I clarify some ambiguities in blame-talk and argue that blame's potential for irrationality and propensity to sting vitiates accounts of blame that identify it with consciously accessible, personal-level judgements or beliefs. Drawing on the cognitive psychology of emotion and appraisal theory, I develop an account of blame that accommodates these features. I suggest that blame consists in a range of hostile, negative first-order emotions, towards which the blamer has a specific, accompanying second-order attitude, namely, a feeling of entitlement—a feeling that (...) these hostile, negative first-order emotions are what the blamed object deserves. (shrink)

We all learn about the mistake of treating ‘nothing’ as if it were a term standing for something; but is it a mistake to treat it as an empty term, denoting nothing? We argue not, and we introduce ‘zilch’, defined as ‘the non-self-identical thing’, as a term which is empty as a matter of logical necessity. We contrast its behaviour with that of the quantifier ‘nothing’, and illustrate its uses. We use the same idea to vindicate Locke’s, Descartes’ and Hume’s (...) handling of ‘nothing’, and we show how Heidegger’s ‘das Nichts nichtet’ comes out as logically true. (shrink)

Contemporary critical theory and black studies have witnessed a surge in theoretical accounts of “blackness” as “nothingness”. Drawing on the work of the poet and cultural theorist Fred Moten, this article offers a reading of this recent postulation of blackness as “nothingness” in light of some of the similar theoretical endeavors in post-Kantian European philosophy. By comparing Moten’s “paraontological” conception of nothingness to Heidegger’s self-nihilating nothing, Sartre’s relative nothingness, as well as Schelling’s notion of absolute nothingness, this article argues that (...) Moten’s paraontology presents a more robust and systematic conception of nothingness than those of Heidegger, Sartre, and Schelling. By way of this comparison with these “canonical” accounts from European philosophy, this article highlights not only the unique features of Moten’s sophisticated formulation of nothingness, but also some of unacknowledged presumptions and prejudices of traditional metaphysics which Moten’s work calls into question. (shrink)

Early 20th century debates over the possibility of ‘metaphysics’ are grounded in a set of questions and answers whose central themes are already delineated in Kant’s critical philosophy. Wittgenstein and Carnap are sympathetic to Kant’s dismissal of transcendent metaphysics, but skeptical that there could be any substantive account of the fundamental conditions of our meaning-making. By contrast, Heidegger follows Fichte and the early German Romantics in seeing answers to the problems raised by metacritique not in science, but in the non-discursive (...) forms of understanding and expression exemplified in art. This Romantic turn to art is not taken arbitrarily; it is motivated by methodological considerations that emerge within Kant’s own critical system. I take up the Kantian considerations which lead to an understanding of art as a window into the fundamental conditions of meaning-making before turning to Heidegger’s development of this line of thought. Next, I examine Carnap and Wittgenstein’s skepticism concerning the meaning of Heidegger’s philosophical terminology, focusing on what is perhaps the most problematic case: Heidegger’s talk of ‘the nothing’. I argue that this skepticism is overblown. Heidegger’s talk of the nothing is meaningful in the way that talk about figure and ground is meaningful: it serves as an ostensive indication of intersubjectively accessible structural features of our encounters with things. I conclude by drawing out the existential ramifications of the decision to speak or be silent, drawing on Audre Lorde to illustrate the place of art in making it possible for us to lead authentic lives. (shrink)