A venerable philosophical tradition holds that we rational creatures are distinguished by our capacity for a special sort of mental agency or self-determination: we can “make up” our minds about whether to accept a given proposition. But what sort of activity is this? Many contemporary philosophers accept a Process Theory of this activity, according to which a rational subject exercises her capacity for doxastic self-determination only on certain discrete occasions, when she goes through a process of consciously deliberating (...) about whether P and concludes by “making a judgment”, thereby bringing about a change in what she believes. I argue that this conception of our control over our beliefs implies an unacceptable picture of the agency we exercise in judging, and of the relation of such agency to the condition of belief itself. I suggest that the beliefs of a rational creature are themselves “acts of reason”, which reflect the capacity for doxastic self-determination in their very nature, not merely in certain facts about how they can originate. (shrink)

This chapter contains sections titled: Rationality as a Property and Rationality as a Source of Requirements Rationality and Normativity Requirements of Rationality Reasoning References Further reading.

In this thesis I assess the role of well-being in ethics. In order to do so I reply to a threefold charge against the importance of well-being in ethics. In What We Owe to Each Other Scanlon argues that the concept of well-being plays very little role in the thinking of an agent; that no unified theory of well-being can be found; that welfarism is false. In Part I, I argue that the concept of well-being does play an explanatorily and (...) justificatorily important role in the thinking of a rational agent. I arrive at this conclusion by distinguishing levels of thinking activity as well as by considering the implicit rather than explicit role well-being plays in our deliberation. I conclude this part of the thesis by illustrating the relation between the idea of well-being, its parts and its sources. In Part II, I put forward a unified theory of well-being and I do so by taking on board with a slight modification Scanlon's own buck-passing account of value. I argue that something is a part of a person's good if, and only if, there is reason for this person to desire it. I claim that this account does not fall prey to the 'scope problem'. I also discuss a number of different though connected issues such as the defence of the claim that well-being is itself a normative notion and issues concerning the various parts of well-being. In Part III, I begin to sketch the normative role of well-being both first-personally and impartially. With Scanlon, I agree that welfarism is false. Yet, I argue in favour of a moderate form of welfarism, a view that takes a positive function of each individual's well-being to afford the ultimate criterion of practical reason. (shrink)

This paper explicates an account of argumentative rationality by articulating the common, basic idea of its nature, and then identifying a collection of assumptions inherent in it. Argumentative rationality is then contrasted with dual-process theories of reasoning and rationality prevalent in the psychology of reasoning. It is argued that argumentative rationality properly corresponds only with system-2 reasoning in dual-process theories. This result challenges the prescriptive force of argumentative norms derives if they derive at (...) all from their descriptive accuracy of our cognitive capacities. In response, I propose an activity-based account of reasoning which retains the assumptions of argumentative rationality while recontextualizing the relationship between reasoning as a justificatory activity and the psychological states and processes underlying that activity. (shrink)

The activity of reason-giving plays an important role in our intellectual lives. Some philosophers, however, have expressed a deep distrust of this activity. This chapter examines the grounds for such distrust and argues that it deserves a far more serious hearing than it is typically given. There are important cases in which the very activity of reason giving should be called into question, but the kinds of challenges to reason giving which are most concerning are, it is (...) argued, ones which do not lead to a fundamental breakdown of rationality. Rather, it is argued, there are ways in which the challenges to reason giving can be adequately met. (shrink)

In a career spanning sixty years, Sir Karl Popper has made some of the most important contributions to the twentieth century discussion of science and rationality. _The Myth of the Framework_ is a new collection of some of Popper's most important material on this subject. Sir Karl discusses such issues as the aims of science, the role that it plays in our civilization, the moral responsibility of the scientist, the structure of history, and the perennial choice between reason and (...) revolution. In doing so, he attacks intellectual fashions that exagerrate what science and rationality have done, as well as intellectual fashions that denigrate what science and rationality can do. Scientific knowledge, according to Popper, is one of the most rational and creative of human achievements, but it is also inherently fallible and subject to revision. In place of intellectual fashions, Popper offers his own critical rationalism - a view that he regards both as a theory of knowlege and as an attitude towards human life, human morals and democracy. Published in cooperation with the Central European University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.4 (2002) 639-658 [Access article in PDF] "The whole exercise of reason":Charles Mein's Account of Rationality James G. Buickerood L'Auteur de cet Ouvrage nous paroit meriter un rang distingué parmi les Auteurs Metaphysiques. Il seroit seulement à souhaiter qu'il eût traité ses matiéres avec un peu plus de Methode. Ce n'est pas qu'il ne soit très-intelligible, & que son Stile même ne (...) soit assez pur, mais un Auteur devroit se souvenir que ceux qui liront son ouvrage ne suivront pas ses pensées comme il les suit, & qu'on ne se rapellera pas ce qu'il a dit aussi facilement qu'il se le rapelle lui-même.... Il nous paroit que si l'Auteur veut encore s'exercer sur pareilles matieres il ne fera pas mal de repasser sur ce qui'il vient de publier, de donner des definitions plus intelligibles, & d'éclaircir le reste avec plus d'exactitude. — Bibliothèque raisonnée, June 1729 Two Dissertations concerning Sense, and the Imagination. With an Essay on Consciousness appeared anonymously in mid-summer 1728 over the prestigious imprint of Tonson in the Strand. 1 The "Essay on Consciousness" explicates the nature and functions of consciousness. The two dissertations modestly prepare for an inquiry into human understanding, which [End Page 639] is at present very much wanted; and towards which the removal of those Prejudices arising from Sense, and the Imagination, which hinder Men from discovering the Truth, or discerning it, tho' fairly offered to them, is the first Step to be made; and may be of some use to any one who shall hereafter undertake to explain and set forth, in a clear and perspicuous Light, the native and genuine Operations of the Understanding, as they are in Themselves, without mixing or confounding them with any Others. (1-2) A Bibliothèque raisonnée review twice noted the book's diffusion and inconvenient organization. 2 The book is nonetheless interesting for its clear defense of the cognitive superiority of reason over sense and imagination, its attack on contemporary conflations of human and brutal natures, and its treatment of consciousness, dreams, madness, and the self. In its assay of human understanding Two Dissertations implements Peripatetic, Cartesian, and even Lockean principles. The last notwithstanding, the work is an assault on the Lockean reduction of understanding to passive perception and on Locke's conception of knowledge as the perception of ideas and their relations. It is also an attempt to resuscitate reason in the teeth of nominalist accounts of rationality such as those of John Toland and allied freethinkers. 3 In pursuing these goals, it offers variations on traditional concepts of cognition, such as a conception of notions as acts of intellectual apprehension which an interpreting mind brings to bear on sensory appearances. This understanding of notions as acts falls within the British notional way marked by Digby, White, Sergeant, and especially Burthogge, antedating publication of George Berkeley's explicit distinction between passive ideas and notions owing to reflection. 4 Notions play an important role in Two Dissertations, contrasting the mind's active, rational contribution to knowledge with Lockean ideas. Yet the work's treatment of notions contains intimations of a more elaborate conception of rationality that includes a distinct order of reflective notions not deployed in this book (25-26).Clearly identifying the purposes, doctrine, and authorship of Two Dissertations is worthwhile insofar as its detailed analysis of consciousness is intrinsically interesting and quite possibly historically important, despite its neglect in the past century. For its "Essay on Consciousness" purports to be the "first Attempt that hath been made on the Subject" (sig. A3r ; cf. 141-42). While conventional [End Page 640] interpretations of modern philosophy may have habituated us to be skeptical of such a claim made as late as 1728, it is by no means outlandish, subject to textual and conceptual qualification. This paper concerns primarily just one function of the conscious mind addressed in Two Dissertations: the concept of... (shrink)

