Science has tended in numerous ways to undermine religion — and supernaturalism more generally. This chapter discusses aspects of the relationship between theistic religion and science, noting, in particular, how the success of science contributed to a disenchantment of the cosmos. The chapter provides some historical background about atheism. It explains why traditional demonstrations of God's existence tend to be so unconvincing, especially in the light of modern science. The chapter discusses how science has undermined religion. There are unavoidable tensions (...) between the emerging scientific picture of the world, the universe, and ourselves and traditional religious, and especially Christian, understandings. Deep skepticism about the existence of God seems reasonable to us, and no truly persuasive argument has ever been advanced for the existence of such a strange being. (shrink)

While belief in gods was almost universal in the ancient world, Thales of Miletus introduced the notion that observed phenomena could be explained in natural terms without invoking imagined spirits. Leucippus and Democritus, and later Epicurus and Lucretius, proposed that everything was composed of particulate atoms in an otherwise empty void. Any gods that existed played no role in the human world. The universe was infinite, eternal, uncreated, and included many worlds besides our own. These ideas conflicted with (...) the other philosophical schools of the time and were suppressed by the Church during the Dark Ages. Atomism reappeared during the Renaissance and became a crucial ingredient in the scientific revolution that followed. The atomic picture of matter has now been solidly confirmed. Furthermore, the notion of an infinite, eternal, and uncreated ‘multiverse’ is strongly suggested by modern cosmology. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Antipathy towards the possibility that God exists is a common attitude, which has recently been clearly expressed by Thomas Nagel. This attitude is presumably irrelevant to the question whether God does exist. But it raises two other interesting philosophical issues. First, to what extent does this attitude motivate irrational belief? And secondly, how should the attitude be evaluated? This paper investigates that latter issue. Is the hope that God does not exist a morally proper hope? I simplify this question by (...) interpreting the relevant attitude as an aversion towards the Christian picture of the world coupled with a preference for the naturalist atheistic picture. And comparing the content of those two world pictures, I argue that the attitude, though partly explicable, is morally unjustifiable, for clearly recognisable reasons. Regardless, then, of further concerns about the doxastic influence of this attitude, we ought to be ashamed of our antipathy to God, which reflects badly upon us. (shrink)

A common argument for atheism runs as follows: God would not create a world worse than other worlds he could have created instead. However, if God exists, he could have created a better world than this one. Therefore, God does not exist. In this paper I challenge the second premise of this argument. I argue that if God exists, our world will continue without end, with God continuing to create value-bearers, and sustaining and perfecting the value-bearers he (...) has already created. Given this, if God exists, our world—considered on the whole—is infinitely valuable. I further contend that this theistic picture makes our world's value unsurpassable. In support of this contention, I consider proposals for how infinitely valuable worlds might be improved upon, focusing on two main ways—adding value-bearers and increasing the value in present value-bearers. I argue that neither of these can improve our world. Depending on how each method is understood, either it would not improve our world, or our world is unsurpassable with respect to it. I conclude by considering the implications of my argument for the problem of evil more generally conceived. (shrink)

Although certainty is a fundamental notion in epistemology, it is less studied in contemporary analytic epistemology than other important notions such as knowledge or justification. This paper focuses on Wittgensteinian certainty, according to which the very basic dimension of our epistemic practices, the elements of our world-pictures, are objectively certain, in that we cannot legitimately doubt them. The aim of the paper is to offer the best philosophical way to clarify Wittgensteinian certainty, in a way that is consonant with (...) Wittgenstein's fundamental insights. The paper critiques two alternative proposals for clarifying Wittgensteinian certainty that are philosophically unsatisfying: the rule view and the proposition view. Finally, it instead shows how viewing world-pictures as pictures, in the sense of unclear conceptions, is a more philosophically fruitful approach to understanding world-pictures. (shrink)

Partly by way of contrast with a conception described by Kleist, Wittgenstein's notions of world?picture and mythology are explained and three types of statement playing a particularly important role with respect to our world?picture or pictures distinguished. Problems concerning sentences which contain normative elements are discussed and a test for what to count as a statement giving information about our world?picture is proposed. A mythology in Wittgenstein's sense is characterized as a structured, systematic set (...) of models permitting analogical development and the gradual change of previous paradigms. (shrink)

