been in some key respects too narrowly conceived in its construction of Sidgwick's philosophical and cultural context, failing to grapple with such troubling, philosophically relevant issues as the possible racism of Sidgwick's ethical and political views, or the sexual politics manifest in his collaboration with such figures as John Addington Symonds. Correspondence:c1 [email protected]. (shrink)

Ecological Psychology and Enactivism both challenge representationist cognitive science, but the two approaches have only begun to engage in dialogue. Further conceptual clarification is required in which differences are as important as common ground. This paper enters the dialogue by focusing on important differences. After a brief account of the parallel histories of Ecological Psychology and Enactivism, we cover incompatibility between them regarding their theories of sensation and perception. First, we show how and why in ecological theory perception is, crucially, (...) not based on sensation. We elucidate this idea by examining the biological roots of work in the two fields, concentrating on Gibson and Varela and Maturana. We expound an ecological critique of any sensation-based approach to perception by detailing two topics: classic retinal image theories and perception in single-celled organisms. The second main point emphasizes the importance of the idea of organism-environment mutuality and its difference from structural coupling of sensations and motor behavior. We point out how ecological - phenomenological methods of inquiry grow out of mutualism and compare Gibson’s idea of visual kinesthesis to Merleau-Ponty’s idea of the lived body. Third, we conclude that Ecological Psychology and varieties of Enactivism are laying down different paths to pursue related goals. Thus, convergence of Ecological Psychology and Enactivism is not possible given their conflicting assumptions, but cross-fertilization is possible and desirable. (shrink)

This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy!

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Future of the Book: Images of Reading in the American Utopian Novel by Kevin J. HayesMatthew LeggattKevin J. Hayes. The Future of the Book: Images of Reading in the American Utopian Novel. Oxford: Oxford University Press, 2022. E-book, 192 pp. ISBN 9780192670960.Kevin J. Hayes is a writer of high regard, having published many books over his distinguished career, including biographical studies such as Herman Melville, (...) Mark Twain, George Washington: A Life in Books, and several on Edgar Allen Poe. Works like the 2020 monograph Shakespeare and the Making of America showcase his intersecting interests in biography, literature, and American political history. It is these interests that are very much on display in his 2022 monograph The Future of the Book: Images of Reading in the American Utopian Novel, and we should be thankful that Hayes has turned his attention to the subject of utopian fiction as he certainly has much to add to the discussion. The book is clearly a labor of love and Hayes writes with a great degree of detail and authority suggesting he has always held a deep interest in the utopian novel. In fact, from the preface, it is clear the research supporting this book has spanned many years.The preface sets it all up very neatly. Immediately, the reader is invited into the research story of the book. Hayes has an evocative and methodical style that carries that research throughout. The author is also careful in this preface to assert his expertise in the field. Having read “virtually every utopian novel in American literature published before 1910” on microfilm gives Hayes the opportunity to explore many of the obscure and lesser-known works of the period (ix), which he notes in his introduction is primarily between 1880 and 1915. Since many of these novels are yet to be digitized, his insight is notably rare.Aside from an introduction and conclusion, the book is divided into five chapters. The first is titled “The Residential Library” and is centrally about [End Page 601] books in home-spaces, from personal libraries to books on shelves in someone’s living room. Chapter 2, “The Public Library,” explores depictions of public libraries and ways that collected knowledge might be organized and made accessible in utopian visions. “The Idea of Authorship,” chapter 3, is about the professional/amateur status of authors in utopian societies. In this section, Hayes also explores ideas about literary quality and attempts to answer concerns that a utopian age would necessarily be incapable of producing great literature. Chapter 4, titled “The Newspaper,” details the struggles utopian authors have had with the newspaper format. Finally, “The Printed Page and the Written Word” examines ways in which utopian authors sought to refine the printed and written word and their innovative suggestions in this area. Each of these chapters opens by considering Edward Bellamy’s Looking Backward in relation to the subject at hand and Bellamy’s 1888 novel is referred to extensively throughout The Future of the Book, offering a frame for Hayes’s exploration of utopian literature’s inner dialogue with the printed word.In his introduction, Hayes highlights that much of the scholarly work in this area has focused on dystopias. Indeed, when I think about the representation of literature in speculative fiction I tend, first, to think of the great dystopias like Orwell’s Nineteen Eighty-Four, in which history is erased and rewritten by The Party, or Ray Bradbury’s Fahrenheit 451, in which books are considered dangerous and thus are rigorously hunted and burned by the ironically named Firemen of the future. Alternatively, postapocalyptic movies spring to mind. Taking shelter in the New York Public Library, Sam Hall (played by Jake Gyllenhaal) frantically burns books for warmth despite the protests of several other characters in Roland Emmerich’s 2004 blockbuster The Day After Tomorrow. Likewise, in “Marooned” (1989), an episode of the British SF sitcom Red Dwarf (1988–), of which I was particularly fond during my formative years, a copy of the collected works of Shakespeare is burned to keep the last remaining human, David Lister (played by Craig Charles), alive. In the opposite direction, some postapocalyptic... (shrink)

