In this paper, I present a sample spiritual exercise—a contemporary form of the written practice that ancient philosophers used to shape their characters. The exercise, which develops the ancient practice of the examination of conscience, is on the sixth mass extinction and seeks to understand why the extinction appears as a moral wrong. It concludes by finding a vice in the moral character of the author and the author’s society. From a methodological standpoint, the purpose of spiritual (...) class='Hi'>exercises is to create a habit of thoughtfulness in the writer, and by way of teaching, to suggest one to the reader. Such a habit is important, at least, because virtue is a habit. In other words, there can be no learning of virtue itself without habituation into it. Accordingly, I frame the sample spiritual exercise with a deliberately controversial objection to contemporary academic virtue ethics and with a justification for why the spiritual exercise is important for taking virtue ethically. And I end the paper with some further remarks explaining the form of the exercise and its relevance to doing philosophy. In this way, the paper makes and illustrates a methodological point about virtue ethics based on a meta-ethical assumption about virtue as a habit, and it does this by focusing on a pressing environmental problem in the twenty-first century. (shrink)
We examine the SpiritualExercises developed by St. Ignatius Loyola for the purpose of informing the structure of reflection as a tool in business ethics. At present, reflection in business is used to clarify moods, expectations, theories of use, and defining moments. We suggest here that Ignatius' Exercises, which focus on ends, engage the emotions and imagination, use role modeling, and require a response, might be useful as a model for reflection in business.
Relying on Pierre Hadot’s concept of philosophy as spiritual exercise, I examine Nikos Kazantzakis’ magnum opus Askitiki: Salvatores Dei (translated in English as The Saviors of God: SpiritualExercises). Specifically, I examine the extent to which Kazantzakis offers a version of spiritual exercise appropriate for neoclassical theism, analogous to St. Ignatius’ version of spiritual exercise in the service of classical theism.
Partiendo de la recomendaciones de Harold Bloom sobre qué leer y por qué, se plantea que la literatura imaginativa, más que la argumentativa, es la manera más eficiente de alcanzar una autonomía intelectual. Una clase de autonomía que lo libera a uno de formas de pensamiento esterotipadas sobre los seres humanos. Luego estos planteamiento se extrapoldan a los escritores James y Proust como ejemplos de creadores de obras liberadoras del egotismo.
Ramon Llull (1232-1316), born on Majorca, was one of the most remarkable lay intellectuals of the thirteenth century. He devoted much of his life to promoting missions among unbelievers, the reform of Western Christian society, and personal spiritual perfection. He wrote over 200 philosophical and theological works in Catalan, Latin, and Arabic. Many of these expound on his "Great Universal Art of Finding Truth," an idiosyncratic dialectical system that he thought capable of proving Catholic beliefs to non-believers. This study (...) offers the first full-length analysis of his theories about rhetoric and preaching, which were central to his evangelizing activities. It explains how Llull attempted to synthesize commonplace advice about courtly speech and techniques of popular sermons into a single program for secular and sacred eloquence that would necessarily promote love of God and neighbor. Llull's work is remarkable testimony to the diffusion of clerical culture among educated lay-people of his era, and to their enthusiasm for applying that knowledge in the pursuit of learning and piety. This book should find a place on the shelf of every scholar of medieval history, religion, and rhetoric. (shrink)
To approach philosophy as a way of working on the self means to begin not with the experience it clarifies and the subject it discovers, but with the acts of self‐transformation it requires and the subjectivity it seeks to fashion. Commenting on the variety of spiritualexercises to be found in the ancient schools, Pierre Hadot remarks that: Some, like Plutarch’s ethismoi, designed to curb curiosity, anger or gossip, were only practices intended to ensure good moral habits. Others, (...) particularly the meditations of the Platonic tradition, demanded a high degree of mental concentration. Some, like the contemplation of nature as practiced in all philosophical schools, turned the soul toward the cosmos, while still others—rare and exceptional—led to a transfiguration of the personality, as in the experiences of Plotinus. We also saw that the emotional tone and notional content of these exercises varied widely from one philosophical school to another: from the mobilization of energy and consent to destiny of the Stoics, to the relaxation and detachment of the Epicureans, to the mental concentration and renunciation of the sensible world among the Platonists.1 While successfully applied to ancient philosophy,2 this approach has not been widely exploited in the history of philosophy more broadly. There is, however, at least one study of medieval metaphysics in these terms,3 and there are some important discussions of early modern Stoicism and Epicureanism.4 And a recent study of Hume shows the fruitfulness of the approach for Enlightenment philosophy.5 It is all the more surprising then that there seems to have been no serious attempt to approach Kant’s moral philosophy in this way. (shrink)