Our present knowledge in the field of dynamical systems, information theory, probability theory and other similar domains indicates that the human brain is a complex dynamical system working in a strong chaotic regime in which random processes play important roles. In this environment our mental life develops. To choose a logically ordered sequence from a random or almost random stream of thoughts is a difficult and energy consuming task. The only domain in which we are able to do this with (...) a full success is mathematics. Leibniz’s life ambition was to extend this success, with the help of what he called _characteristica universalis_, to other areas of human activity. The belief that this is possible lies at the basis of Leibniz’s rationalist system. Reasoning within his system, Leibniz claimed that also fundamental laws of physics can be deduced from the “first principles”. Just as linguistic or conceptual units are at the basis of the _charactersistica universalis_, his monads are responsible for physical activity of material bodies. When this rationalistic strategy is applied to the philosophy of space and time, it leads to their radically relational conception. Leibniz’s rationalistic approach to philosophy and science arouses out sympathy but it was Newton’s mathematical-empirical method that turned out to be effective in human endeavour to understand the functioning of the physical world. Successes of the Newtonian method compel us to revise our concept of rationality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:372 THE ROLE OF REASON IN HUME'S THEORY OF BELIEF Much has been written on Hume's theory of belief, yet problems of interpretation remain as serious as ever. The most pervasive and persistent problem relates to the role reason plays in Hume's conception of belief. When Hume says that belief is a matter of feeling, does he mean to say that reason has nothing to do with it, or (...) that belief is not a matter of choice? Does he imply that one cannot be blamed for believing as one does? The view that belief is unavoidable and not a matter of choice, and its implication, seem counter-intuitive, if not drastic. Are there grounds for attributing such a view to Hume? There is indeed a tendency to interpret Hume as saying that reason plays no role, not just in the moral sphere, but in the understanding as well. Thus, Barry Stroud claims that "in Hume's hands the denigration of the role of reason and the corresponding elevation of feeling and sentiment is generalized into a total theory of man." Elsewhere I have argued against this view insofar as it relates 2 to Hume's moral theory. But the dismay at Hume's (alleged) denigration of reason is even greater in the case of belief. For instance, Antony Flew considers Hume's view that belief is "a species of natural instincts, which no reason or process of the thought and understanding is able either to produce or to prevent" as a "drastic and disastrous conclusion." According to Flew, one drastic and disastrous consequence of such a view is that "insofar as belief really is necessary and unavoidable we can neither criticize others for the irrationality of their convictions nor retain any 4 confidence about the rationality of our own." 373 In a more sympathetic reading of Hume, J. A. Passmore has cited evidence to show that Hume acknowledges that belief can be a matter of choice, 5 and thus there can be an ethics of belief. However, in doing so Passmore presents an inconsistency in Hume's view of belief, and does nothing to account for this inconsistency. Barbara Winters also sees inconsistencies, or paradoxes, in Hume's treatment, not only within Book I of the Treatise, but also between it and the other two Books (and between the Enquiries). Her resolution of the paradox is the suggestion that there are two conceptions of reason in Hume, the "traditional" and the "naturalistic," the former "plays no role in our acquisition of fundamental beliefs," and the latter is such that we do indeed "arrive at our beliefs through reasoning." In this paper I wish to argue that there are no inconsistencies, or paradoxes, in Hume's treatment of belief, and that his view is neither drastic nor disastrous. I wish to show that there is no 'denigration' of reason, " and that while belief is a matter of feeling, it is also, to an important degree, a matter of choice. In promoting the "undoubted truth, that belief is nothing but a peculiar feeling," Hume does write in such a way as to encourage the interpretation that he subordinates the role of reason to feelings (or sentiments, or passions), or worse, that he denigrates the role of reason. He tells us that belief is not "some new idea, such as that of reality or existence, which we join to the simple conception of an object" (T 623). If it were, "it wou'd be in a man's power to believe what he 374 pleas 'd" (T 624), as the mind can mix or join any two ideas. Hume tells us that we can easily "discover by experiments" that belief "arises immediately, without any new operation of the reason or imagination" (T 102). The widely quoted sentence is the following: "When the mind... passes from the idea or impression of one object to the idea or belief of another, it is not determin'd by reason..." (T 92). These and other statements clearly encourage the interpretation that belief does not arise from reason, or indeed that reason has nothing to do with belief. Depending on how far one sees the... (shrink)

Kant's Reason develops a novel interpretation of Kant’s conception of reason and its philosophical significance, focusing on two claims. First, it argues that Kant presents a powerful model for understanding the unity of theoretical and practical reason as two manifestations of a unified capacity for theoretical and practical understanding (or “comprehension”). This model allows us to do justice to the deep commonalities between theoretical and practical rationality, without reducing either to the other. In particular, through it, we see why (...) the activities of both theoretical and practical reason are governed by a version of the Principle of Sufficient Reason, while also seeing why reason is essentially autonomous. At the same time, Kant's Reason also reads Kant as presenting us with a compelling picture of the role that reason (as a capacity or power) should play in a systematic approach to foundational philosophical questions. In doing so, it argues for an account of the fundamental norms that apply to rational beings that treats as fundamental neither substantive reasons or values nor merely structural rationality, but instead a robust conception of reason as a power or capacity — namely, the capacity for theoretical and practical understanding. The result is a form of “rational constitutivism” – one which contrasts both with the forms of “reasons fundamentalism” that are currently fashionable and the forms of “agency-first constitutivism” that have dominated much of Kantian metaethics. In this sense, the aim of the book is to vindicate Kant’s insistence that his philosophy represents nothing more or less than reason’s implicit self-understanding coming to explicit and systematic self-consciousness. (shrink)

The History of Reason in the Age of Madness revolves around three axes: the Foucauldian critical-historical method, its relationship with enlightenment critique, and the way this critique is implemented in Foucault's seminal work, History of Madness. Foucault's exploration of the origins of psychiatry applies his own theories of power, truth and reason and draws on Kant's philosophy, shedding new light on the way we perceive the birth and development of psychiatric practice. Following Foucault's adoption of 'limit attitude', which investigates the (...) limits of our thinking as points of disruption and renewal of established frames of reference, this book dispels the widely accepted belief that psychiatry represents the triumph of rationalism by somehow conquering madness and turning it into an object of neutral, scientific perception. It examines the birth of psychiatry in its full complexity: in the late eighteenth century, doctors were not simply rationalists but also alienists, philosophers of finitude who recognized madness as an experience at the limits of reason, introducing a discourse which conditioned the formation of psychiatry as a type of medical activity. Since that event, the same type of recognition, the same anthropological confrontation with madness has persisted beneath the calm development of psychiatric rationality, undermining the supposed linearity, absolute authority and steady progress of psychiatric positivism. Iliopoulos argues that Foucault's critique foregrounds this anthropological problematic as indispensable for psychiatry, encouraging psychiatrists to become aware of the epistemological limitations of their practice, and also to review the ethical and political issues which madness introduces into the apparent neutrality of current psychiatric discourse. (shrink)

Kant insists that our actions ought to conform to objective moral rules, and that these rules apply to us regardless of whether we feel inclined to conform to them. Can he establish the truth of these claims? ;His writings on moral philosophy contain not a single answer to this question but two distinct and incompatible ones. In the Groundwork of the Metaphysics of Morals, Kant argues that the basic norm that underlies our moral judgments, the Moral Law, is valid for (...) us because it is rooted in the freedom of our rational nature. But, in the Critique of Practical Reason, he argues that the Law is a fact that requires no justification and that this fact allows us to reason from morality to freedom. Is one of these arguments more convincing than the other? ;It would seem not. For each argument, I try to show, begs the question against an empirically-minded view of morality. More specifically, in the Groundwork Kant uncritically assumes that the freedom of rational agency enjoys a kind of independence from the motivational influence of sensible desires; while, in the second Critique, he similarly assumes that this motivation plays no role in an account of the validity of moral judgments. ;But I also try to show that Kant would have offered a more satisfying solution to the problems of moral theory had he modelled his views about agency more closely upon other views he holds about the self in its theoretical employment. The idea is this: Kant holds that theoretical knowledge requires a unified knowing subject, that a subject as varied as are its individual sense-experiences can never know the way the world is. I suggest that he could have defended an analogous claim about the connection between moral knowledge and the unity of agency; that is, were an agent as varied as are its individual desires, it could never know the way the world ought to be. I do not contend that this alternative solution is completely convincing, but I do hold that it offers an attractive response to central difficulties in the Groundwork and second Critique. (shrink)

