This chapter contains sections titled: The Meaning of the World in Heidegger Immortality The World of the Man‐Child Knocked Up Stillbirth After You, the World Will Always Be Empty Notes.

ABSTRACT This article analyzes the figure of the end of the world in the final lecture of Derrida’s The Beast and the Sovereign seminar series (the last seminar series he gives). The author argues that Derrida uses the final line of a Paul Celan poem (“The world is gone. I must carry you.”) as a valedictory refrain in order to show the political and existential stakes of his ontological investigations. The article situates these stakes within Derrida’s fictionalism, his belief that (...) (1) ideal entities are irreal but also (2) the way in which the meanings of ideal entities work is like the way that the meaning of fictional discourse works. Using Derrida’s own example of Celan, as well as examples from Benjamin Britten and Skeeter Davis, the author argues for the importance of aesthetic experience in tying together these political, existential, and ontological themes. (shrink)

In what follows, I outline the role that pedagogical concerns play in how Derrida structures his Theory and Practice seminars. Framing my discussion with Foucault’s criticism of Derrida’s pedagogy as overly textual and quasi-despotic, I show how Derrida accepts elements of that criticism in his description of his pedagogy. Moreover, by treating these seminars as model exercises for students rather than as a philosophical text advancing a thesis, we can identify connections with Derrida’s commitment to a more radically democratic institutional (...) politics, insofar as the supposed “limitless sovereignty” of the quasi-despotic pedagogue is a self-conscious fiction, deployed strategically to challenge other forms of sovereignty. In this way, Derrida draws a parallel between his own textual and pedagogical practices and those of Heidegger, an attempt both to open his practice up to genuine interruptions and gaps and to contest the neoliberal “disruptions” of the academy. (shrink)

In this paper, I address the way in which Plato’s Sophist rethinks his lifelong dialogue with Heraclitus. Plato uses a concept of logos in this dialogue that is much more Heraclitean than his earlier concept of the logos. I argue that he employs this concept in order to resolve those problems with his earlier theory of ideas that he had brought to light in the Parmenides. I argue that the concept of the dialectic that the Stranger develops rejects, rather than (...) continues, the idea reached at the end of the Theatetus that knowledge has to be grounded in a nous aneu logou (a non-logical, divine intellect) even while the Stranger appropriates the concerns that lead to his conclusion. Ultimately, I suggest that my differentiation of the later Plato’s appropriation of the tradition from Aristotle’s appropriation of that tradition is closely related to the re-thinking of the full sense of logos in the later Heidegger on Heraclitus and on Parmenides. I end by suggesting that the question that Plato and Heraclitus pose to us is to ask what such a divine logos tells about human ways of knowing. (shrink)

I examine the contribution that the first part of Maurice Blancot's recit Death Sentence makes to his understanding of the relationship between philosophy and literature. I use a reading of the Kantian, transcendental account of literature in “How is Literature Possible” as the starting point for an analysis of the way in which Blanchot uses secrets in describing J.'s death in Death Sentence, linking secrecy up with the imaginary, ambiguity and dissimulation. The purpose for this refinement is to challenge the (...) philosophical tradition's self-understanding, particularly as exhibited in Hegel. This challenge is seen by reading the account of grief in the first part of Death Sentence as a parody of Hegel's interpretation of Antigone. (shrink)

The article recasts the pre-history of philosophy as it is understood by G. W. F. Hegel, so as to examine what a “Lyrical Presentation of History” might have been. The essay argues that Hegel’s treatment of history at the end of his Lectures on Aesthetics suffers from an inattention to the specific philosophical content of modern lyrical poetry, which can be located in his claim that lyrical poetry is primarily concerned with the subject. In contrast, the author argues that Hegel’s (...) account ought to have led him to hold that lyrical poetry is primarily concerned with subjective, alienated worlds, which he calls “counterworlds”. The essay ends with a brief treatment of three poems by Paul Celan to show how this shift in the meaning of lyrical poetry would have led Hegel to give greater weight to lyrical poetry in his theory of history. (shrink)

ABSTRACTI ask whether there is a place for apparently displeasurable experiences in a hedonistic aesthetics. Building on an ambiguity in Mohan Matthen's account of facilitating pleasures, I examine how avant-garde artists can use the ‘perverse’ or ‘difficult’ pleasures to force cognitions that are critical in the Marxist sense.

