This essay review of Margaret Atwood's Payback shows how the book's accomplishment is to provide a Jungian analysis of the “shadow” of wealth: the primitive meanings attached to debt deriving from ancient cultural configurations of a proper balance in the order of things. Debt is conceived in terms of social obligations, of guilt and sin, of revenge, and as a plot that structures the narrative of human life. Instead of simply looking to the archaic meanings of debt for its shadow (...) side, this review attempts to take stock of what the recent credit crisis can teach us about the place of debt in our lives. It is a question of seeking out shadows that belong specifically to our global financial system, rather than belonging to ways of accounting order, honor, and revenge from a repressed past. If financial institutions, governments, businesses, and individuals were all exposed to high levels of debt, to whom was all this wealth owed? How does the shadow of debt affect economic behavior? Since debt forms the basis of further lending, debt increases through a multiplier effect without corresponding assets, which leads to an unstable system of virtuous or vicious cycles, and debt takes over some of the social, practical, and theoretical functions formerly held by God. (shrink)

This book is about the insights of psychology, mythology, literature, philosophy and Christianity.

Fog in August is a German film based on Robert Domes' historical novel of the same name. The film provides a fictionalized account of the institutionalization and eventual killing of children and adults labelled as a burden on the State and unworthy of life. On one level, this is a story of good versus evil, where innocent patients are manipulated by callous doctors and nurses. At a deeper level, however, it is possible to read the characters as more complex and (...) such a reading gives an insight into the paradox of how a genocidal policy was able to be systematically implemented by health care professionals who had previously taken an oath to provide care to all people. Carl Jung argued that powerful stories, told across generations, contain mythical archetypes that help drive the plot and convey beliefs about humanity. The aims of this paper are to explore Jungian ideas within Fog in August that help the historical story it is based on resonate with viewers today, and demonstrate how the application of these insights can help health care professionals more fully understand morally distressing events and, as a result, support and improve the safety of patients. (shrink)

This article aims to foreground alcohol abuse by cancer patients and explore how alcohol abuse functions as a biographic master motive and at the same time is a shadow side in the oncological field and research. The research is based on a single case study which draws on empirical material from interviews, field notes and staff policy, with analysis using Bourdieu’s concepts of trajectory of life and habitus. The findings show that the cancer patient’s alcohol abuse is an important part (...) of the trajectory of his private life and spare time. In social life with family and friends alcohol is given and normal and acts as a socialisator. Alcohol abuse provides both stability and instability in the cancer patient’s life. When cancer results in work breaks and retirement, and spare time often is used as drinking time, then all daily life becomes drinking time for the cancer patient. Alcohol is often a hidden abuse at the working place and in the oncological field. In meetings with healthcare professionals, the patient chooses not to speak about his alcohol abuse to avoid further medicalisation. The challenge for the healthcare professionals is to see and accept alcohol abusers with cancer and their social lives without always trying to change their ‘unhealthy’ lifestyles. (shrink)

This paper attempts to define Dennis J. Schmidt’s distinctive contribution to philosophy and to contemporary hermeneutics in particular under the heading of an ethical hermeneutics. The idea of an ethical hermeneutics is considered in relation to four aspects: 1) the element of practice as the constitutive element of ethical hermeneutics; 2) the force of practice: finitude; 3) the idiom as the place of finitude; 4) ethical hermeneutics and the domain of the common. The fourth aspect constitutes the critical engagement with (...) the idea of an ethical hermeneutics, arguing that the notion of the common, which is underdeveloped in Schmidt’s writings, serves as a practical “concept” that takes the place of the theoretical concept in an ethical hermeneutics. (shrink)

In this sequel to his prize-winning book, The Eyes of the People, Jeffrey Edward Green draws on philosophy, history, social science, and literature to ask what democracy can mean in a world where it is understood that socioeconomic status to some degree will always determine opportunities for civic engagement and career advancement. Under this shadow of unfairness, Green argues that the most advantaged class are rightly subjected to compulsory public burdens, but he also attends to the uncomfortable aspects of ordinary, (...) “second-class” citizenship as well: above all, the “reasonable envy,” “principled vulgarity,” and need for “extrapolitical solace” that will inform everyday citizens’ efforts to seek democratic ends within a political landscape permanently darkened by plutocracy. Deeply engaged in the history of political thought, the book is still first and foremost an effort to illuminate present-day politics. With the plebeians of ancient Rome as his muse, Green develops a plebeian conception of contemporary liberal democracy, at once disenchanted yet idealistic in its insistence that the Few-Many distinction might be enlisted for progressive purpose. Green’s analysis is likely to unsettle all sides of the political spectrum, but its purpose looks beyond narrow partisan concerns and aims instead to understand what the ongoing quest for free and equal citizenship might require once it is accepted that our political and educational systems will always be tainted by economic inequality. (shrink)