In recent years, the philosophy and psychology of reasoning have made a ‘social turn’: in both disciplines it is now common to reject the traditional picture of reasoning as a solitary intellectual exercise in favour of the idea that reasoning is a social activity driven by social aims. According to the most prominent social account, Mercier and Sperber’s interactionist theory, this implies that reasoning is not a normative activity. As they argue, in producing reasons (...) we are not trying to ‘get things right’; instead our aims are to justify ourselves and persuade others to accept our views. I will argue that even if interactionism has played a crucial role in bringing about the ‘social turn’ in our thinking about reasoning, it does not convince in its claim that reasoning is not a normative activity. Moreover, I argue that it is in fact perfectly possible to understand reasoning as a social tool that is also aimed at getting things right. I will propose that Gilbert Ryle’s conceptualization of reasoning as ‘didactic discourse’ offers one possible way to understand reasoning as both social and normative activity, and that as such his ideas could be of great value for the social turn in our thinking about reasoning. (shrink)

Why is it important for people to agree on and articulate shared reasons for just laws, rather than whatever reasons they personally find compelling? What, if any, practical role does public reason play in liberal democratic politics? We argue that the practical role of public reason can be better appreciated by examining the confluence of normative and positive political theory; the former represented here by liberal social contract theory of John Rawls and others, and the latter by rational choice or (...) game theory. Citizens in a diverse society face a practical as well as a moral problem. How can they have confidence that others will reciprocate their commitment to supporting governing principles that depart from their own ideal conceptions of truth and value in order to be reasonable to all? Citizens face a practical problem of mutual assurance that public reason helps them solve, and solve as a matter of common knowledge. The solution, on both views, requires citizens’ reciprocal commitment to basing law on a system of shared reasons. Both views place public reason at the core of liberal democratic politics in conditions of diversity, and for quite similar reasons. Our argument illustrates the complementary roles of positive and values-based analysis in constitutional design. (shrink)

We report five experiments showing that the activation of the end-terms of a syllogism is determined by their position in the composite model of the premises. We show that it is not determined by the position of the terms in the rule being applied (Ford, 1994), by the syntactic role of the terms in the premises (Polk & Newell, 1995; Wetherick & Gilhooly, 1990), by the type of conclusion (Chater & Oaksford, 1999), or by the terms from the source premise (...) (Stenning & Yule, 1997). In our first experiment we found that after reading a categorical premise, the most active term is the last term in the premise. In Experiments 2, 3, and 4 we demonstrated that this pattern of activity is due to the position of the concepts in the model of the premises, regardless of the delay after reading the premises (150 or 2000 msec) or the quantity of the quantifiers (universal or existential). The fifth experiment showed that the pattern switches around after participants evaluate a conclusion. We propose that the last element in the model maintains a higher level of activity during the comprehension process because it is generally used to attach the incoming information. After this process, the first term becomes more active because it is the concept to which the whole representation is referred. These results are predicted by the mental model theory (Johnson-Laird & Byrne, 1991), but not by the verbal reasoning theory (Polk & Newell, 1995), the graphical methods theory (Yule & Stenning, 1992), the attachment-heuristic theory (Chater & Oaksford, 1999), or the mental rules theory (Ford, 1994). (shrink)

To what extent should humans transfer, or abdicate, responsibility to computers? In this paper, I distinguish six different senses of responsible and then consider in which of these senses computers can, and in which they cannot, be said to be responsible for deciding various outcomes. I sort out and explore two different kinds of complaint against putting computers in greater control of our lives: (i) as finite and fallible human beings, there is a limit to how far we can acheive (...) increased reliability through complex devices of our own design; (ii) even when computers are more reliable than humans, certain tasks (e.g., selecting an appropriate gift for a friend, solving the daily crossword puzzle) are inappropriately performed by anyone (or anything) other than oneself. In critically evaluating these claims, I arrive at three main conclusions: (1) While we ought to correct for many of our shortcomings by availing ourselves of the computer''s larger memory, faster processing speed and greater stamina, we are limited by our own finiteness and fallibility (rather than by whatever limitations may be inherent in silicon and metal) in the ability to transcend our own unreliability. Moreover, if we rely on programmed computers to such an extent that we lose touch with the human experience and insight that formed the basis for their programming design, our fallibility is magnified rather than mitigated. (2) Autonomous moral agents can reasonably defer to greater expertise, whether human or cybernetic. But they cannot reasonably relinquish background-oversight responsibility. They must be prepared, at least periodically, to review whether the expertise to which they defer is indeed functioning as he/she/it was authorized to do, and to take steps to revoke that authority, if necessary. (3) Though outcomes matter, it can also matter how they are brought about, and by whom. Thus, reflecting on how much of our lives should be directed and implemented by computer may be another way of testing any thoroughly end-state or consequentialist conception of the good and decent life. To live with meaning and purpose, we need to actively engage our own faculties and empathetically connect up with, and resonate to, others. Thus there is some limit to how much of life can be appropriately lived by anyone (or anything) other than ourselves. (shrink)

It is a popular view thatpractical deliberation excludes foreknowledge of one's choice. Wolfgang Spohn and Isaac Levi have argued that not even a purely probabilistic self-predictionis available to thedeliberator, if one takes subjective probabilities to be conceptually linked to betting rates. It makes no sense to have a betting rate for an option, for one's willingness to bet on the option depends on the net gain from the bet, in combination with the option's antecedent utility, rather than on the offered (...) odds. And even apart from this consideration, assigning probabilities to the options among which one is choosing is futile since such probabilities could be of no possible use in choice. The paper subjects these arguments to critical examination and suggests that, appearances notwithstanding, practical deliberation need not crowd outself-prediction. (shrink)

While it is well known that Kant’s transcendental idealism forbids the transcendent use of reason and its ideas, what had been underexplored until the last decade or so is his account of the positive use of reason’s ideas as it is expounded in the “Appendix” of the Critique of Pure Reason. The main difficulty faced by his account is that while there is no doubt that for Kant we need to rely on the ideas of reason in order to gain (...) knowledge of the empirical world, the justificatory grounds for our use remain unclear. Commentators have suggested various ways of addressing this worry. Some emphasize that reason’s demand for systematicity is purely methodological; others that the assumption that nature itself is systematically unified is transcendentally necessary. Some simply deem Kant’s account “extremely self-contradictory.” What is clear is that if neither the presupposition of nature’s systematic unity nor the command to seek this unity have any justification, reason’s regulative function, which plays a crucial role in Kant’s account of cognition, also lacks justification. This would be a disastrous result, for it would threaten the very possibility of cognition and its progress. This chapter proposes to tackle this problem from a new angle by exploring the role of reason’s feelings in Kant’s account. While the relationship between practical reason and feeling has been explored at length in the literature, the relationship between theoretical reason and feeling has not, and my aim is to suggest that doing so can shed new light on reason’s cognitive activity. For focusing on the fact that theoretical reason’s need manifests itself as a feeling will enable me to reassess how this need is met through reason’s regulative use of its ideas. (shrink)