This essay analyzes key aspects of Heidegger’s critique of the picture (Bild) based on an objection to world-pictures as well as a negative understanding of two other related concepts: Gestell and Vorstellen (representation). The restrictive frames of world-pictures, Heidegger claims, must be opposed by instances of thinking and language use associated with poiesis. For him, the revelation of the world in poiesis results in a subject-less experience of things and words, akin to the experience of art (...) and literature, and presumably outside the representational hold of pictures. I argue against Heidegger’s repudiation of the picture by underscoring the inescapability of Vorstellen. Heidegger’s world may be seen as a world-picture as well as a particular system of representation that we associate with affective uses of language, i.e., a literary system similar to the one discussed by Wolgang Iser. (shrink)

This essay analyzes key aspects of Heidegger’s critique of the picture based on an objection to world-pictures as well as a negative understanding of two other related concepts: Gestell and Vorstellen. The restrictive frames of world-pictures, Heidegger claims, must be opposed by instances of thinking and language use associated with poiesis. For him, the revelation of the world in poiesis results in a subject-less experience of things and words, akin to the experience of art and literature, (...) and presumably outside the representational hold of pictures. I argue against Heidegger’s repudiation of the picture by underscoring the inescapability of Vorstellen. Heidegger’s world may be seen as a world-picture as well as a particular system of representation that we associate with affective uses of language, i.e., a literary system similar to the one discussed by Wolgang Iser. (shrink)

This article explores atheist meaning-making by employing a multidimensional model of meaning operationalized by the Sources of Meaning and Meaning in Life Questionnaire. When compared to a representative sample of “religionists” and “nones”, atheists show lower degrees of meaningfulness, but they do not suffer from crises of meaning more frequently. However, subsequent cluster analysis reveals that heterogeneity within atheism has to be taken into account. Three types of atheists are identified. ‘Low-commitment’ atheists are characterised by generally low commitment; they (...) report very low meaningfulness and a high frequency of crises of meaning. ‘Broad-commitment’ atheists exhibit considerably higher levels of meaningfulness and rare crises of meaning. They evidence, in particular, high scores on the dimension of well-being and relatedness. The third type, primarily committed to “selfactualization,” exhibits moderate levels of meaningfulness, with crises of meaning being literally absent. Common to most atheists is a particular commitment to self-knowledge, freedom, knowledge, individualism, and comfort. In comparing male and female atheists, gendered patterns of commitment are discovered. (shrink)

Frances Kamm's characteristically subtle paper in response to Michael Sandel is an intriguing intervention in the long-standing and increasingly frustrating debate over the morality of enhancement...

In this paper I focus on the notion of worldview as a conceptual scheme and the role of language in shaping our view of reality. In particular, I engage with Wittgenstein’s notion of World-picture in order to suggest an alternative account to the deceptive dogmatic conception of worldview, which is exemplified by C.I. Lewis’s account of cognitive experience. I argue that worldviews constitute the way in which the world is given in a particular socio-linguistic context and they (...) presuppose the mastery of a World-picture, that is, the inherited background of our acting and thinking. First, I will distinguish between two different uses of the term “worldview”. Then I will show the way in which a metaphysical-dogmatic conception of worldview leads to the Myth of the Semantic Given. Finally, I will present Wittgenstein’s notion of World-picture and its connection to the notion of worldview. (shrink)

Wittgenstein scholars have tended to interpret the acquisition of certainties, and by extension, of a world-picture, as the achievement of a state in which these certainties are assimilated in a seemingly unconscious way as one masters language-games. However, it has not been stressed that the attainment of this state often involves facing a series of challenges or difficulties which must be overcome for the development of the world-picture and therefore the socialization process to be achieved. After (...) showing, on the one hand, how a world-picture is usually developed, and on the other hand, why a child who seemingly found itself trapped in a precocious skepticism might have serious problems in assimilating certainties, in this paper, I describe some of the challenges children often meet as they acquire a world-picture. Since the overcoming of these challenges is often needed for children to develop a world-picture, I aim at raising the awareness of the necessity of ‘learning to believe’, that is, of developing a series of skills that allow children to undertake the challenges described in this paper. (shrink)