Anti-exceptionalism about logic is the doctrine that logic does not require its own epistemology, for its methods are continuous with those of science. Although most recently urged by Williamson, the idea goes back at least to Lakatos, who wanted to adapt Popper's falsicationism and extend it not only to mathematics but to logic as well. But one needs to be careful here to distinguish the empirical from the a posteriori. Lakatos coined the term 'quasi-empirical' `for the counterinstances to putative mathematical (...) and logical theses. Mathematics and logic may both be a posteriori, but it does not follow that they are empirical. Indeed, as Williamson has demonstrated, what counts as empirical knowledge, and the role of experience in acquiring knowledge, are both unclear. Moreover, knowledge, even of necessary truths, is fallible. Nonetheless, logical consequence holds in virtue of the meaning of the logical terms, just as consequence in general holds in virtue of the meanings of the concepts involved; and so logic is both analytic and necessary. In this respect, it is exceptional. But its methodologyand its epistemology are the same as those of mathematics and science in being fallibilist, and counterexamples to seemingly analytic truths are as likely as those in any scientic endeavour. What is needed is a new account of the evidential basis of knowledge, one which is, perhaps surprisingly, found in Aristotle. (shrink)

ABSTRACTThis article discusses dialectics as a method of critique which takes concepts it primal object of inquiry. Through a reading of Theodor W. Adorno’s lecture course Introduction to Dialectics, it argues that for dialectical critique concepts are living organs of social reality whose work must observed in terms of constellations of experiences and practices, and through specific historical sites and social processes. The article reconstructs three moments in Adorno’s thinking of critique’s relation to conceptuality: the “pedagogical effect” of (...) concepts on our habits of thought, the socio-historical formation of concepts as “fields of force”, and the need of a “micrological method” of engagement with social reality. Within this framework, the article shows that the movement of dialectical critique is prompted by the cognitive utopia of using concepts to reach material reality, as well as by the ethical demand of making justice to what is not grasped by the existing conceptual order of society. By combining both moments, the goal of dialectical critique is not to identify the correct meaning of concepts, but to work through them as to unlock the normative imagination of society. (shrink)

Resumen: La aproximación que Durkheim esboza en Las Reglas es en la actualidad más bien criticada: sería una visión conservadora, que olvida la importancia de los agentes y una sociología de lo social que solo observa el orden establecido. Sin embargo, una lectura atenta de Las Reglas muestra que sus afirmaciones básicas -que es un hecho social, que debe ser visto como una cosa, y que debe buscarse su explicación a través de otros hechos sociales- son correctas y pueden integrar (...) los elementos válidos de las críticas realizadas. Detrás del rechazo a Durkheim aparece el rechazo a una afirmación radical de Las Reglas que nos resulta más bien intolerable: que la imposición es parte natural de la vida social.: The approach that Durkheim delineates in The Rules of Sociological Method is currently criticized: it is a conservative view that forgets the relevance of agents and it is a social sociology that only observes established order. However, an intensive reading of The Rules shows that their basic statements -about what is a social fact, that they should be treated as things, and that their explanation should be searched in other social facts- are correct one and they can integrate the correct elements argued by its critics. Behind the rejection to Durkheim there is the rejection to a radical statement in The Rules, one that is unbearable for us: that coercion is a natural part of social life. (shrink)