The article recasts the pre-history of philosophy as it is understood by G. W. F. Hegel, so as to examine what a “Lyrical Presentation of History” might have been. The essay argues that Hegel’s treatment of history at the end of his Lectures on Aesthetics suffers from an inattention to the specific philosophical content of modern lyrical poetry, which can be located in his claim that lyrical poetry is primarily concerned with the subject. In contrast, the author argues that Hegel’s (...) account ought to have led him to hold that lyrical poetry is primarily concerned with subjective, alienated worlds, which he calls “counterworlds”. The essay ends with a brief treatment of three poems by Paul Celan to show how this shift in the meaning of lyrical poetry would have led Hegel to give greater weight to lyrical poetry in his theory of history. (shrink)

In this paper, I address the way in which Plato’s Sophist rethinks his lifelong dialogue with Heraclitus. Plato uses a concept of logos in this dialogue that is much more Heraclitean than his earlier concept of the logos. I argue that he employs this concept in order to resolve those problems with his earlier theory of ideas that he had brought to light in the Parmenides. I argue that the concept of the dialectic that the Stranger develops rejects, rather than (...) continues, the idea reached at the end of the Theatetus that knowledge has to be grounded in a nous aneu logou (a non-logical, divine intellect) even while the Stranger appropriates the concerns that lead to his conclusion. Ultimately, I suggest that my differentiation of the later Plato’s appropriation of the tradition from Aristotle’s appropriation of that tradition is closely related to the re-thinking of the full sense of logos in the later Heidegger on Heraclitus and on Parmenides. I end by suggesting that the question that Plato and Heraclitus pose to us is to ask what such a divine logos tells about human ways of knowing. (shrink)

The philosophically rich David Bowie is an artist of wide and continuing influence. The theatrical antics of Bowie ushered in a new rock aesthetic, but there is much more to Bowie than mere spectacle. The visual belies the increasing depths of his concerns, even at his lowest personal moments. We never know what lies in store in a Bowie song, for there is no point in his nearly 30 albums at which one can say, "That's typical Bowie!" Who else has (...) combined techno and hard rock, switched to R&B love songs (with accompanying gospel) to funk to jazz-rock fusion and back again? Among the topics explored inDavid Bowie and Philosophy are the nature of Bowie as an institution and a cult; Bowie's work in many platforms, including movies and TV; Bowie's spanning of low and high art; his relation to Andy Warhol; the influence of Buddhism and Kabuki theater; the recurring theme of Bowie as a space alien; the dystopian element in Bowie's thinking; the role of fashion in Bowie's creativity; the aesthetics of theatrical rock and glam rock; and Bowie's public identification with bisexuality and hisinfluence within the LGBTQ community. (shrink)

Der Band versammelt Studien, die sich dem von Friedrich Vollhardt intensiv erforschten Verhältnis von Literatur und Formen der praktischen Vernunft widmen. Dazu zählen neben Rechts- und Morallehren auch Theorien der Politik und der Religion. Ihre Bedeutung für die Literatur vom Mittelalter bis zur Gegenwart leuchten die Beiträge dieser Festschrift aus.

The “active image” refers to the operative nature of images, thus capturing the vast array of “actions” that images perform. This volume features essays that present a new approach to image theory. It explores the many ways images become active in architecture and engineering design processes and how, in the age of computer-based modeling, images play an indispensable role. The contributors examine different types of images, be they pictures, sketches, renderings, maps, plans, and photographs; be they analog or digital, planar (...) or three-dimensional, ephemeral, realistic or imaginary. Their essays investigate how images serve as means of representing, as tools for thinking and reasoning, as ways of imagining the inexistent, as means of communicating and conveying information and how images may also perform functions and have an agency in their own. The essays discuss the role of images from the perspective of philosophy, theory and history of architecture, history of science, media theory, cognitive sciences, design studies, and visual studies, offering a multidisciplinary approach to imagery and showing the various methodologies and interpretations in current research. In addition, they offer valuable insight to better understand how images operate and function in the arts and sciences in general. (shrink)

Seeing happens effortlessly and yet is endlessly complex. Among the most fascinating aspects of visual perception is its stability and constancy. As we shift our gaze or move about the world, the light projected onto the retinas is constantly changing. Yet the surrounding objects appear stable in their properties. Psychologists have long been interested in the constancies. They have asked questions such as: How good is constancy? Is constancy a fact about how things look, or is it a product of (...) our beliefs and judgments about how things look? How can the contents of visual experience be studied experimentally? Philosophers have long been interested in characterizing visual experience and have become widely interested in the constancies more recently. As psychologists and philosophers have interacted, new questions have arisen: If experience is not as of retinal stimulation (proximal mode), but does not always exhibit constancy (or at least not in all respects), how shall we describe this intermediate state? Also, should we regard any departure from constancy as a failure of the visual system, or might it be a reasonable or adaptive response? In what circumstances is seeing highly conditioned by cognitive factors such as background assumptions, and in what circumstances not? Our volume focuses on size constancy and color constancy. It considers methodologies for studying conscious visual perception, efforts to describe visual experience in relation to constancy, what it means that constancy is not always perfect, and the conceptual resources needed for explaining visual experience. (shrink)