Between 1899 and 1906, Alexander Bogdanov developed a scientific philosophy intended to substantiate the basic principle of historical materialism—the idea that existence determines consciousness—in terms of the most advanced science and empiricist epistemology/ontology of his day. At the same time, however, he strove ‘to answer the broad needs of our workers for an overall worldview’, and in the process of doing so he elaborated a complete philosophical system and a holistic worldview. Although his intention was to serve the proletariat and (...) advance socialist revolution, Bogdanov also provided the sort of integral vision of the interconnectedness of the individual, society, and the cosmos that the Russian intelligentsia had traditionally pursued. Bogdanov adopted a number of the principles of nineteenth-century German and Russian idealism, including the concept of the unity of the subject and the object and the ideas that the laws of thought are the same as the laws of being, that there is no qualitative difference between humans and nature, and that humanity is central in the progressive development of the cosmos. Bogdanov, however, provided a materialist mirror image of the idealist worldview. While Russian idealists celebrated spirituality, individual personhood, freedom, and religion, Bogdanov advocated materialism, collectivism, determinism, and naturalism. (shrink)

We explore the mathematical structure and the physical implications of a general four-dimensional symmetry framework which is consistent with the Poincaré—Einstein principle of relativity for physical laws and with experiments. In particular, we discuss a four-dimensional framework in which all observers in different frames use one and the same grid of clocks. The general framework includes special relativity and a recently proposed new four-dimensional symmetry with a nonuniversal light speed as two special simple cases. The connection between the properties of (...) light propagation and the convention concerning clock systems is also discussed, and is seen to be nonunique within the four-dimensional framework. (shrink)

Frances Kamm's characteristically subtle paper in response to Michael Sandel is an intriguing intervention in the long-standing and increasingly frustrating debate over the morality of enhancement...

In some sections of On Certainty, Wittgenstein uses the term “persuasion,” pitting it, on the one hand, against “giving reasons”, and comparing it, on the other, to conversion, while, finally, defining it as “giving someone one's own picture of the world.” In this essay, I analyse these sections, in an effort to fit them into the broader context of On Certainty, and to clarify the meaning and the limits of the comparison between persuasion and conversion. My aim is (...) to show that persuasion as Wittgenstein understands it here is quite similar to what we could call “re-education.”. (shrink)

In his entertaining and informative book Graphic Discovery, Howard Wainer unlocked the power of graphical display to make complex problems clear. Now he's back with Picturing the Uncertain World, a book that explores how graphs can serve as maps to guide us when the information we have is ambiguous or incomplete. Using a visually diverse sampling of graphical display, from heartrending autobiographical displays of genocide in the Kovno ghetto to the "Pie Chart of Mystery" in a New Yorker cartoon, (...) Wainer illustrates the many ways graphs can be used--and misused--as we try to make sense of an uncertain world. Picturing the Uncertain World takes readers on an extraordinary graphical adventure, revealing how the visual communication of data offers answers to vexing questions yet also highlights the measure of uncertainty in almost everything we do. Are cancer rates higher or lower in rural communities? How can you know how much money to sock away for retirement when you don't know when you'll die? And where exactly did nineteenth-century novelists get their ideas? These are some of the fascinating questions Wainer invites readers to consider. Along the way he traces the origins and development of graphical display, from William Playfair, who pioneered the use of graphs in the eighteenth century, to instances today where the public has been misled through poorly designed graphs. We live in a world full of uncertainty, yet it is within our grasp to take its measure. Read Picturing the Uncertain World and learn how. (shrink)

After describing Wittgenstein's notion of ‘certainty’, in this article I provide four arguments to demonstrate that no certainty can be acquired at will. Specifically, I argue that, in order to assimilate a certainty, it is irrelevant whether the individual concerned has found a ground that seemingly justifies that certainty; has a given mental state; is willing to accept the certainty on the proposal of a persuader; or tries to act according to the certainty involved. Lastly, I analyse how each of (...) these arguments is reflected in the way children acquire certainties. (shrink)

The present article argues that Zha Changping’s History of Ideas in Pioneering Contemporary Chinese Art fills an important gap in humanities-oriented studies on contemporary Chinese art, contributing the innovative theories of “world relational aesthetics” and “world-picture logic,” which allow for unique insights into contemporary pioneering Chinese artworks.