What is the meaning of life? In the post-modern, post-religious scientific world, this question is becoming a preoccupation. But it also has a long history: many major figures in philosophy had something to say on the subject. This book begins with an historical overview of philosophers from Plato to Hegel and Marx who have believed in some sort of meaning of life, either in some supposed "other" world or in the future of this world. Young goes on to look (...) at what happened when the traditional structures that provided life with meaning ceased to be believed. (shrink)
This paper presents a critical appraisal of the recent turn in comparative religious ethics to virtue theory; it argues that the specific aspirations of virtue ethicists to make ethics more contextual, interdisciplinary, and practice-centered has in large measure failed to match the rhetoric. I suggest that the focus on the category of the human and practices associated with self-formation along with a methodology grounded in “analogical imagination” has actually poeticized the subject matter into highly abstract textual studies on normative voices (...) within traditions, largely in isolation from considerations of socio-historical context, political and institutional pressures, and the lived ethics of non-elite moral actors. I conclude with some programmatic suggestions for how the field of comparative religious ethics can move forward. (shrink)
Written by a team of distinguished scholars, this is an authoritative and comprehensive history of Western philosophy from its earliest beginnings to the present day. Illustrated with over 150 color and black-and-white pictures, chosen to illuminate and complement the text, this lively and readable work is an ideal introduction to philosophy for anyone interested in the history of ideas. From Plato's Republic and St. Augustine's Confessions through Marx's Capital and Sartre's Being and Nothingness, the extraordinary philosophical dialogue between (...) great Western minds has flourished unabated through the ages. Dazzling in its genius and breadth, the long line of European and American intellectual discourse tells a remarkable story--a quest for truth and wisdom that continues to shape our most basic ideas about human nature and the world around us. That quest is brilliantly brought to life in The Oxford History of Western Philosophy. With spectacular illustrations--including sixteen pages of full-color plates--this splendidly written volume takes the reader on a magnificient chronological tour through the revolutions of thought that have forged the Western philosophical tradition from ancient times to the present. Throughout, the six contributors--an internationally renowned team of philosophers including Roger Scruton, Anthony Quinton, and Anthony Kenny--bring the astonishingly diverse, wide-ranging landscape of intellectual history into sharp focus, emphasizing how notions seen today as part of an inevitable march of ideas were in their own time often considered radical, if not revolutionary. Thus we are treated, for example, to lively accounts of how Plato's "theory of forms" and Aristotle's pioneering exercises in logic broke with the past to irrevocably alter the course of Western thought. The authors also reveal the relationships between landmark thinkers, and the ways they drew on their intellectual heritage. They show, for instance, how St. Augustine and Aquinas, though advancing the cause of Christian doctrine, picked up where their pagan Greek forebears had left off. We witness how, during the Renaissance, the profound empiricist ideas underlying Descarte's famous utterance--"I think, therefore I exist"--lived in a tense but complementary relationship with Locke's rationalist theories. Moving into the eighteenth and nineteenth centuries, the book explores how Hume greatly influenced Kant's conception of the "transcendental aesthetic," and how Hegel drew upon the lesser known (but groundbreaking) work of Fichte and Schelling. The authors bring the story up to our own time, vividly recounting the existential trend from Nietzsche ("God is dead") to Sartre, along with other increasingly fractious schools of thought. Along the way, we not only encounter the vast intellectual riches of the Western mind, but we also meet the personalities behind the great thoughts, from the saintly Hume (described by Adam Smith as having "come as near to perfection as anybody could") to the ill-mannered outcast Fichte. And the hundreds of maps and striking illustrations (including full-color reproductions of art ranging from medieval manuscripts to the works of Raphael, Ingres, and Magritte) form an integral part of the book, revealing the interweaving of art and ideas through the ages, as artists have striven to give visual immediacy to philosophical concepts. The Oxford History of Western Philosophy is the most authoritative single-volume account ever written for the general reader. Engagingly written and astonishingly far-reaching, it provides the consummate introduction to the intellectual bedrock upon which Western civilization is built. (shrink)