The primary philosophical problem dealt with in this essay is familiar: What is the relationship between reality and thought or language? The conclusion offered is less familiar: conceptual activity cannot provide answers to these questions. Rather than being a problem that is solved by rational inquiry, it is resolved by each individual through their commitment to a characteristic way of life. I critique two important philosophical positions: Hegelian idealism, and its philosophical descendant, 'linguistic idealism,' as defended by Hilary Putnam. (...) These philosophers attack the problem by trying to make sense of it. ;Hegel asks how it is possible for there to be any 'things'--any objects or concepts--for these necessarily make up reality. He concludes that there can only be 'things' if there is a way for distinctions to be made. The sense of the problem depends upon there being determinate 'things.' Similarly, Putnam's account begins by asking how it is possible for words and expressions to refer to 'things.' ;What makes such determination and reference possible? Hegel says it is Thought itself; Reason. He ultimately takes Reason to be completely constitutive of reality, because no 'thing' can be thought to exist apart from the activity of Reason. Similarly, Putnam says that a correct account of reference necessarily includes conceptualizing: understanding the use of words in accordance with a rational conceptual scheme. Consequently, truth can only be understood from the standpoint of our own conceptualizing capabilities, which are rational. Both views dismiss, a priori, the possibility of any 'thing' existing independent of a conceptual scheme. ;The difficulty is accounting for both the nonideal state of our current conceptual scheme, and the conscious evolution of an ideally rational conceptual scheme in history. Neither of these claims can be justified or understood without the other. After critiquing several attempts to solve this dilemma, I conclude that the status of our current conceptual scheme and our conception of ideality are objectively uncertain. Nevertheless, whenever we attempt to rationally solve the problem of the relationship between thought and reality, we necessarily take our resolution to be objective. This paradoxical result shows that our conceptual scheme or activity cannot fully determine individual existence. (shrink)

Subjectivism is the mainstream view of practical reason. According to subjectivism, what has value for an agent must ultimately be grounded in what the agent actually desires. Subjectivism is motivated by a conservative view of the scope and extent of practical reason. Against this view, my dissertation argues that any coherent conception of an end must endow practical reason with a scope that goes beyond anything that subjectivism could accommodate. ;Subjectivism correctly grasps that nothing can count as an end for (...) an agent if she is incapable of recognizing it as such; value cannot exist independently of our capacity to appreciate it. I argue that the right conclusion to draw from this is that practical reason constitutes its own object by properly judging on practical matters. The grounds for taking a certain object to bear value lie not in the attributes of a certain object but in the nature of the activity of pursuing ends. According to the concept of practical reason I defend in this dissertation, which I call "the constitutive conception of practical reason", practical reason must set its objects from its own resources rather than find them in an external reality. ;But if practical reason does not track any independently existing objects, how can we distinguish between correct and incorrect judgements? It seems that this conception faces a dilemma: Either the activity of reason is merely a source of formal constraints, or it is an arbitrary, ungrounded exercise. I argue that this dilemma gets its grip on us only from an illegitimate separation of the rational and non-rational parts of human nature. This separation leads us to to think of our cognitive and conative powers as independent. However, the proper understanding of practical reason requires us to see our desires, emotions, etc. as presenting us with appearances of the good, as providing perspectives on something which we represent as the proper object of our pursuit. In forming an overarching conception of the good by reflectively assessing the claims of these different perspectives, practical reason sets its object. (shrink)

In this thesis I investigate the notion of experience in German Idealist Philosophy. I focus on the exploration of an alternative to the transcendental model notion of experience through Schelling's insight into the notion of logogrif. The structural division of this project into two sections reflects the two theoretical standpoints of this project, namely the logic and the logogrif of experience. The first section - the logic of experience - explores the notion of experience provided in Kant's Critique of Pure (...) Reason, Critique of Judgement and Fichte's Science of Knowledge. I argue that Kant's fundamental question about the possibility of synthetic a priori judgements succeeds in thematising the aporia of cognitive experience but results in a subject-oriented, representational model which radically confines the notion of experience to the constitutive laws of the understanding or to the normative precepts of Reason. Experience is founded upon a sharp division between faith and knowledge, will and logic, desire and reflection, absolute and finitude. Fichte's endeavour to articulate a non-representational account of experience, does not succeed in extricating itself from the representational model, so long as experience is reduced to the ever-producing deeds of the self-positing ego. Despite the serious differences between Kant's and Fichte's notions of experience, both accounts, so long as they unfold from a transcendental standpoint, attempt to resolve experience into conceptual laws or determinations of the ego's absolute will. Experience is transformed into an object of the subject's cognitive or volitional faculties. The paradoxes of man's interaction with the world are intended to be accommodated either by the law-giving spontaneity of the understanding and the Architectonic of Pure Reason or by the overpowerful primordial act of the self-positing ego. This implies the conceptualisation of the self in terms of constant identity-through-time, or sheer self-determination. However, this conceptualisation remains at the normative or prescriptive level, which in turn is projected upon the world. The latter, though appears as the subject's property, essentially remains alien and opaque, confirming the radical limitations of the ego rather than its order-giving authority. Moreover, this notion of experience is ultimately founded upon a radical expulsion of the divine from the world, the de-spiritualisation of the sensual and the de-sensualisation of the spiritual, the sharp juxtaposition between absolute and finitude. This results in a self-defeating subjectivity, whose firm identity and rule-giving authority does not rescue it from its perennial unattainability to 'organise the conditioned' or 'conquer the unconditioned'. In Kant's and Fichte's thought, however, I detect elements that potentially transgress their transcendental account of experience. These are found in Kant's concept of spontaneity and free play between understanding and imagination, and Fichte's concept of productivity. I argue that these elements lose their potential dynamism, so long as they are absorbed by the transcendental demands for the solution of the aporias of logic. However, these elements point to the need for a radical re-conceptualisation of the notion of experience. This is provided by means of Schelling's logogriflic approach, which constitutes the theme of the second section. The second section - the logogrif of experience - attempts to articulate a different approach towards the notion of experience, through an exploration of Schelling's versatile and provocative thought. This section focuses on Schelling's original insight into the notion and act of logogrif, which opens the dialogue between logos and mythos, cosmic becoming and human soul, cosmic imagination and human reflection, faith and knowledge. This section attempts to illuminate Schelling's fascinating philosophical investigations and discoveries that have been rather overlooked, possibly, due to Hegel's overwhelming critique. This section, after a brief critical examination of the Identity Philosophy, attempts to elucidate Schelling's notion of experience through his middle works, Of Human Freedom, Ages of the World, The Deities of Samothrace, which are treated as a self-developing trilogy. Schelling re-addresses the aporias of logic not as part of Reason's self-interrogation but as part of the cosmic paradoxes and living experiences. In this way, Schelling resets the scene of the debate on the conditions of possibility for cognitive experience by putting on the stage the enigmas of the cosmos and life rather than the Tribunal of Reason. Logic itself is conceived as a potency in the cosmic becoming, and consequently can no longer attempt to establish the transcendental conditions for the possibility of cognitive experience. Cosmic becoming, in which man is an active part, is conceived as the process of the movement, the interaction, the transformations and transmutations of multiple potencies. These, far beyond any mechanical conceptualisation, appear as self-moving and yet interdependent, unknown yet familiar, inscrutable and yet manifest powers, describing the mystery of life itself. The latter is depicted as an ever-recurrent act of longing for self-expression as active unity. Experience is conceived as the lived process of a network of living potencies, which may not only resist rational powers but may also puzzle and seize them. In this context, reflection acquires a plastic dimension, as opposed to its rigidity in the representational model of experience. Reflection depicts cosmic longing's self-formation, whose man is part. This self-bending formation partially illuminates the nature of longing, and from this standpoint is the logic of the longing. However, this formation is movable, transmutable and mostly ineffable, and from this standpoint is the logic of a riddle: a logogrif. Logogrif is the transitive term that attempts to describe the transition of experience from its enacted phase to its allusive conceptual utterance, and in this sense the term itself participates in both phases, as both form of thought and form of life. The logogrific approach to experience in turn transposes us as from the realm of pure concepts to the realm of the mystery of life, from pure thought to acts of longing, from the Architectonic of Pure Reason to Cosmic Theurgy. The latter term attempts to grasp the paradox and dynamism of cosmic and non-cosmic becoming by means of multiple, vanishing and ever-recurring, transmutable potencies, or in Schelling's terms 'the magic of insoluble life'. Schelling's logogrific account consists in a powerful voice for the re-enchantment of the world, the introduction into the notion of experience of the imminence of the divine. This is not suggested in terms of the adoption of old religious doctrines but by means of the discovery and re-discovery of the theurgy of life, through the intensification of our artistic mood, the creative expansion of our deeds. This notion of experience allows for the reconsideration of the notion of the self, in terms of a dynamic, conflictual process between conscious and unconscious powers and the critical revaluation of the accounts of subjectivity which reduce it to the sphere of self-consciousness. The thesis concludes with the need for an investigation into the relation between logos and mythos, which only tangentially has been introduced by the present project. In this context it will be possible to re-appraise the potential that the logogrific approach opens for an alternative to both logical and traditional mythological patterns of thinking. (shrink)