Some philosophers have argued that Wittgenstein’s hinges, the centrepiece of his book On Certainty, are the “ungrounded ground” on which knowledge rests. It is usually understood by this that hinges provide a foundation for knowledge without being themselves epistemically warranted. In fact, Wittgenstein articulates that hinges lack any truth-value and are neither justified nor unjustified. This inevitably places them wholly outside the categorial framework of JTB epistemology. What I call the “groundlessness interpretation”, inspired by OC 166, understands the fundamental pieces (...) of our cognitive scaffolding this way. The view has been largely successful. I argue that this interpretation is incomplete for two basic reasons: first, it is not based on undisputed evidence; second, by assuming that hinges are committed to reality by epistemic fiat, it looks as if Wittgenstein is asking us to blindly trust them regardless of their actual content. Contrary to this, I argue that Wittgenstein describes hinges as illuminating world-pictures that reflect reality and are answerable to facts in a derivate way. As the book shows, hinges originate in our engagement with reality and, while considered unquestionable, could be challenged, reassessed, and replaced by new ones. This indicates that hinges are both the result of knowledge-acquisition and somewhat continuous with one’s set of beliefs. It follows that hinges are ultimately rational, and so, apt instruments to confront scepticism. (shrink)

Criticism of ‘the West’ and of ‘Western civilization’ in Germany in the early 20th century is generally most familiar today as a conservative force of the age. It is well-known that at the outbreak of war in August 1914 a longstanding German complex of resentment of the Western European powers exploded in a call to arms. Yet it needs to be stressed that not all prominent German bourgeois writers endorsed a wholly militant reading of the motif of German national-cultural ‘protest (...) at the West’. By 1918 an array of voices could come to discern another kind of salient work of contention that refused apology for any kind of violent Kulturkrieg. The thesis defended in this article is that in sophisticated humanistic writing of the era, a German mood of antagonism with the West represents not a regressive ideology but the productive and intelligent outcome of a longstanding preeminence of philosophical questioning in German academic life since the later 19th century about European world pictures and their claims to universal validity on the stage of world history. A range of statements are shown here to anticipate debates of the present day about ‘late’, ‘reflexive’ or ‘post-Eurocentric’ conditions of Western modernity. (shrink)

Some philosophers have argued that Wittgenstein’s hinges, the centrepiece of his book On Certainty, are the “ungrounded ground” on which knowledge rests. It is usually understood by this that hinges provide a foundation for knowledge without being themselves epistemically warranted. In fact, Wittgenstein articulates that hinges lack any truth-value and are neither justified nor unjustified. This inevitably places them wholly outside the categorial framework of JTB epistemology. What I call the “groundlessness interpretation”, inspired by OC 166, understands the fundamental pieces (...) of our cognitive scaffolding this way. The view has been largely successful. I argue that this interpretation is incomplete for two basic reasons: first, it is not based on undisputed evidence; second, by assuming that hinges are committed to reality by epistemic fiat, it looks as if Wittgenstein is asking us to blindly trust them regardless of their actual content. Contrary to this, I argue that Wittgenstein describes hinges as illuminating world-pictures that reflect reality and are answerable to facts in a derivate way. As the book shows, hinges originate in our engagement with reality and, while considered unquestionable, could be challenged, reassessed, and replaced by new ones. This indicates that hinges are both the result of knowledge-acquisition and somewhat continuous with one’s set of beliefs. It follows that hinges are ultimately rational, and so, apt instruments to confront scepticism. (shrink)

Over 20 years ago the Programme Director of Greenpeace UK identified the primary challenge facing the modern environmental movement as that of moving beyond the “struggle for proof” to generating effective environmental action. There is a mass of widely-accepted evidence to support environmentalist claims, but effective environmental action is rare, both at governmental and at grass-roots levels. Arguably, the malaise is less a political one than an ontological one. We “know” that environmental problems are “real”, but we fail to grasp (...) them as happening here, to us. It is as if they unfolded in a “media-only reality” (Rose, 1993). This ontological malaise can be understood along Heideggerian lines as a form of world-alienation. Alienation is often understood, following Marx, as estrangement from our true human nature, consequent on interpreting ourselves as mere resources. On Heidegger’s view, however, self and world are inextricably linked. Conscious beings are not trapped inside their own heads, never to bridge the gap to the world outside. Rather, consciousness just is the intentional reaching out to things. Heidegger’s view of the self-world relation implies a modified concept of alienation. Our alienated condition stems as much from interpreting the world around us as a mere resource as it does from interpreting ourselves as mere resources. We may understand the natural systems on which our lives depend in far more detail than our grandparents did; but where those systems are understood as brute agglomerations of objects the resulting knowledge is alienated and alienating. Our very “theory of the real” serves to make the earth unreal for us. This, I argue, is the true import of Heidegger’s concern with the world “conceived and grasped as picture”. It also illuminates his remark in the 1966 Der Spiegel interview: “It is no longer upon an Earth that man lives today.”. (shrink)

This paper presents the philosophical and theological underpinnings of the so-called “world-picture logic” mode of critique. It also outlines the arguments—empirical, transcendental and creationist—upon which the aesthetic framework depends that has the world relational picture as its object. By laying out these arguments and inquiring into the nature of what is human, it sketches the relational theology central to the “world-picture logic” mode of critique.