_The Shadow and the Counsellor_ introduces the concept of shadow, the darker side to ourselves that we do not wish to acknowledge, or do not even recognise. It examines how it comes into being and explores its impact within counselling. _The Shadow and the Counsellor_ is structured around a six stage model which is designed to help the counsellor recognise, confront and deal with their 'shadow' side. This can then be a framework for reflection and practical action. With case studies (...) including short clinical examples to longer examples running through the book, this will give counsellors a new way of approaching their practice. (shrink)

Introduction -- Modernity, politics and Max Weber -- One-sided rationalization: Habermas on modernity, discourse and emancipation -- Critiquing Habermas: intersubjectivity, ethics and norm-free sociality -- The burden of our times: Arendt on modern oblivion and the promise of politics -- Judging Arendt: citizenship, action and the scope of politics -- The new dark age: MacIntyre on bureaucratic individualism and the hope for an ethical polity -- Engaging MacIntyre: flourishing, modernity and political struggle -- Closing reflections: ethics, politics and strategy in (...) the present. (shrink)

In late August 2012, artist Paul Thomas and philosopher Timothy Morton took a stroll up and down King Street in Newtown, Sydney. They took photographs. If you walk too slowly down the street, you find yourself caught in the honey of aesthetic zones emitted by thousands and thousands of beings. If you want to get from A to B, you had better hurry up. Is there any space between anything? Do we not, when we look for such a space, encounter (...) a plenitude of other things —a slice of plaster, an old vinyl record, a flattened piece of aluminum, painted metal surfaces, nameless interstitial powder, the reflection of sky, some letters of the alphabet, roughened concrete. Between what we take to be things there exist other things, as if the universe were jammed with entities like clowns in a crowded Expressionist painting. An abyss of things that emanates from them, not a yawning void that threatens to engulf them, but a sunlit nothingness filled with dust that seems to spray out of them like dry mist sparkling with firefly swarms. In these so-called spaces, we encounter the work of causality. Look: someone painted over this crack, some sunlight rippled in a mirage, a hole appeared. When we look for causes and effects, we don't encounter a basement of efficiently whirring machinery. Rather, we encounter these in-between spaces, where we had not thought to look. What we see are stage hands moving the scenery about—they are doing it in plain sight, the best place to hide, right in front of you, in the place we call the aesthetic dimension . In Tibetan Buddhism these spaces are called bardo , which just means the between. There is no such thing as a moment of your life that is not a between, according to this view. There is the between of living. There is the between of dying. There is the between of the transition between lives. There is the between of dreaming. There is the between of meditation. There is the between of two humans holding cameras walking down a street in Sydney. The between of two buildings, a space bursting with objects as if a billion jack in the boxes had exploded at once. Some of the lids are stuck, sometimes a nose bursts out and the hinge won't open any further; at other times, the jack in the box flies right out and pulps against the wall on the opposite side of the room. Time opens up. Each surface is a poem about the past. A myriad stories begin to proliferate, as if a thing were a crisscrossing of books, a whole library of them, each page whispering parts of paragraphs and broken pieces of word. The stories tell us things—they are quite literal, look, this guy painted part of this wall, then they came and stripped off the panel and touched up the holes. Form is the past. When you look at appearance, you are looking at the past. Where is the present? And essence is the future. The hints of unknown, unseen things, the absolute impossibility of grasping everything about this plastic pipe, the way photons entering the camera lens obey a speed limit and splash onto receptors, going into and out of coherence. At the electronic level, it's quite clear that causality is aesthetic. I can't see an electron without deflecting it. Everything is a refrigerator with a light on—or off—inside. For me, for you, for this arrangement of tiles sandwiched between a door and a slab of marble. To a photon, an electron is a refrigerator with a closed door, and a light that might be on—or off—inside. How can you know whether the light is on inside? Why, you open the door of course. But then you are looking at the past. You never see the light in the refrigerator before you open the door. This future is not a predictable future that is a specific number of now-points away. You will never reach it. You will never be able to sneak up from the side and see through the refrigerator. Nor can a photon see through the refrigerator of an electron. Nor can paint see through the refrigerator of this plastic pipe. You take a photo—click—the past appears, another open refrigerator. But the thing you have just made, the photograph, the graphing of the photons—it is another thing, another story. You can read the words, but the meaning always eludes you. It always lurks just off the edge of the sentence, just at the very edge of this ragged slice of paint, just at the edge of this building, between this one and that one. Thousands of secrets, everywhere. Masks that lie and tell the truth at the same time: this pink paint is not blue paint, that's true. But the thing, the thing in itself, that paint sliding off a brush onto that pipe—it is nowhere to be seen, like a light behind a closed door. When you walk too slowly down the street, you start walking into millions of levels of pastness, levels emitted not just by the humans or the dogs and cats, but also by this garbage can, this mottled pink surface pockmarked with nail holes. You walk surrounded by as many futures as there are things. You walk, or rather you occupy a peculiar shifting ground of nowness, created by the relative motion of the past sliding against the future, not touching. You begin to realize that the present does not exist. A thing is a train station where one train is always arriving and one train is always leaving. Hundreds of train stations everywhere, hundreds of relative motions. The idea of a universal, regular, atomic sequence of instants that contains everything is absolutely ludicrous, the philosophers have known this for thousands of years, and to hide the absurdity, to get from A to B, Houston to Sydney, crossing the International Date Line without too much laughter, you have embedded piezoelectric devices in as many pieces of hardware as possible, devices in which quartz talks to electrons, making train stations where the trains seem to run on time. When you walk too slowly down the street, you begin to realize that Zeno had a point. You can seemingly divide each moment, each step, infinitesimally. So perhaps there are no moments, no steps. Or perhaps time is not a box that everything goes in. Perhaps time is, as Einstein argued after all, a way that things send out ripples. Where one house touches another house, there arise hundreds of things, hundreds of meeting places (Old English thing , meeting place). Hundreds of times. I have a thing for you. Come over here, let's do a thing. Stay in the sunlight and shadow between worlds, in the sunlit canyon between this building and that building. See how paint touches this pipe, caressing then leaving, no one will notice if a surface is left exposed, not quite filled in. See how shadows are reflected in pale cream glass—see the luminous abyss of causality spreading out before your very eyes, right in front of security. All kinds of beautiful crimes are committed right here, and as American cars keep telling you, and you never notice, OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR. They are here, or rather, here is them, and now is them. Kissing in the shadow. Tim Morton Rice University. (shrink)