This history of human origin studies covers a wide range of disciplines. This important new study analyses a number of key episodes from palaeolithic archaeology, palaeoanthropology, primatology and evolutionary theory in terms of various ideas on how one should go about such reconstructions and what, if any, the uses of such historiographical exercises can be for current research in these disciplines. Their carefully argued point is that studying the history of palaeoanthropological thinking about the past can enhance (...) the quality of current research on human origins. The main issues in the present volume are the uses of disciplinary history in terms of present-day research concerns, the relative weight of cultural and other 'external' contexts, and continuity and change in theoretical perspectives. The book's overall approach is an epistemological one. It does not, in other words, primarily address anthropological data as such, but our ways of handling such data in terms of our most fundamental, but usually quite implicit theoretical presuppositions. (shrink)
Big History - an integral conception of the past since the Big Bang until today - is a novel subject of cross-disciplinary interest. The concept was construed in the 1980-1990s simultaneously in different countries, after relevant premises had matured in the sciences and humanities. Various versions and traditions of Big History are considered in the article. Particularly, most of the Western authors emphasize the idea of equilibrium, and thus reduce cosmic, biological, and social evolution to the mass-energy processes; (...) the informational parameter involving all mental and spiritual aspects are seen as epiphenomena of material structures' complication that do not play their own role in evolution. In Russian tradition ascending to A. Bogdanov, E. Bauer, I. Prigogine, and E. Jantsch, sustainable non-equilibrium patterns are used. This implies attention to the pan-material sources and evolution of mental capacities and spiritual culture (as basic anti-entropy instruments) and humans' growing intervention in the material processes on Earth and outside it. The non-equilibrium approach in the context of modern control and self-organization theories, alters the portrayal of the past, and still more dramatically, estimation of the civilization's potential perspectives. (shrink)
Translator's note -- Foreword by Boris Jakim -- On the essence of the historical : the meaning of tradition -- On the nature of the historical : the metaphysical and the historical -- Of celestial history : god and man -- Of celestial history : time and eternity -- The destiny of the Jews -- Christianity and history -- The Renaissance and humanism -- The end of the Renaissance and the crisis of humanism : the advent of (...) the machine -- The end of the Renaissance and the crisis of humanism : the disintegration of the human image -- Spiritual development and the eschatological problem -- The doctrine of progress and the goal of history -- Epilogue: the will to life and the will to culture. (shrink)
From Plato's Republic and St. Augustine's Confessions through Marx's Capital and Sartre's Being and Nothingness, the extraordinary philosophical dialogue between great Western minds has flourished unabated through the ages. Dazzling in its genius and breadth, the long line of European and American intellectual discourse tells a remarkable story--a quest for truth and wisdom that continues to shape our most basic ideas about human nature and the world around us. That quest is brilliantly brought to life in The Oxford History (...) of Western Philosophy. Featuring hundreds of spectacular illustrations--including sixteen pages of full-color plates--this splendidly written volume takes the reader on a magnificient chronological tour through the revolutions of thought that have forged the Western philosophical tradition from ancient times to the present. Throughout, the six contributors--an internationally renowned team of philosophers including Roger Scruton, Anthony Quinton, and Anthony Kenny--bring the astonishingly diverse, wide-ranging landscape of intellectual history into sharp focus, emphasizing how notions seen today as part of an inevitable march of ideas were in their own time often considered radical, if not revolutionary. Thus we are treated, for example, to lively accounts of how Plato's "theory of forms" and Aristotle's pioneering exercises in logic broke with the past to irrevocably alter the course of Western thought. The authors also reveal the relationships between landmark thinkers, and the ways they drew on their intellectual heritage. They show, for instance, how St. Augustine and Aquinas, though advancing the cause of Christian doctrine, picked up where their pagan Greek forebears had left off. We witness how, during the Renaissance, the profound empiricist ideas underlying Descarte's famous utterance--"I think, therefore I exist"--lived in a tense but complementary relationship with Locke's rationalist theories. Moving into the eighteenth and nineteenth