This article integrates research on gendered organizations and the work-family interface to investigate an innovative workplace initiative, the Results-Only Work Environment, implemented in the corporate headquarters of Best Buy, Inc. While flexible work policies common in other organizations “accommodate” individuals, this initiative attempts a broader and deeper critique of the organizational culture. We address two research questions: How does this initiative attempt to change the masculinized ideal worker norm? And what do women’s and men’s responses reveal about the persistent ways (...) that gender structures work and family life? Data demonstrate the ideal worker norm is pervasive and powerful, even as employees begin critically examining expectations regarding work time that have historically privileged men. Employees’ responses to ROWE are also gendered. Women are more enthusiastic, while men are more cautious. Ambivalence about and resistance to change is expressed in different ways depending on gender and occupational status. (shrink)

Neo-Sumerian Administrative Tablets from the Yale Babylonian Collection, Parts One and Two. By Marcel Sigrist and Tohru Ozaki. Biblioteca del Próximo Oriente Antiguo, vols. 6–7. Madrid: Consejo Superior de Investigaciones Científicas, 2009. Pp. 613, 601.

Using the example of architecture, this article defends the thesis that designing should not be regarded as a kind of experimenting. This is in contrast to a widespread methodological claim that design processes are equivalent to experimentation processes. The contrary thesis can be proven by focusing on actual practices, techniques and design strategies. Closely connected with the thesis is an even more important epistemological claim, which contends that designing serves not only to develop artefacts but is also a means of (...) acquiring genuine knowledge. When the epistemic relevance of said practices, techniques and strategies is reassessed, designing emerges clearly as an independent epistemic praxis. To defend the thesis, the present article draws on and analyses empirical material from an ethnographic field study in order to back up the conceptual analysis. (shrink)

Recent developments in artificial intelligence (AI) promise cognitive optimization in many areas of our lives, ranging from automated decision-making to superintelligence. In a predominant narrative, the black-box of machine learning systems is identified as one of the biggest obstacles from an epistemic point of view. The problem is expected to be solved by algorithmic counteractions emerging from the field of explainable artificial intelligence (XAI). However, deeper questions about a meaningful cognitive division of labor between AI algorithms and human actors who (...) use these systems are vastly ignored. The article aims to replace the dominant anthropomorphizing metaphors by a reconceptualization based on philosophy of technology. The new framework allows to interpret AI technology as an epistemic tool, which co-shapes a specific milieu of reflection and which is based on an epistemic model of automated knowledge production. This re-conceptualization offers a new perspective on AI technologies, where epistemic empowerment and epistemic sovereignty are in the center. (shrink)

Der Tagungsband versammelt Beiträge des 2. Forums Architekturwissenschaft zum Thema Architektur im Gebrauch, das vom 25. bis 27. November 2015 im Schader-Forum in Darmstadt stattfand. Die Beiträge nähern sich dem Thema grundlegend in zwei Perspektiven. Zum einen interessiert die lebensweltliche Verankerung von Architektur: die Gebrauchserfahrungen und die vielfältigen Weisen, in denen das Gebaute im Alltag jedes Menschen in Erscheinung tritt. Zum anderen werden die Vorstellungen vom Gebrauch in Prozessen des Planens und Bauens untersucht. Dabei treten unweigerlich auch Spannungsverhältnisse auf - (...) zwischen Planerinnen und Nutzern, aber auch zwischen unterschiedlichen Gebrauchsweisen. Sowohl in theoretischen Auseinandersetzungen zu einem Begriff von Gebrauch in der Architektur als auch in empirischen Studien zu einzelnen Bauten und Bautypen, zeitgeschichtlichen Gebrauchsphänomenen und Situationen des Alltags wird dem auf den Grund gegangen. (shrink)

La definición estándar del conocimiento intenta concebir el conocimiento proposicional como una creencia verdadera y justificada, y, con su modo de proceder, genera una serie de graves problemas. En respuesta a esto, este ensayo investiga un modelo interpretativo prometedor y alternativo del conocimiento como estructura o sistema que se acopla a las reflexiones de Nelson Goodman. A partir de una amplia base constituida por la teoría de los símbolos, es posible desarrollar un concepto de conocimiento plural y procesal que se (...) puede adecuar tanto a la pluralidad de distintos modos de conocimiento, como también a sus transformaciones históricas. En ello tiene un papel decisivo la interpretación de la comprensión como un proceso constructivo que sirve como punto de partida para realizar una descripción teórica de una dinámica transformativa. Del análisis de la relación entre procesos de comprensión y conocimiento se deriva un nuevo punto de vista que deja surgir con claridad el rasgo procesal del conocimiento y sus características específicas. Este artículo ofrece una base para una mayor diferenciación del ámbito epistémico en cuyo marco el concepto de conocimiento puede ser rehabilitado. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well as (...) the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well as (...) the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)