Nowadays, students are experiencing difficult and stressful situations due to the Global Pandemic Alert. This changing world can evoke negative emotions that have been traditionally linked to higher anxiety. Researches have been focused on the positive outcomes of trait emotional intelligence preventing psychological disorders. However, the possibility that TEI might have a dark side has been neglected. Hence, this study aimed to explore the mediating effect of the three dimensions of TEI in the relationship between negative affect and anxiety symptoms (...) among college students. Participants of this research were 467 undergraduates who completed an online self-reported questionnaire including the Positive and Negative Affect Schedule, the State-Trait Anxiety Inventory, and Trait Meta-Mood Scale. The global serial mediation model showed that the total amount of variance explained by the global model was 30.8%. Negative affectivity and age accounted for the 15.1% of state anxiety variance while 15.7% of the variance of state anxiety was attributed to the direct or indirect effect of the three dimensions of TEI. Five indirect effects presented statistical significance. The contrast analyses between mediators showed that three indirect effects had higher statistical weigh; the ability of negative affect to increase state anxiety through emotional attention; emotional clarity, and serially through emotional clarity and mood repair. Our results indicated that students’ negative emotions lead to higher emotional attention which in turn may enhance state anxiety in two ways: by a direct effect of emotional attention on state anxiety and by a serial effect through emotional clarity. Moreover, when negative affect is associated with lower emotional clarity, anxiety symptoms may also arise. However, when attention and clarity are connected, the negative effect is reversed into a positive one, decreasing state anxiety. (shrink)

From surrealism’s beginnings around a Parisian séance table, it oscillated between the occult and the political. One of its key methods, automatism, provided access to both the esoteric and the exoteric: it took form in the mid-19th century as a spiritualist technique for communicating with the other side while, simultanously, this other side could address political issues as equal rights, de-colonisation and a utopian future with an authority coming from beyond the individual. By tracing the development of automatism, the article (...) shows how automatism in surrealism became a call for both a re-orientation of life and an institutional re-organisation by becoming a divination tool for a future community looking back to hermeticism to find a way forward. The article argues that not only can surrealism fruitfully be understood in the light of an occult revival in reaction to crises but, additionally, that it marks the return of and a reaction to a kind of magical thinking in the modern – due to waning religious and socio-economic orthodoxies – that echoes eerily into our own big data contemporary of social medias where we tend to substitute equations with associations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, nuanced, erudite (...) — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

The target article presented a plausible argument that females' susceptibility to threats might be self-protection for staying alive, but some evidence requires scrutiny. We need to consider the biases of narrative reviews, subjective life quality, and the shadow side of extreme reactions to threats before concluding that females' threat-based response is a self-protection mechanism that promotes survival.