The article is dedicated to the application questions of a case study method known as casuistry. In its long tradition, it focuses on an influential variant of the early modern period and reconstructs its functionality. In the course of reading recent receptions, it is noted that some studies speak of a “casuistic revival” in moral case deliberation in health care. As a result of this revival, casuistry has been modified in such a way that it guides case discussions (...) in practice with the help of a tripartite methodology. However, as it turns out, casuistry, a case comparison method of ethical judgement based on reasoning logic, is less suitable for moral case deliberations in direct patient care. This stems from the fact that casuistry is a detailed procedure of ethical learning beneficial to institutionalized ethics committees or similar forms of ethics consultation in health care. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Kant on the Method of MathematicsEmily Carson1. INTRODUCTIONThis paper will touch on three very general but closely related questions about Kant’s philosophy. First, on the role of mathematics as a paradigm of knowledge in the development of Kant’s Critical philosophy; second, on the nature of Kant’s opposition to his Leibnizean predecessors and its role in the development of the Critical philosophy; and finally, on the specific role of (...) intuition in Kant’s philosophy of mathematics. One of the points that I want to make is that recognizing the importance of these first two issues is essential to giving an adequate account of the third. That is, only by appreciating how Kant uses the example of mathematical knowledge, and in particular the objections he had to previous accounts of such knowledge, can we understand the philosophical role that he ascribes to intuition in his own account of mathematics.I don’t propose to explain the details of Kant’s philosophy of mathematics, but rather to compare his views on mathematics in the pre-Critical Prize Essay of 1764 to those of the Critique of Pure Reason, with the aim of showing how Kant’s doctrine of construction in pure intuition arises out of a combination of two factors: first, his attempt to ground the distinction between the respective methods of mathematics and philosophy, and second, his concern to defend the reality of mathematical knowledge against the views of those he called ‘the metaphysicians.’ The first factor demands an account of the certainty of mathematics, the second requires an account of its content. I shall argue that there is a possible conflict between Kant’s accounts of these features in the Prize Essay, a possibility which is finally ruled out only by means of the Critical doctrine of pure intuition. So I hope to show that there is a significant philosophical role for intuition in Kant’s account of mathematical knowledge (over and above the more logical role attributed to it on readings [End Page 629] such as those of Friedman, Beth, and Hintikka1) in reconciling the content of mathematics and its certainty.2. THE MATHEMATICIANS VS. THE METAPHYSICIANSThroughout his early writings, Kant appealed to the evidence and certainty of mathematics; his attitude towards metaphysics, however, underwent a dramatic shift. In the Physical Monadology of 1756, Kant asked how metaphysics and geometry can be united,[f] or the former peremptorily denies that space is infinitely divisible, while the latter, with its usual certainty, asserts that it is infinitely divisible. Geometry contends that empty space is necessary for free motion, while metaphysics hisses the idea off the stage. Geometry holds universal attraction or gravitation to be hardly explicable by mechanical causes but shows that it derives from the forces which are inherent in bodies at rest and which act at a distance, whereas metaphysics dismisses the notion as an empty delusion of the imagination [1:475–6].2He attempted in this work to reconcile the respective positions of metaphysics and geometry regarding infinite divisibility, thereby demonstrating that “it is neither the case that the geometer is mistaken nor that the opinion to be found among metaphysicians deviates from the truth” [1:480]. But in a series of works from 1762–3, Kant reveals a markedly different attitude towards metaphysics. For example, in “The only possible argument in support of a demonstration of the existence of God,” Kant says:the mania for method and the imitation of the mathematician, who advances with a sure step along a well-surfaced road, have occasioned a large number of such mishaps on the slippery ground of metaphysics. These mishaps are constantly before one’s eyes, but there is little hope that people will be warned by them, or that they will learn to be more circumspect as a result [2:71].In contrast, Kant describes the geometer as uncovering “with the greatest certainty” the most secret properties of that which is extended [2:70]. But the less conciliatory attitude to metaphysics comes out most clearly in Kant’s actual procedure in “The only possible argument.” In the Seventh Reflection, he presents an attempt to explain the origin of... (shrink)