It is more or less common ground that an important aspect of the explanation of normativity relates it to the way Reason (our rational powers), reasons (for beliefs, emotions, actions, etc.) and reasoning, with all its varieties and domains, are inter-connected. The relation of reasoning to reasons is the topic of this this paper. It does not start from a tabula rasa. It presupposes that normativity has to do with the ability to respond rationally to reasons, and with (...) responding to reasons with the use of our rational powers. The question is where does reasoning fit in? I will compare two sketchy accounts of reasoning, judging their success in elucidating the concept and its role in the explanation of normativity. First I outline the view that reasoning is an activity of searching for a justified answer or for a justification of the answer to a question. Some critical reflection on that view leads to what I call the simple account, which takes reasoning to consist (broadly speaking) in responsiveness to perceived reasons. I will illustrate ways in which the simple account is at odds with the concept of reasoning. Its merits depend on the thought that intentions, attempts or actions can be conclusions of reasoning. Those who affirm that possibility often regard reasoning that has such conclusions as practical reasoning. Hence much of the paper will be about practical reasoning. That would lead to a tentative endorsement of reasoning as a search for a justified answer, suggesting a different view of the place of reasoning in explaining normativity. (shrink)

Unlike other ways of coming to act, for example as a result of habit or impulse, practical reasoning imprints our actions with the distinctive mark of rational full-blooded agency. This entry enquires into what practical reasoning consists in. First, we lay out four basic criteria—mentality, evaluation, practicality, attributability—that adequate accounts of practical reasoning ought to satisfy in order to capture essential features of the phenomenon. Specifically, practical deliberation is a by and large conscious mental process answerable to (...) a range of evaluative standards. Moreover, this process is aimed at settling what to do. Lastly, reasoning does not merely occur to the practical reasoner but is instead something that they do. -/- We then turn to John Broome’s influential account of reasoning which satisfies the aforementioned criteria. On his view, practical reasoning is the rule-guided activity by which we bring our mental attitudes (especially our intentions) to satisfy requirements of practical rationality. We then focus on three challenges to Broome’s account that have been the topic of recent debate. First, we discuss the role that autobiographical considerations of the sort ‘I’d like to φ’, or ‘I intend to φ’ might play in practical reasoning. Broome, perhaps, is wrong in giving them very little place. Second, we discuss Jonathan Dancy’s proposal that practical reasoning does not conclude in the formation of intentions but in action. Third, we consider whether assessments of rationality can come in degrees and why we should care about satisfying rational requirements in the first place. (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 this chapter, I shall consider a number of connections between various ideas of the theory of styles of reasoning and the issue of the contingency and inevitability of science. By ‘contingency issue’ it is meant the question as to whether the history of a particular branch of our science could have taken a different route and provided results incompatible with those of our actual science. Apart from Hacking’s recent comments, the discussions on the contingency issue have not involved (...) the notion of style of reasoning. I will fill this gap in the literature by drawing some important implications for the issue of contingency from the theory of styles of reasoning that I have developed so far. I shall address four fundamental questions. First of all, in the next section I shall discuss to which extent the emergence of styles of reasoning at a certain point of history is a contingent circumstance. In the following section I shall ask whether the endurance of styles of reasoning was inevitable by tackling the connected question as to why the styles are long lasting. Afterwards, I shall focus on the growth of knowledge by dealing with questions such as: if a certain style of reasoning continues to be employed and if Q is a ‘live question’, is science bound to converge on a single answer to Q? Finally, on the basis of my previous reflections I shall look into the question of the convergence of science in the long run. The answers to these questions will rely on some basic assumptions of the theory of style of reasoning and imply a picture of the evolution of sciences in which both contingency and inevitability play a key role. (shrink)

The Retreat of Reason brings back to philosophy the ambition of offering a broad vision of the human condition. One of the main original aims of philosophy was to give people guidance about how to live their lives. Ingmar Persson resumes this practical project, which has been largely neglected in contemporary philosophy, but his conclusions are very different from those of the ancient Greeks. They typically argued that a life led in accordance with reason, a rational life, would also be (...) the happiest or most fulfilling. By exploring the irrationality of our attitudes to time, identity, and responsibility, Persson shows that the aim of living rationally conflicts not only with the aim of leading the most fulfilling life, but also with the moral aim of promoting the maximization and just distribution of fulfilment for all. The Retreat of Reason challenges some of our most fundamental ideas about ourselves. (shrink)

Educating against extremism doesn't just involve seeking to prevent individuals from becoming extremists or radicalized, although that, of course, is a significant concern. There is also an important role for education in teaching the rest of us, the general populace, the best way to react and respond when we learn of a terrorist attack or consider the potential risk of violent extremism in our community, or even worldwide, given we are connected globally via technology. In this article, Laura D'Olimpio argues (...) that educators have a central role to play in teaching young people to respond to the news of violent extremism and the worry about terrorists and terrorism in ways that support our sense of community and personal well-being. Among the ways in which educators may support such aims is by educating the emotions. There are practical and moral reasons to temper our fearful reactions, and it is in our best interest to educate pupils to avoid allowing fear of terrorists or violent extremism to interfere with their daily lives and actions. D'Olimpio claims that our best response to extremism, both representationally and practically, is to refuse to be terrified. By not being overwhelmed by fear or altering our day-to-day activities, we not only better support a well-functioning democracy and our own happiness or flourishing, but we also disempower rather than empower extremists. (shrink)

The essays collected in this volume have a strong thematic and interpretative unity. Their underlying concern is with the overall nature of Kant's philosophical system, and thus with his deepest intentions and basic commitments. The book falls into three parts. The first three essays deal with Kant's approach to things in themselves and with the realm of noumenal causality. The second part considers Kant's approach to the methodology of rational inquiry, and, in particular, his views on cognitive systematization and the (...) limits of philosophizing itself. The third section focuses on the role played by the categorical imperative in both the theoretical and practical philosophy. The aim throughout, one that many Kant scholars and students will find provocative, is to show that in an important sense Kant is prepared to assert the primacy of practical over theoretical philosophy. (shrink)

Why does reason matter, if in the end everything comes down to blind faith or gut instinct? Why not just go with what you believe even if it contradicts the evidence? Why bother with rational explanation when name-calling, manipulation, and force are so much more effective in our current cultural and political landscape? Michael Lynch's In Praise of Reason offers a spirited defense of reason and rationality in an era of widespread skepticism--when, for example, people reject scientific evidence about (...) such matters as evolution, climate change, and vaccines when it doesn't jibe with their beliefs and opinions. In recent years, skepticism about the practical value of reason has emerged even within the scientific academy. Many philosophers and psychologists claim that the reasons we give for our most deeply held views are often little more than rationalizations of our prior convictions. _In_ _Praise of Reason_ gives us a counterargument. Although skeptical questions about reason have a deep and interesting history, they can be answered. In particular, appeals to scientific principles of rationality are part of the essential common currency of any civil democratic society. The idea that everything is arbitrary--that reason has no more weight than blind faith--undermines a key principle of a civil society: that we owe our fellow citizens explanations for what we do. Reason matters--not just for the noble ideal of truth, but for the everyday world in which we live. (shrink)