Experience has always been a hallmark of activist work; my work in AIDS activism began with my family’s role as caretakers for two children whose parents died of HIV-related complications. Previously, my scholarly work critiqued political and medical establishments and their policies surrounding HIV/aids. At the NEH institute, I interacted with the medical world, shadowing nurses and doctors. Through this experience, I discovered the importance of interactivity as a crucial element of the critically engaged AIDS activist experience, creating a more (...) thorough understanding of the medical establishment and a more humanized portrait of hospitals and their staff. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, nuanced, erudite (...) — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

Light and shadow create a conceptual pair which gives rise to a number of allusions in philosophy . Historically speaking, light is the paradigm of the Enlightenment . Significantly, in this paradigm certain vacillations appeared at the transition from the Age of Enlightenment to Romanticism: an appreciation of the shadow in the wake of the Romantic idealization of the dark side of human existence rises. Using the example of Adelbert von Chamisso’s work Peter Schlemihl’s Remarkable Story, the point of turn (...) from light to shadow can be fruitfully illustrated. This paper is a philosophical interpretation of the shadow alienation as loss of identity. Following this interpretation an attempt to define the structure of relationship between body and shadow as an identity relationship will be presented. By no means should shadow be degraded to a mere concomitant, it must be considered as an essential element of an identity-forming constellation . Although its appearance is characterised by short duration, the shadow belongs to the essential identity of the body, given that the body is defined exactly by the fact that it casts shadows when illuminated. The reciprocity of the light, the body and the shadow is therefore used to exemplify an alternative identity model, according to which a potential feature of an object on a particular occasion becomes necessary. With the concept of occasional identity it becomes possible to correct an ontologically rigid understanding of identity. (shrink)

Michel Janssen and Harvey Brown have driven a prominent recent debate concerning the direction of an alleged arrow of explanation between Minkowski spacetime and Lorentz invariance of dynamical laws in special relativity. In this article, I critically assess this controversy with the aim of clarifying the explanatory foundations of the theory. First, I show that two assumptions shared by the parties—that the dispute is independent of issues concerning spacetime ontology, and that there is an urgent need for a constructive interpretation (...) of special relativity—are problematic and negatively affect the debate. Second, I argue that the whole discussion relies on a misleading conception of the link between Minkowski spacetime structure and Lorentz invari-ance, a misconception that in turn sheds more shadows than light on our understand-ing of the explanatory nature and power of Einstein’s theory. I state that the arrow connecting Lorentz invariance and Minkowski spacetime is not explanatory and uni-directional, but analytic and bidirectional, and that this analytic arrow grounds the chronogeometric explanations of physical phenomena that special relativity offers. (shrink)

Experience has always been a hallmark of activist work; my work in AIDS activism began with my family’s role as caretakers for two children whose parents died of HIV-related complications. Previously, my scholarly work critiqued political and medical establishments and their policies surrounding HIV/AIDS. At the NEH institute, I interacted with the medical world, shadowing nurses and doctors. Through this experience, I discovered the importance of interactivity as a crucial element of the critically engaged AIDS activist experience, creating a more (...) thorough understanding of the medical establishment and a more humanized portrait of hospitals and their staff. (shrink)

This is a reply to Casey O'Callaghan and Jonathan Westphal’s comments on Seeing Dark Things: The Philosophy of Shadows. Both attempt to soften the blow to intuition that comes from the most controversial thesis of the book: we see the backs of back-lit objects. Each characterizes the viewing of silhouettes as a kind of marginal seeing that only discloses shapes, sizes and location. In response, photographs are presented to show that silhouettes are typically three-dimensional and they often have internal structure. (...) Consider the silhouette of a bird fluttering inside a cage; we see more than the outline of the cage. Orbiting this main point are subsidiary points about the distinction between shade and shadows, the nature of occlusion, the color black, and peculiarities of absent absences. (shrink)

In the context of Ireland’s new legislation governing abortion, I outline and examine the spatial consequences of political decision-making. I argue that Ireland’s new abortion law and its clinical guidance permit travel for some pregnant people but impose fixity on others. I analyse the spatial consequences of legal limitations, including non-medically necessary delays in care and medical control of medication abortions, that necessitate travel for abortion. I demonstrate how current laws fix some pregnant people in place, including diverse migrant populations (...) within Ireland, with no possibilities for abortion-related travel. This critique of the ‘new’ law demonstrates the Irish state’s continued political and medical control of abortion. (shrink)