A Wittgensteinian Way with Paradoxes examines how some of the classic philosophical paradoxes that have so puzzled philosophers over the centuries can be dissolved. Read argues that paradoxes such as the Sorites, Russell’s Paradox and the paradoxes of time travel do not, in fact, need to be solved. Rather, using a resolute Wittgensteinian ‘therapeutic’ method, the book explores how virtually all apparent philosophical paradoxes can be diagnosed and dissolved through examining their conditions of arising; to loosen their grip and (...) therapeutically liberate those philosophers suffering from them (including oneself). The book contrasts such paradoxes with real, ‘lived paradoxes’: paradoxes that are genuinely experienced outside of the philosopher’s study, in everyday life. Thus Read explores instances of lived paradox (such as paradoxes of self-hatred and of denial of other humans’ humanity) and the harm they can cause, psychically, morally or politically. These lived paradoxes, he argues, sometimes cannot be dissolved using a Wittgensteinian treatment. Moreover, in some cases they do not need to be: for some, such as the paradoxical practices of Zen Buddhism (and indeed of Wittgenstein himself), can in fact be beneficial. The book shows how, once philosophers’ paradoxes have been exorcized, real lived paradoxes can be given their due. (shrink)

That our ecological future appears grave can no longer come as any surprise. And yet we have so far failed, collectively and individually, to begin the kind of action necessary to shift our path away from catastrophic climate collapse. -/- In this stark and startling little book, Rupert Read helps us to understand the direness of our predicament while showing us a metaphor and a method — a way of thinking — by which we might transform it. From the (...) relatively uncontroversial starting point that we love our own children, we are introduced to a logic of care that iterates far into the future: in caring for our own children, we are committed to caring for the whole of human future; in caring for the whole of human future, we are committed to caring for the future of the natural world. Out of such thinking, hope emerges. -/- As Read demonstrates in this urgent call to action, accepting that we care for our own offspring commits us to a struggle on behalf of us all. (shrink)

In this paper I explore methodological approaches to Aquinas’s argument for a real distinction between essence and existence in creatures in De ente et essentia. Joseph Owens and John Wippel examine the text through three stages that, they conclude, result in a demonstration for the real distinction. I contrast this approach with R. E. Houser, who argues that Aquinas’s text, which proceeds dialectically, must be understood within the context of its sources, namely, Avicenna’s Metaphysics of the Healing and The Intentions (...) of the Philosophers by al-Ghazali. First, I will offer an evaluative judgment on the disagreement between Owens and Wippel on which stage Aquinas demonstrates a real distinction. Second, I will offer an evaluative judgment on the nature of the treatise as a whole by suggesting that the methodology of source-based contextualism offers another way to read the De ente. (shrink)

A few years ago, a group of American philosophers, Cora Diamond and James Conant among them, suggested a resolute, or radical reading of Wittgenstein's Tractatus. These two authors claim that the Tractatus has a body, and a frame. Wittgenstein minded the frame seriously, whereas all the remaining propositions of the Tractatus, which belong to its body, are written tongue in cheek. To the frame of the work belong the Preface, 3.32, 3.326, 4.003, 4.111, 4.112 and 6.53, 6.54. In it (...) Wittgenstein gave meta-theoretical instructions how to treat the rest of the book. The main idea of the frame is expressed in 6.54 which reads: "My propositions serve as elucidations in the following way: anyone who understands me eventually recognizes them as nonsensical, when he has used them 'as steps' to climb up beyond them. (He must, so to speak, throw away the ladder after he has climbed up it.)" This was the real message of the Tractatus. (shrink)

In two often neglected passages of the Critique of Pure Reason, Kant submits that the Critique is a 'treatise' or a 'doctrine of method'. These passages are puzzling because the Critique is only cursorily concerned with identifying adequate procedures of argument for philosophy. In this book, Gabriele Gava argues that these passages point out that the Critique is the doctrine of method of metaphysics. Doctrines of method have the task of showing that a given science is indeed (...) a science because it possesses 'architectonic unity' – which happens when it realizes the 'idea' of a science. According to Gava's novel approach, the Critique establishes that metaphysics is capable of this unity, and his reading of the Critique from this perspective not only illuminates the central role of the Transcendental Doctrine of Method within it, but also clarifies the relationship between the different parts of the work. (shrink)