This essay urges contemporary philosophers of religion to rethink the role that Kant’s critical philosophy has played both in establishing the analytic nature of modern philosophy and in developing a critique of reason’s drive for the unconditioned. In particular, the essay demonstrates the contribution that Kant and other modern rationalists such as Spinoza can still make today to our rational striving in and for truth. This demonstration focuses on a recent group of analytic philosophers of religion who have labelled their (...) own work ‘analytic theology’ and have generated new debates, including new arguments about Kant bridging philosophy and theology. Cultivation of a reflective critical openness is encouraged here; this is a practice for checking reason’s overly ambitious claims about God. (shrink)

What happens to our conception of mind and rational agency when we take seriously future-directed intentions and plans and their roles as inputs into further practical reasoning? The author's initial efforts in responding to this question resulted in a series of papers that he wrote during the early 1980s. In this book, Bratman develops further some of the main themes of these essays and also explores a variety of related ideas and issues. He develops a planning theory of intention. (...) Intentions are treated as elements of partial plans of action. These plans play basic roles in practical reasoning, roles that support the organization of our activities over time and socially. Bratman explores the impact of this approach on a wide range of issues, including the relation between intention and intentional action, and the distinction between intended and expected effects of what one intends. (shrink)

The first half of this book consists of Michael Friedman’s Kant Lectures in essentially the form in which they were delivered at Stanford University in 1999. In the second half, “Fruits of Discussion,” Friedman elaborates, refines, and defends the central ideas of these lectures. Taken together, these halves form an eminently readable, slim, yet rich and ambitious volume. It proves our fullest account to date not only of Friedman’s neo-Kantian, historicized, dynamical conception of relativized a priori principles of mathematics and (...) physics, but also of the pivotal role that Friedman sees philosophy as playing in making scientific revolutions rational. (shrink)

Persuasion is a special aspect of our social and linguistic practices – one where an interlocutor, or an audience, is induced, to perform a certain action or to endorse a certain belief, and these episodes are not due to the force of the better reason. When we come near persuasion, it seems that, in general, we are somehow giving up factual discourse and the principles of logic, since persuading must be understood as almost different from convincing rationally. Sometimes, for example, (...) we can find persuasion a political speech that relies on our feelings, emotions and values, but we can also find a persuasive person a dodger, busy in his own questionable activities that are intentionally performed in order to mislead and manipulate other people. However, I do not want to try to define a general notion of persuasion from the beginning. I would rather start with a conception that already has a place, even if controversial, in the philosophical debate. In particular, the version that I have always found particularly provocative is that provided by Wittgenstein’s On Certainty. This peculiar version of the idea of persuasion, which is often associated with the possibility of overcoming deep disagreements, is quite famous in the literature and often understood as indicating certain intrinsic limits of our reason-giving practices. The following are Wittgenstein’s famous remarks on persuasion: -/- 608. Is it wrong for me to be guided in my actions by the propositions of physics? Am I to say I have no good ground for doing so? Isn’t precisely this what we call a ‘good ground’? -/- 609. Suppose we met people who did not regard that as a telling reason. Now, how do we imagine this? Instead of the physicist, they consult an oracle. (And for that we consider them primitive.) Is it wrong for them to consult an oracle and be guided by it? If we call this “wrong” aren’t we using our language-game as a base from which to combat theirs? -/- 611. Where two principles really do meet which cannot be reconciled with one another, then each man declares the other a fool and heretic. -/- 612. I said I would ‘combat’ the other man, – but wouldn’t I give him reasons? Certainly; but how far do they go? At the end of reasons comes persuasion. (Think what happens when missionaries convert natives.) -/- This paper is not devoted, as far as possible, to focus on interpretative matters about Wittgenstein’s late philosophy. Rather, it aims to investigate whether there are problems and incompatibilities between this particular conception of persuasion and our contemporary understanding of our reason-giving practices and of our belief-revision procedures. The first part of this study will be concerned about assessing this conception of persuasion and trying to shed new light on it (and on its consequences); most of the work here is done by looking at some truisms and normative features of our practices regarding the rational updating of our beliefs. It also addresses the question: Is the resistance to reasons of Wittgenstein’s persuasion capable to avoid the strict dynamics of belief revision? The second section of this study concerns the possibility of limiting the scope of this conception of persuasion, thanks to some of our contemporary ways of understanding rational discursive practices (I will focus especially on Robert Brandom’s game of “giving and asking for reasons”). If our rational practices require at least a certain degree of epistemic responsibility, then how is it possible that one invokes the end of reasons (that would explicitly mean giving up this responsibility)? A third section is the attempt, on this basis, to try to revise our contrasting conception(s) of persuasion (with an eye open on the near doxastic territory). Are there other conceptions of persuasion which are more compatible with our rational practices and do not entail any version of the “end of reasons” that are so compatible with our individual and social epistemic responsibility? (shrink)

In this paper I investigate how philosophy can speak for children and how children can have a voice in philosophy and speak for philosophy. I argue that we should understand children as responsible rational individuals who are involved in their own philosophical inquiries and who can be involved in our own philosophical investigations—not because of their rational abilities, but because we acknowledge them as conversational partners, acknowledge their reasons as reasons, and speak for them as well as let them speak (...) for us and our rational community. In order to argue this I turn, first, to Gareth Matthews' philosophy of childhood and suggest a reconstruction of some of his concepts in line with the philosophy of Stanley Cavell. Second, in order to examine more closely our conceptions of rationality and our pictures of children, I consider the children's books, The Lorax and Where is My Sister? and Henrik Ibsen's play, The Wild Duck. (shrink)

Some sensory experiences are pleasant, some unpleasant. This is a truism. But understanding what makes these experiences pleasant and unpleasant is not an easy job. Various difficulties and puzzles arise as soon as we start theorizing. There are various philosophical theories on offer that seem to give different accounts for the positive or negative affective valences of sensory experiences. In this paper, we will look at the current state of art in the philosophy of mind, present the main contenders, critically (...) compare and contrast them. In particular, we want to examine how they handle the reason-giving power of affective states. We will look into two representationalist proposals (Evaluativism and Imperativism) and a functionalist proposal, and argue that, contrary to their own advertisements, the representationalist proposals don’t have good accounts of why and how sensory affect can motivate, rationalize, and justify subsequent behavior and intentional mental activity. We will show that our own functionalist proposal does a much better job in this regard, and that when the representationalist proposals are modified to do a better job, they fare better not because of their representationalist credentials but due to their functionalist ones. (shrink)

Over the course of the past several decades, Kant scholars have made significant headway in showing that emotions play a more significant role in Kant's ethics than has traditionally been assumed. Closer attention has been paid to the Metaphysics of Morals (MS) where Kant provides important insights about the value of moral sentiments and the role they should play in our lives. One particularly important discussion occurs in sections 34 and 35 of the Doctrine of Virtue where Kant claims we (...) have a duty to use sympathetic feelings "as a means of promoting active and rational benevolence" (MS 6:457). Kant labels this the "duty of humanity," and he suggests that nature has implanted sympathetic feelings in us "to do what the representation of duty alone might not accomplish" (ibid.). Commentators have rightly highlighted these remarks as prime evidence that feelings do play a positive role in Kant's ethics after all. (shrink)