This article argues that the 2010 short film Pumzi is an exploration of post-crisis, ecological rehabilitation that asks for a rethinking of narratives modes for representing climate change. Employing seeds and sowing as ecological tropes, Pumzi explores how we create and carry narrative in relation to a rapidly changing earth. Both the multi-scalar geographical expanses as well as the deep geological timelines of Anthropocene discourse mean that placing the human in relation to its post-crisis environment requires more collective notions of (...) what narrative production and world building mean. This article argues that Pumzi cultivates a sympoietic—making together—mode of storytelling in an age of environmental crisis and planet-death as a well to both tell new stories and to think future worlds. In this way, Pumzi offers us a vision of an afrofuturist eco-ethics based in narrative practice. (shrink)

A familiar adage in the philosophy of science is that general hypotheses are better supported by varied evidence than by uniform evidence. Several studies suggest that young children do not respect this principle, and thus suffer from a defect in their inductive methodology. We argue that the diversity principle does not have the normative status that psychologists attribute to it, and should be replaced by a simple rule of probability. We then report experiments designed to detect conformity to the latter (...) rule in children's inductive judgment. The results suggest that young children in both the United States and Taiwan are sensitive to the constraints imposed by the rule on judgments of probability and evidential strength. We conclude with a suggested reinterpretation of the thesis that children's inductive methodology qualifies them as “little scientists.”. (shrink)

Lately, the concept of experience, which postmodernist theoreticians declared dead, has seen a renaissance. The immediacy of experience seems to offer the possibility of reaching beyond linguistic discourses. In their attempt to overcome the “linguistic turn,” scholars such as Ankersmit, Gumbrecht, and Runia pit experience against narrative. This paper takes up the recent interest in experience, but argues against the opposition to narrative into which experience tends to be cast. The relation between experience and narrative is more complex than is (...) widely assumed. Besides representing and giving shape to experience, narratives are received in the form of a experience. Through their temporal structure, narratives are crucial to letting us re-experience the past as well as to representing the experiences of historical agents. This potential of narrative is nicely illustrated by Thucydides' History of the Peloponnesian War in which “side-shadowing” devices restore history's experientiality. Through “side-shadowing,” narrative can challenge the tendency toward teleologies inherent in merely retrospective histories and can re-create the openness intrinsic to the past when it still was a present. However, the “side-shadowing” devices used by Thucydides are fictional. To conceptualize the price and gain of “side-shadowing” in historiography, the paper advances the concept of a “narrative reference” . Introspection, speeches, and other “side-shadowing” devices sacrifice truth in a positivist sense, but permit a second-level reference, namely to history's experientiality. In a final step, the paper turns toward modern historians—most of whom are reluctant to use the means of fiction—to briefly survey their attempts at restoring the openness of the past. (shrink)

The philosophy for children curriculum was specially written by Matthew Lipman and colleagues for the teaching of philosophy by non-philosophically educated teachers from foundation phase to further education colleges. In this article I argue that such a curriculum is neither a necessary, not a sufficient condition for the teaching of philosophical thinking. The philosophical knowledge and pedagogical tact of the teacher remains salient, in that the open-ended and unpredictable nature of philosophical enquiry demands of teachers to think in the moment (...) and draw on their own knowledge and experience of academic philosophy. Providing specialist training or induction in the P4C curriculum cannot and should not replace undergraduate and postgraduate degrees in academic philosophy at universities. However, although for academic philosophers the use of the P4C curriculum could be beneficial, I will argue that its use poses the risk of wanting to form children into the ideal ‘abnormal’ child, the thinking child—the adult philosopher’s child positioned as such by the Lipman novels. The notion of narrativity is central in my argument. With the help of two picturebooks—The Three Pigs by David Weisner and Voices in the Park by Anthony Browne—I illustrate my claim that philosophy as ‘side-shadowing’ or meta-thinking can only be generated in the space ‘in between’ text, child and educator, thereby foregrounding a ‘pedagogy of exposure’ rather than ‘teacher proof’ texts. (shrink)