centuries, the book explores how Hume greatly influenced Kant's conception of the "transcendental aesthetic," and how Hegel drew upon the lesser known (but groundbreaking) work of Fichte and Schelling. The authors bring the story up to our own time, vividly recounting the existential trend from Nietzsche ("God is dead") to Sartre, along with other increasingly fractious schools of thought. Along the way, we not only encounter the vast intellectual riches of the Western mind, but we also meet the personalities behind the great thoughts, from the saintly Hume (described by Adam Smith as having "come as near to perfection as anybody could") to the ill-mannered outcast Fichte. And the hundreds of maps and striking illustrations (including full-color reproductions of art ranging from medieval manuscripts to the works of Raphael, Ingres, and Magritte) form an integral part of the book, revealing the interweaving of art and ideas through the ages, as artists have striven to give visual immediacy to philosophical concepts. The Oxford History of Western Philosophy is the most authoritative single-volume account ever written for the general reader. Engagingly written and astonishingly far-reaching, it provides the consummate introduction to the intellectual bedrock upon which Western civilization is built. (shrink)
Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)
Habermas has alleged: (1) that Hegel has given a social theory that is abstract and technical, separating theory from practice ; and (2) that the criticism Hegel exercises at times is compromised by his uncritical acceptance of modern western culture. Both allegations amount to the claim that in some way Hegel proscribes internal critique, a citizen’s critique of her own nation-state. However, this charge is based on a misunderstanding of the role that history plays in Hegel’s account, and (...) the difference as Hegel understands it between nations of antiquity and those modernity. Once these are properly understood, it is clear that Hegel advocates identification with a supranational modern culture for which national particularity is necessarily an object of criticism. (shrink)
Summary Historians of science have neglected early modern natural philosophers' varied attitudes to the history of philosophy, often preferring to use loose labels such as ?Epicureanism? to describe the survival of ancient doctrines. This is methodologically inappropriate: reifying such philosophical movements tells us little about the complex ways in which early modern natural philosophers approached the history of their own discipline. As this article shows, a central figure of early modern natural philosophy, Robert Boyle, invested great intellectual energy (...) into his depiction of the history of philosophy. Boyle's historical worldview was mediated through an array of textual traditions: classical, patristic, humanist and contemporary. Drawing extensively on his manuscript notes, this is examined for three topics. First, from his turn to natural philosophy in the late 1640s, Boyle combined a sceptical attitude towards philosophy's potential ? stemming from humanist historicisations of the ?speculative? heritage of Greek philosophy ? with a belief in natural philosophy's efficacy as a spiritual exercise, as performed by ancient ?priests of nature?. Second, Boyle's attitude to the history of matter theory was far more complex than any simple comparison with ?ancient atomism? can convey. Unlike many of his contemporaries, Boyle held Epicurus to be a speculative and reductionist philosopher, leading him to posit a different lineage for a non-reductionist corpuscularianism which depended on exploitation of non-standard historiographical traditions. Appreciating this allows us to make an intervention in the ongoing debate about the relationship between corpuscularianism, chymistry and experiment in Boyle's philosophy. Third, Boyle's historicisation of supposedly anthropomorphic philosophies in his famous Free Enquiry (1686) exploited recent theological historiography, most importantly Samuel Parker's combination of the history of idolatry with the history of Greek philosophy, which itself relied on developments in continental sacred history. It was this historicisation, rather than any philosophical realities, which led to the positing of the mechanical philosophy as more compatible than Aristotelianism with Christian doctrine. (shrink)
Beginning from the ancient times human has always valued the historical individuals and events and by exaggerating their features and circumstances have created mythical and audacious characters and phenomena. In the history of Islam the same is true regarding the Prophet Mohammad in its unique manner, that accounts for his spiritual ascension and a mythic horse named Boraq. The wonder of the ascension somehow highlighted the other events of in the Prophet Mohammad's life and since "horse" has been (...) an essential element in human life and no heroism was not accomplished without it, in a short span of time Boraq was converted into a super-natural and mythical being. Based on the available sources the Boraq has to unique features that make it be different from other mythical horses: it was brought from the heavens by an angle and the horse shaped body had a human(female) head with two big wings, a combination of human, animal and bird. This extra ordinary creature the existence of which beyond imagination in reality is a mythical being the unique features of which is acceptable only by correlating them to the eminent symbols and archetypes acknowledge by C.G.Jung. In this perspective eminent horse with a human head represent and image of the prophet unconscious Anima where the four legs justify the four stage of Anima and the big wings are the conception of the transcendence, holiness and motion toward the heavenly realm. (shrink)