From about 1620 on a profound revolution occurred in the thought of the most developed European nations, which found its most pregnant expression in the birth of the new philosophical schools of Descartes, Gassendi, and Hobbes. The renewal of philosophy at this juncture in the history of thought, however, does not signify above all a change in the specific, metaphysical content of thought about God, the soul, and immortality, although the revolution in thought does concern these themes as well. Central (...) to the whole “modern” school of philosophers of this period is the constitution of a new conception of nature and – directly for some of them, implicitly for all – of human society as well. (shrink)

A nascent science in the sixteenth century rejected explanations in terms of purpose in favour of causality, and this bias has persisted and grown stronger. It has unfortunate consequences in areas where social and ethical considerations should prevail, and the paper describes a search extending over 20 years for a way in which these consequences could be avoided.

Obnoxious labels are derogatory terms which speak extensively on the ignorant dispositions of scholars who either rush into faulty conclusions, or have prior decisions to promote class distinction through the uncomplimentary colours they paint of what others hold as divine, spiritual, and transcendental. For such derogatory terms to gain wide audience in a globalized age explain the frame of mind of discordant voices which have been based on arm-chair scholarship. The thrust of this article therefore, is to use Igbo experience (...) to explore the problems of atheism and humanism in a globalized world. The exploratory research will help adopt cultural centred approach in analyzing the dichotomy between the various philosophical view points on God, spirits and man’s religious belief system in Igbo land in particular and Africa in general. It is hoped that the analyses of the challenges posed by atheism and humanism in a globalized world will balance ideas, views, attitudes and behaviour that will reposition Igbo religious beliefs, values and practices in line with the proposed theistic humanism associated with Igbo culture in particular and African culture in general. This will breach the persisted conflict between the sacred and the secular pointing to a dynamic and progressive Igbo culture. (shrink)

Scientists are portrayed as champions of objectivity and truth, and artists as champions of subjectivity and creative expression. Through analysis of modern art, John C. Gilmour shows how misleading is this separation of the world into objective and subjective spheres. This false dichotomy depends upon a dated philosophy of mind. The issues posed are developed from the ideas of Nietzche, Heidegger, Merleau-Ponty, Gadamer, Ricoeur, Wittgenstein, Rorty, Dewey, and Whitehead. Picturing the World requires us to reconceive the role of (...) the artist in the creative process and the role of the arts in general. (shrink)

Dorion Sagan observes that pioneering ethologist Jakob von Uexküll tends to be read in contrasting ways, as a “humble naturalist” pre-empting current research in biosemiotics, animal perception and agency; and as a “biologist-shaman,” gesturing to a transcendental realm where the life-worlds of animals interconnect in a vast symphony of nature. In both cases the tools of the laboratory are thought to generate complete pictures of the invertebrates that Uexküll studies, in unity with their environments. As Giorgio Agamben points out, these (...) experiments form part of an abstract mechanism that produces the human, by isolating instinctual life as an object for study and management from social and ethical modes of existence. What these readings neglect to consider is that Uexküll imagines his experiments through a Picture Book frame. We argue that for Uexküll there is always something fabulous and child-like about the enterprise of reconstructing the subjective environments of the small animals he works with. Drawing on Bernard Stiegler, we propose the Picture Book as a particular technics, or tertiary memory, that cultivates modes of attention that are associated with childhood and are open to the emergence of partial objects and relations. Considered through the Picture Book frame, the Umwelten of insects and other small animals are no longer fixed but are drawn and redrawn in partial expressive ways, through the uncanny picturing – or what Brian Massumi would call “semblances” – of different configurations of animal, technology, human relations. By considering the Picture Book as a technic for ecological thought and imagination, our paper will explore how the small creatures that Uexküll describes might enable the emergence of new ethical sensibilities and relations. (shrink)