Materialist metaphysicians want to side with physics, but not to take sides within physics.If we took literally the claim of a materialist that his position is simply belief in the claim that all is matter, as currently conceived, we would be faced with an insoluble mystery. For how would such a materialist know how to retrench when his favorite scientific hypotheses fail? How did the 18th century materialist know that gravity, or forces in general, were material? How did they know (...) in the 19th century that the electromagnetic field was material, and persisted in this conviction after the aether had been sent packing?The doctrine of physicalism casts a long shadow in contemporary philosophy, configuring all kinds of philosophical issues and projects. Unsurprisingly, its proponents argue that physicalism has all the obvious features necessary for a scientific hypothesis to be in what we will call ‘good standing,’ i.e. being worthy of serious scientific investigation. In fact, many claim much more, arguing that physicalism is a well-confirmed hypothesis and possibly amongst the best of our theories. But, as our second opening passage makes clear, a persistent worry has been that physicalism, or ‘materialism’ as van Fraassen terms it, is an edifice built on sand. For many philosophers question whether the ‘physical’ can be specified at all, or at least in a manner that will produce a physicalism that would be in good standing. (shrink)

Materialist metaphysicians want to side with physics, but not to take sides within physics.If we took literally the claim of a materialist that his position is simply belief in the claim that all is matter, as currently conceived, we would be faced with an insoluble mystery. For how would such a materialist know how to retrench when his favorite scientific hypotheses fail? How did the 18th century materialist know that gravity, or forces in general, were material? How did they know (...) in the 19th century that the electromagnetic field was material, and persisted in this conviction after the aether had been sent packing?The doctrine of physicalism casts a long shadow in contemporary philosophy, configuring all kinds of philosophical issues and projects. Unsurprisingly, its proponents argue that physicalism has all the obvious features necessary for a scientific hypothesis to be in what we will call ‘good standing,’ i.e. being worthy of serious scientific investigation. In fact, many claim much more, arguing that physicalism is a well-confirmed hypothesis and possibly amongst the best of our theories. But, as our second opening passage makes clear, a persistent worry has been that physicalism, or ‘materialism’ as van Fraassen terms it, is an edifice built on sand. For many philosophers question whether the ‘physical’ can be specified at all, or at least in a manner that will produce a physicalism that would be in good standing. (shrink)

In “The Reappearing Act” István Aranyosi postulates a new way of seeing to solve a puzzle posed in “The Disappearing Act;” an object that is exactly shaded can be seen simply by virtue of its contrast with its environment – just like a shadow. This object need not reflect, refract, absorb or block light. To undermine the motive for this heretical innovation, I generalize the puzzle to situations involving inexact shading. Aranyosi cannot extend his solution to these variations because he (...) needs to conserve principles of camouflage. On the bright side, the solution to the puzzle that I propose in my book Seeing Dark Things does extend to these variations. (shrink)

In this volume--the first, focused study of Hume on time and identity--Baxter focuses on Hume’s treatment of the concept of numerical identity, which is central to Hume's famous discussions of the external world and personal identity. Hume raises a long unappreciated, and still unresolved, difficulty with the concept of identity: how to represent something as "a medium betwixt unity and number." Superficial resemblance to Frege’s famous puzzle has kept the difficulty in the shadows. Hume’s way of addressing it makes sense (...) only in the context of his unorthodox theory of time. Baxter shows the defensibility of that theory against past dismissive interpretations, especially of Hume’s stance on infinite divisibility. Later the author shows how the difficulty underlies Hume’s later worries about his theory of personal identity, in a new reading motivated by Hume’s important appeals to consciousness. Baxter casts Hume throughout as an acute metaphysician, and reconciles this side of Hume with his overarching Pyrrhonian skepticism. (shrink)

This article explores the shadow side of transhumanist aspirations to transform humanity using cognitive enhancement technologies (CET). The central problem concerns how the desired transhuman anthropogenesis alters the ethical capacities of the human person. Focusing on the intersection between autonomy and equity, the article posits that inequity enhances individual autonomy for some at the expense of others, hence degrading collective autonomy. This process is already unfolding under neoliberalism, as analyzed via Byung-Chul Han’s theory of psychopolitics. Han’s psychopolitics reveals how the (...) imagined increases in autonomy brought by CET would not yield an authentic enhancement of autonomy, but rather result in further undesirable permutations of humanity. It would erode autonomy while increasing inequity, thus degrading empathy and solidarity. Franco Berardi’s critique of semiocapitalism nuances Han’s theory in support of collective autonomy and an anthropogenesis guided by contemplative empathy. Conjoined, they amplify the possibilities for alternative therapeutic forms of transformational CET. (shrink)