Growing evidence indicates that our higher rational capacities depend on social interaction—that only through engaging with others do we acquire the ability to evaluate beliefs as true or false, or to reflect on and evaluate the reasons that support our beliefs. Up to now, however, we have had little understanding of how this works. Here we argue that a uniquely human socio-linguistic phenomenon which we call ‘joint attention to mental content’ plays a key role. JAM is the ability to focus (...) together in conversation on the content of our mental states, such as beliefs and reasons. In such conversations it can be made clear that our attitudes to beliefs or reasons may conflict—that what I think is true, you might think is false, or that what I think is a good reason for believing something, you might think is a bad reason. We argue that through JAM, children discover that mental contents can be evaluated under various attitudes, and that this discovery transforms their mind-reading and reasoning abilities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

This distinctive collection of original articles features contributions from many of the leading scholars of ancient Greek philosophy. They explore the concept of reason and the method of analysis and the central role they play in the philosophies of Socrates, Plato, and Aristotle. They engage with salient themes in metaphysics, epistemology, ethics, and political theory, as well as tracing links between each thinker’s ideas on selected topics. The volume contains analyses of Plato’s Socrates, focusing on his views of moral psychology, (...) the obligation to obey the law, the foundations of politics, justice and retribution, and Socratic virtue. On Plato’s Republic, the discussions cover the relationship between politics and philosophy, the primacy of reason over the soul’s non-rational capacities, the analogy of the city and the soul, and our responsibility for choosing how we live our own lives. The anthology also probes Plato’s analysis of logos which underlies his philosophy including the theory of forms. A quartet of reflections explores Aristotelian themes including the connections between knowledge and belief, the nature of essence and function, and his theories of virtue and grace. The volume concludes with an insightful intellectual memoir by David Keyt which charts the rise of analytic classical scholarship in the past century and along the way provides entertaining anecdotes involving major figures in modern academic philosophy. Blending academic authority with creative flair and demonstrating the continuing interest of ancient Greek philosophy, this book will be a valuable addition to the libraries of all those studying and researching the origins of Western philosophy. (shrink)

The first half of this book consists of Michael Friedman’s Kant Lectures in essentially the form in which they were delivered at Stanford University in 1999. In the second half, “Fruits of Discussion,” Friedman elaborates, refines, and defends the central ideas of these lectures. Taken together, these halves form an eminently readable, slim, yet rich and ambitious volume. It proves our fullest account to date not only of Friedman’s neo-Kantian, historicized, dynamical conception of relativized a priori principles of mathematics and (...) physics, but also of the pivotal role that Friedman sees philosophy as playing in making scientific revolutions rational. (shrink)

Isaac Levi is one of the preeminent philosophers in the areas of pragmatic rationality and epistemology. This collection of essays constitutes an important presentation of his original and influential ideas about rational choice and belief. A wide range of topics is covered, including consequentialism and sequential choice, consensus, voluntarism of belief, and the tolerance of the opinions of others. The essays elaborate on the idea that principles of rationality are norms that regulate the coherence of our beliefs and (...) values with our rational choices. The norms impose minimal constraints on deliberation and inquiry, but they also impose demands well beyond the capacities of deliberating agents. This major collection will be eagerly sought out by a wide range of philosophers in epistemology, logic, and philosophy of science, as well as economists, decision theorists, and statisticians. (shrink)

My aim is to understand at least some of the non-instrumental reasons we can have for action in a way that can provide a satisfying non-egoist account of 'social actions' - actions undertaken for the sake of others. I do this in part by presenting, in terms of a discussion of the rationality of emotions, an account of what it is for something to have import to an agent . I then extend this account to include our caring about (...) others as agents, in part by revealing the way in which one's emotional and desiderative responsiveness to another agent one cares about must be sensitive to her cares, so that one comes to share her cares. The upshot is substantial revision in our understanding of agency, both in terms of our understanding of the role emotions play in our agency and in terms of a careful extension of the scope of practical rationality to include what I call a 'rationality of import'. (shrink)

In this paper we design a new logical system to explicitly model the different deductive reasoning steps of a boundedly rational agent. We present an adequate system in line with experimental findings about an agent’s reasoning limitations and the cognitive effort that is involved. Inspired by Dynamic Epistemic Logic, we work with dynamic operators denoting explicit applications of inference rules in our logical language. Our models are supplemented by (a) impossible worlds (not closed under logical consequence), suitably structured (...) according to the effect of inference rules, and (b) quantitative components capturing the agent’s cognitive capacity and the cognitive costs of rules with respect to certain resources (e.g. memory, time). These ingredients allow us to avoid problematic logical closure principles, while at the same time deductive reasoning is reflected in our dynamic truth clauses. We further show that our models can be reduced to awareness-like plausibility structures that validate the same formulas and we give a sound and complete axiomatization with respect to them. This approach to the agent’s internal deductive reasoning is finally combined with actions of external information. (shrink)

Recently, a cottage industry has formed with the expressed intent of analyzing the nature of personal-level reasoning and inference. The dominant position in the extant philosophical literature is that reasoning consists in rule-governed operations over propositional attitudes. In addition, it is widely assumed that our attitude updating procedures are purely cognitive. Any non-cognitive activity performed in service of updating our attitudes is external to the updating process—at least in terms of rational evaluation. In this paper, I argue (...) that whether one has rationally updated one’s attitudes and whether the resultant attitudes are rational can (at least partially) depend on one’s interactions with one’s environment and body to scaffold one’s ability to arrive at attitudes that are rationally appropriate given one’s evidence. (shrink)

Taking as point of departure Hegelrsquo;s early reflections on his historical present, this essay examines the relationship between dialectical reason and the activity of the understanding in generating contradiction. Dialecticmdash;as logic and methodmdash;is Hegelrsquo;s attempt at a philosophical comprehension of the conflicts and the deep changes of his contemporary world. This idea of dialectic as logic of historical transformation guides the development of consciousness in the emPhenomenology of Spirit/em. Since my claim is that the dialectic of consciousness and its (...) capacity of overcoming contradiction are rooted in the historical situation of 1807, the question is raised of what would be the specific problems encountered by consciousness in our contemporary worldmdash;in 2007. What are the challenges posed by our globalized world to a phenomenology of contemporary spirit; and what is the role that contradiction and dialectic play in the understanding of our own historical present? (shrink)

The first half of this book consists of Michael Friedman’s Kant Lectures in essentially the form in which they were delivered at Stanford University in 1999. In the second half, “Fruits of Discussion,” Friedman elaborates, refines, and defends the central ideas of these lectures. Taken together, these halves form an eminently readable, slim, yet rich and ambitious volume. It proves our fullest account to date not only of Friedman’s neo-Kantian, historicized, dynamical conception of relativized a priori principles of mathematics and (...) physics, but also of the pivotal role that Friedman sees philosophy as playing in making scientific revolutions rational. (shrink)