Book Reviews James c. Klagge and Nicholas D. Smith, eds., Methods of Interpreting Plato and His Dialogues. Oxford Studies in Ancient Philosophy, Supplementary Volume 1992. Oxford: Clarendon Press, 1992. Pp. ~8o. Cloth, $65.oo. The modern debate about how to interpret Plato and his dialogues has been going on at least since Schleiermacher argued for the interpretive importance of literary and dramatic characteristics, against the prevailing practice of reading Platonic doctrines directly out of the texts as if they were disguised (...) treatises 9 Important contributions to the discussion earlier in the twentieth century were made by Schaerer and Gold- schmidt, Friedl~inder, Stefanini, Woodbridge and Randall, Strauss, Kr~imer and Gaiser, and the disciples of these scholars, although you would hardly know it from the present volume. For those who are new to the discussion, and especially for those who come from the... (shrink)

Against the consensus that Heidegger reads his own philosophical views into Kant, I argue that Heidegger takes up the main question posed by the first Critique and attempts to identify Kant's best answer to it. Heidegger's method resembles those of Gadamer and Davidson. But by reading the first Critique as offering two conflicting strands of argument, he abandons their aim of maximizing truth, and his theory of error explains why Kant offers the less-promising strand. Heidegger thus provides a (...) distinctive model of charitable, reconstructive interpretation that avoids hermeneutic ventriloquism—a failure to recognize differences of view between interpreter and text. (shrink)

The aim of this paper is to excavate and analyse Henri Bergson’s “problematic” thinking. This task will be prosecuted through a close reading of his two-part introduction to The Creative Mind – the text in which Bergson most concisely and conclusively articulates the “problematic” character of his work. As I will attempt to show in this paper, Bergson’s work is “problematic” in two respects, one to do with methodology and the other metaphysics. These two, furthermore, are intimately entwined: on (...) the one hand, Bergson’s method of problematisation emerges from the findings of his metaphysical inquiries, while on the other, it is through the application of his problematising method that the findings of his metaphysical inquiries can be deemed as reliably accurate. In exploring this “problematic” intersection of Bergson’s methodology and metaphysics, I will first discuss what Bergson takes to be one of the biggest problems for philosophy: the lack of adequate “precision.” As we will see, many of the major themes and concepts of Bergson’s work, such as duration and intuition, both spring from and converge on his efforts to address this problem. The pursuit of precision also calls for a “problematic approach” that is appropriate for the metaphysical reality it seeks to handle – an approach I will outline in the second part of this paper. This will be followed by a discussion of how Bergson’s problematic method/metaphysics involves a critique of what he refers to as “fictitious,” “phantom” or “pseudo-problems.” This “negative” aspect of Bergsonian problematisation will then be reconsidered in the final part of the paper alongside its “positive” dimension – posing problems in terms of time. (shrink)

Models of intertemporal choice draw on three evaluation rules, which we compare in the restricted domain of choices between smaller sooner and larger later monetary outcomes. The hyperbolic discounting model proposes an alternative-based rule, in which options are evaluated separately. The interval discounting model proposes a hybrid rule, in which the outcomes are evaluated separately, but the delays to those outcomes are evaluated in comparison with one another. The tradeoff model proposes an attribute-based rule, in which both outcomes and delays (...) are evaluated in comparison with one another: People consider both the intervals between the outcomes and the compensations received or paid over those intervals. We compare highly general parametric functional forms of these models by means of a Bayesian analysis, a method of analysis not previously used in intertemporal choice. We find that the hyperbolic discounting model is outperformed by the interval discounting model, which, in turn, is outperformed by the tradeoff model. Our cognitive modeling is among the first to offer quantitative evidence against the conventional view that people make intertemporal choices by discounting the value of future outcomes, and in favor of the view that they directly compare options along the time and outcome attributes. (shrink)

Descartes' Discourse marks a watershed in European thought; in it, the author sets out in brief his radical new philosophy, which begins with a proof of the existence of the self (the famous "cogito ergo sum"). Next he deduces from it the existence and nature of God, and ends by offering a radical new account of the physical world and of human and animal nature. Written in everyday language and meant to be read by common people of the day, it (...) swept away all previous philosophical traditions. This new translation is an ideal introduction to Descartes for the general reader. It is accompanied by a substantial introductory essay from Renaissance scholar Ian Maclean that is designed to provide in-depth historical and philosophical context. The essay draws on Descartes' correspondence to examine what brought him to write his great work, and the impact it had on his contemporaries. A detailed section of notes explain Descartes' philosophical terminology and ideas, as well as historical references and allusions. Any reader can feel comfortable diving in to this classic work of Renaissance philosophical thought. (shrink)