The paper focuses on the consumer side of consumption tax evasion (CTE), a subcategory of the shadow economy. The ethical dimensions of tax evasion have been effectively captured by the existent literature on tax morale, yet it fails to address the role consumers can play in CTE. Further, there is a shortage of tax morale studies that explore ethical decision making as a process composed of multiple steps and determinants. To bridge these gaps, we turned to the consumer ethics literature (...) and Jones’ issue-contingent model of ethical decision making. We developed the conceptual model of consumer ethical decision making for CTE by incorporating four key elements from the issue-contingent model, i.e. moral recognition, moral judgement, moral intention and moral intensity, while personal moral philosophies were introduced as an antecedent to the consumer ethical decision-making process. The study was conducted on a sample of consumers from Slovenia, where CTE is a widespread phenomenon. The findings confirm that consumers’ recognition of CTE as a moral issue is influenced by their moral philosophy and perceptions regarding the magnitude of CTE’s consequences, their visibility, probability, and temporal immediacy. These perceptions also play an important role in determining consumers’ moral judgements and intentions regarding CTE. Moreover, through the process of moral recognition and moral judgement, consumers form intentions to participate in, or avoid CTE. The study holds important implications for public policy makers who are trying to reduce the tax gap in times of economic instability and fiscal crisis. (shrink)

Transparency is the order of the day. It is a term, a slogan, that dominates public discourse about corruption and freedom of information. Considered crucial to democracy, it touches our political and economic lives as well as our private lives. Anyone can obtain information about anything. Everything—and everyone—has become transparent: unveiled or exposed by the apparatuses that exert a kind of collective control over the post-capitalist world. Yet, transparency has a dark side that, ironically, has everything to do with a (...) lack of mystery, shadow, and nuance. Behind the apparent accessibility of knowledge lies the disappearance of privacy, homogenization, and the collapse of trust. The anxiety to accumulate ever more information does not necessarily produce more knowledge or faith. Technology creates the illusion of total containment and the constant monitoring of information, but what we lack is adequate interpretation of the information. In this manifesto, Byung-Chul Han denounces transparency as a false ideal, the strongest and most pernicious of our contemporary mythologies. (shrink)

Why 1 = presence and 0 = absence and the digital world formula is x = xn: an exploration of meaning in a universe of infinite replication. In the beginning was the Zero, and the Zero was with God, and God was the One. —All and Nothing In 1854, the British mathematician George Boole presented the idea of a universe the elements of which could be understood in terms of the logic of absence and presence: 0 and 1, all and (...) nothing—the foundation of binary code. The Boolean digits 0 and 1 do not designate a quantity. In the Boolean world, x times x always equals x; all and nothing meet in the formula x = xn. As everything becomes digitized, God the clockmaker is replaced by God the programmer. This book–described by its authors as “a theology for the digital world”—explores meaning in a digital age of infinite replication, in a world that has dissolved into information and achieved immortality by turning into a pure sign. All and Nothing compares information that spreads without restraint to a hydra—the mythological monster that grew two heads for every one that was cut off. Information is thousand-headed and thousand-eyed because Hydra's tracks cannot be deleted. It shows that when we sit in front of a screen, we are actually on the other side, looking at the world as an uncanny reminder of the nondigitized. It compares our personal data to our shadows and our souls, envisioning the subconscious laid out on a digital bier like a corpse. The digital world, the authors explain, summons forth fantasies of a chiliastic or apocalyptic nature. The goal of removing the representative from mathematics has now been achieved on a greater scale than Boole could have imagined. (shrink)

"The cinema is, as a photographic medium, an art form of light. But the mastery of lightning and the 'dark' side of his rhizomatic, interactive net have led very early to the configuration of shade and shadow and refer, ergo, to something which is perpetually related to all forms of figurative art. To film, 'night' means, however, something different, as it brings the configuration of the skies in a state of darkness with it. This is in disagreement with his usual (...) depiction. It entails embarking on a singular figurative project, which approximates a contradiction in itself. This project demonstrates the autonomy of the configuration process precisely through this contradiction.". (shrink)

An important methodological argument is outlined in support of general theoretical challenges to the dominant materialist paradigm. The idea is that the empirical inadequacies of a dominant theory can be hidden from view by various factors, and will emerge from the shadows only when viewed from the perspective of a systematic conceptual alternative. The question then posed is whether parapsychology provides a conceptual alternative adequate to this task. The provisional conclusion drawn is that it does not. Some further consequences are (...) drawn from this concerning the experimental side of the parapsychological tradition. (shrink)