This essay presents a point of view for looking at `free will', with the purpose of interpreting where exactly the freedom lies. For, freedom is what we mean by it. It compares the exercise of free will with the making of inferences, which usually is predominantly inductive in nature. The making of inference and the exercise of free will, both draw upon psychological resources that define our ‘selves’. I examine the constitution of the self of an individual, especially the involvement (...) of personal beliefs, personal memories, affects, emotions, and the hugely important psychological value-system, all of which distinguish the self of one individual from that of another. The foundational position that adopted in this essay is that all psychological processes are correlated with corresponding ones involving large scale neural aggregates in the brain, communicating with one another through wavelike modes of excitation and de-excitation. Of central relevance is the value-network around which the affect system is organized, the latter, in turn, being the axis around which is assembled the self, with all its emotional correlates. The self is a complex system. I include a brief outline of what complexity consists of. In reality all systems are complex, for complexity is ubiquitous, and certain parts of nature appear to us to be ‘simple’ only in certain specific contexts. It is in this background that the issue of determinism is viewed in this essay. Instead of looking at determinism as a grand principle entrenched in nature independent of our interpretation of it, I look at our ability to explain and to predict events and phenomena around us, which is made possible by the existence of causal links running in a complex course that set up correlations between diverse parts of nature, in this way putting the stamp of necessity on these events. However, the complexity of systems limits our ability to explain and to predict to within certain horizons defined by contexts. Our ability to explain and predict in matters relating to acts of free will is similarly limited by the operations of the self that remain hidden from our own awareness. The aspects of necessity and determinism appear to us in the form of reason and rationality that explain and predict only within a limited horizon, while the rest depends on the complex operation of self-linked psychological resources, where the latter appear as contingent in the context of the exercise of free will. The hallmark of complex systems is the existence of amplifying factors that operate as destabilizing ones, along with inhibiting or stabilizing factors as well that generally limit the destabilizing influences to local occurrences, while preserving the global integrity of a system. This complex interplay of destabilizing and stabilizing influences lead to the possibility of an enormous number of distinct modes of behavior that appear as emergent phenomena in complex systems. Looking at the particular case of the self of an individual that guide her actions and thoughts, it is the operation of our emotions, built around the psychological value-system, that provide for the amplifying and inhibiting factors mentioned above. The operation of these self-linked factors stamps our actions and thoughts as contingent ones that do not fit with our concepts of reason and rationality. And this is what provides the basis of our idea of free will. Free will is not ‘free’ in virtue of exemption from causal links running through all our self-based processes - ones that remain hidden from our awareness, but is free of what is perceived to be ‘reason and rationality’ based on knowledge and the common pool of beliefs and principles associated with a shared world-view. When we speak of the choice involved in an act of exercise of free will what we actually refer to is the commonly observed fact that various different individuals of a similar disposition respond differently when placed under similar circumstances. In other words, free will is ‘free’ precisely because it is not subject to constraints of a commonly accepted and shared set of principles, beliefs, and values. While it is possible that, in an exercise of free will, the self-linked psychological resources are brought into action when a number of alternatives are presented to the self by the operation of the ingredients of a commonly shared world-view, it seems likely that, that set of alternatives is not of primary relevance in the final response that the mind produces, since the latter is primarily a product of the operation of the self-based psychological resources. What is of greater relevance here is the operation of emotion-driven processes, guided by the psychological value-system based on the activity of the so-called reward-punishment network in the brain. These processes lead the individual to a response that appears to be free from the shackles of determinism precisely because their mechanisms, which are hidden from us, do not conform to commonly accepted and shared rules and principles. In contrast, inductive inference is a process that is based on the ‘cognitive face’ of self, where the self-based psychological resources play a supportive role to the commonly shared world-view of an individual. There is never any freedom from the all-pervading causal links representing correlations among all objects, entities, and events in nature. In the midst of all this, the closest thing to freedom that we can have in our life comes with self-examination and self-improvement. The possibility of self-examination appears in the form of specific conjunctions between our complex self-processes and the ceaseless changes of scenario in our external world. This actually makes the emergent phenomenon of self-examination a matter of chance, but one that keeps on appearing again and again in our life. Once realized, self examination creates possibilities that would not be there in the absence of it, and these possibilities include the enhancement of further self-enrichment and further diversity in the exercise of our free will. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 553-554 [Access article in PDF] Ruby Blondell. The Play of Character in Plato's Dialogues. New York: Cambridge University Press, 2002. Pp. xi + 452. Cloth, $75.00. Plato's dialogues were written before audiences distinguished philosophy from literature. Recently scholars have argued that the dialogues should be read as philosophy that is literature, and no one makes the case better than Blondell does (...) in this splendid work. Her argument compels by focusing on character in the relevant senses: as the dramatis personae of the dialogues, as that which individuates them and prompts them to act in ways that affect their very souls, and as "the effects of literary characterization on the moral character of the audience" (2). Character connects the dialogues as "literature," "philosophy," and paideia.In Plato's careful delineation of the characters of his dramatis personae, Blondell finds a tension between the existence of human particularity and the search for generic types. Socrates is a prime example of the dialectical movement between particularity and its attempted transcendence. Plato's choice to write dialogues is also "an assertion of human plurality" (49) that exhibits the pathos of trying to transcend human experience. "Dramatic form... becomes a medium for exploring the limits of transcendence, and the multiple tensions—between ideal and particular, mind and body, original and image, one and many, being and becoming, divine and human, deduction and persuasion, reason and emotion—which pervade the works of Plato" (50). Blondell's discussions of how dramatic form serves epistemological and pedagogical aims in Hippias Minor, Republic, Theaetetus, Sophist, and Statesman are so rich in insight and nuance that one hesitates to suggest they could be improved upon. Still, greater emphasis on the historical and cultural contexts shared by characters, author, and audience might add to our understanding of Plato's preoccupation with these specific philosophical tensions as well as his choice to address them through dramatic form.Blondell's discussion of Theaetetus is especially good in showing how "abstract epistemological issues... play themselves out in the world of specific, particularized human beings.... [I]t is this personal dimension of epistemology—the fact that we are particular, embodied individuals—that generates most of the problems in this dialogue (especially the reliability and subjectivity of sense perception)" (252). That philosophy, epistemology, and pedagogy come to be identified with Socrates also generates problems. Can there be philosophy without Socrates? To become a philosopher, must one resemble Socrates? If philosophy cannot go on without Socrates, how can it realize its aim of transcending human particularity? If philosophy can go on without him, will its practice and pedagogy nonetheless require dialectical discussion among embodied inquirers?No character in the dialogues appears a more likely successor to Socrates than Theaetetus. He resembles Socrates in appearance and character, and Blondell notes that repeated references to the younger man's gentleness and courage, and to his training in geometry, recall nothing so much as the guardians of the Republic. Theaetetus is the right kind of interlocutor, and one that allows Plato to portray—and defend—the elenchic Socrates, who merges with the "productive" Socrates in this dialogue. Before meeting Socrates, Theaetetus's attempts at philosophy were unsuccessful because he needed someone like himself to help him realize his philosophical potential. Socrates offers himself as [End Page 553] an intellectual midwife, yet Blondell observes that, his protestations to the contrary notwithstanding, he sometimes assumes the position and privileges of a father, and at other times is identified with philosophy as the object of desire. As an intellectual parent, Socrates demonstrates his superiority to Theodorus as the orphan's guardian. That Theodorus was Protagoras's pupil suggests one line of descent for Theaetetus: Protagoras—Theodorus—Theaetetus. Socrates' invocation of Parmenides suggests another: Parmenides—Socrates—Theaetetus. Different lines of descent bring different kinds of pedagogy: passive transference from Sophist to pupil versus active learning through dialectical discussion.But there is more to being a philosopher than what is found in Socrates or Theaetetus, for the ideal philosopher as Socrates describes him lacks... (shrink)

Socrates' great educational innovation was in ascribing moral worth to the intellectual activity reflectively directed at one's own life. His concept of eudaimonia was so different from the ordinary that talking about it took on sometimes a paradoxical air, as in Apology 30b3. For him, reason is not a tool for attaining goals independently thought worthwhile; rather, rationality itself, expressed in the giving of reasons and the avoidance of contradictions, confers value to goals and opinions. Persons are reasonable, (...) but obviously not the empirical human being. But education is aimed at the empirical man or woman and inevitably employs psychological means. How then is it possible that the result of education should grow out of the depths of each individual and be nevertheless valid for all individuals? In the Symposium, Plato gives Aristophanes the crucial move. Each of us is only half the whole person and we are moved by our desire for what we lack. In this context, to claim that the soul is immortal is to claim-at least-that the soul has a non-empirical dimension, that its real objects are not the objects of desire as such, and that a person's sensible life is not the true basis for the evaluation of his or her eudaimonia. However, in the soul which is not free from contradictions there is no advantage to right but unexamined options. There is in the life of the naïve just an insecurity which is not merely pragmatic. Even if a person never falters to the end of life, this is no more than moral luck. One is still guilty on the level of the logos, and liable to blame and punishment not for what one does, but for what one could have done. (shrink)