Grush and Churchland (1995) attempt to address aspects of the proposal that we have been making concerning a possible physical mechanism underlying the phenomenon of consciousness. Unfortunately, they employ arguments that are highly misleading and, in some important respects, factually incorrect. Their article ‘Gaps in Penrose’s Toilings’ is addressed specifically at the writings of one of us (Penrose), but since the particular model they attack is one put forward by both of us (Hameroff and Penrose, 1995; 1996), it is appropriate (...) that we both reply; but since our individual remarks refer to different aspects of their criticism we are commenting on their article separately. The logical arguments discussed by Grush and Churchland, and the related physics are answered in Part l by Penrose, largely by pointing out precisely where these arguments have already been treated in detail in Shadows of the Mind (Penrose, 1994). In Part 2, Hameroff replies to various points on the biological side, showing for example how they have seriously misunderstood what they refer to as ‘physiological evidence’ regarding to effects of the drug colchicine. The reply serves also to discuss aspects of our model ‘orchestrated objective reduction in brain microtubules – Orch OR’ which attempts to deal with the serious problems of consciousness more directly and completely than any previous theory. (shrink)

-/- Unde malum? What is evil—if it is anything at all—and whence does it arise? Is evil just badness by another name? Is it the inevitable “shadow side” of the good? Or is it more substantial: an active, striving force that is opposed to the good in a Star Wars, Manichean kind of way? -/- Does evil always originate in the causal powers of nature? Is it sometimes based in the choices of moral agents? Or, perhaps most disturbingly, does evil (...) sometimes have its source in something non-human and impersonal—a malevolent tendency in the universe not just to general winding-down but also to outbreaks of targeted hellishness? -/- Finally, what is radical evil, and how does it differ from other kinds of evil? -/- These are some of the key metaphysical questions that philosophers have raised concerning evil. The goal of this entry is to provide a taxonomy of the most prominent answers: the main theories of evil’s kinds and origins on offer in the western philosophical tradition. This is meant to supplement the discussion in the entry on the concept of evil, although Section 1 begins with some conceptual and semantic issues. -/- Section 2 introduces two key distinctions that are then further developed in Sections 3 and 4. The first distinction has to do with the kinds of evil: insofar as evil is anything at all, is it a deep metaphysical feature of things, or is it always (or at least sometimes) merely an empirical phenomenon? The second distinction has to do with the origins of evil: is evil ever (or always) based in entirely natural phenomena, or does it sometimes (or always) have a moral or supernatural origin? -/- Sections 5 through 7 consider some puzzling cases of hard-to-categorize evils: systemic evil; symbolic evil; and so-called “radical” evil. (shrink)

Boilerplate, the fine print of standard contracts, is more prevalent than ever in commercial trade and in electronic commerce. But what is in it, beyond legal technicalities? Why is it so hard to read and why is it often so one-sided? Who writes it, who reads it, and what effect does it have? The studies in this volume question whether boilerplate is true contract. Does it resemble a statute? Is it a species of property? Should we think of it as (...) a feature of the product we buy? Does competition improve boilerplate? Looking at the empirical reality in which various boilerplates operate, leading private law experts reveal subtle and previously unrecognized ways in which boilerplate clauses encourage information flow, but also reduce it; how new boilerplate terms are produced, and how innovation in boilerplate is stifled; how negotiation happens in the shadow of boilerplate, and how it is subdued. They offer a new explanation as to why boilerplate is often so one-sided. With emphasis on empiricism and economic thinking, this volume provides a more nuanced understanding of the 'DNA' of market contracts, the boilerplate terms. (shrink)

A vivacious biography of the prophetic and sympathetic philosopher who along with Voltaire and Rousseau built the foundations of the modern world, and travelled as far as Russia to enlighten the Tsarina Catherine the Great. Denis Diderot is often associated with the decades-long battle to bring the world's first comprehensive Encyclopédie into existence. But his most compelling and personal writing took place in the shadows. Thrown into prison for his atheism in 1749, Diderot decided to reserve his most daring books (...) for posterity-for us, in fact. In the astonishing cache of unpublished writings that he left behind after his death, Diderot dreamed of natural selection before Darwin, the Oedipus complex before Freud, and genetic manipulation centuries before Dolly the Sheep was born. Even more audaciously, the writer challenged virtually all of his century's accepted truths, from the sanctity of monarchy, to the racial justification of slave trade, to the limits of human sexuality. He was also keenly aware of the dangers of absolute power, about which he wrote so persuasively that it led Catherine the Great not only to support him financially but also to invite him to St. Petersburg. In this thematically organized biography, Andrew Curran vividly describes Diderot's tormented relationship with Rousseau, his feud with Voltaire, his tortured marriage, his passionate affairs, and his often-paradoxical stand on art, morality, and religion. But what this book brings out most brilliantly is how a man's character flaws and limitations are often the flip side of his genius and his ability to break taboos, dogmas, and conventions. (shrink)