This paper analyses the relationship between religion and the field of medicine and health care in light of other recent studies. Generally, religion and spirituality have a positive impact on disease. For patients diagnosed with malignancies and chronic diseases, religion is an important dimension of healing. From ancient times, God has been considered an inspiration for the physician's knowledge and healing resources. Some authors have proposed a brief history of spiritual and religious states that the doctor can apply (...) to his patient. Religiosity and spirituality allow patients to receive better social support and to benefit greatly from resources provided by religious organizations (cultural activities, jobs, and health care counseling). The two terms "religion" and "spirituality" have different meanings but are always in connection. Many studies emphasize that people with greater religiosity and spirituality have a lower prevalence of depression and suicide, better quality of life, and greater survival. Additionally the article discusses the complementary health care benefits of religious fasting. Caloric and protein restrictions promoted by religious fasting were associated with improvement in control or prophylaxis of many diseases and with longevity. (shrink)
Personal formation using the classical spiritualexercises is an important, but perhaps ignored, aspect of moral development that should interest philosophical counselors. Resisting dysfunctional desires should not be confused with altering such desires. Psychological strategies can help people to develop self-control. But while they may change behavior, they do not transform deep attitudes and inclinations. Spiritual strategies, by contrast, aim to root out dysfunctional dispositions. By de-conditioning unproductive wants and beliefs, spiritual formation develops full virtue. I (...) begin by describing a model of human behavior, using anger as an illustration. I then review several psychological strategies for controlling behavior. Finally, I examine the role of spirituality (especially exercises such as meditation, journaling, self-examination, and fasting that are shared across wisdom traditions) in changing character. (shrink)
I examine the consistency of Kant's notion of moral progress as found in his philosophy of history. To many commentators, Kant's very idea of moral development has seemed inconsistent with basic tenets of his critical philosophy. This idea has seemed incompatible with his claims that the moral law is unconditionally and universally valid, that moral agency is noumenal and atemporal, and that all humans are equally free. Against these charges, I argue not only that Kant's notion of moral development (...) is consistent, but also that the assumption of the possibility of moral progress is indispensible for Kant's moral theory. (shrink)
The aim of this paper is to argue that Kant's philosophy of biology has crucial implications for our understanding of his philosophy of history, and that overlooking these implications leads to a fundamental misconstruction of his views. More precisely, I will show that Kant's philosophy of history is modelled on his philosophy of biology due to the fact that the development of the human species shares a number of peculiar features with the functioning of organisms, these features entailing (...) important methodological characteristics. From this main claim will follow three further claims: (1) Kant's teleological view of history is not simply based on ethical considerations that have to do with the moral progress of the human species; rather, it stems from his conception of teleology as developed in his philosophy of biology. (2) Kant's philosophy of history allows for the practice of scientific history. In this sense, Kant's view of history is not merely teleological but involves a mechanical (and thus empirical) element. (3) Just as teleology is useful for furthering mechanical accounts of biological phenomena, teleological history is useful for scientific history. (shrink)
Analytic philosophers are often said to be indifferent or even hostile to the history of philosophy--that is, not to the idea of history of philosophy as such, but as a species of the genus philosophy rather than history. It is argued that such an attitude is actually inconsistent with commonplace positions within the philosophies of mind that are typical within analytic philosophy.
What are the relationships between philosophy and the history of philosophy, the history of science and the philosophy of science? This selection of essays by Lorenz Krüger (1932-1994) presents exemplary studies on the philosophy of John Locke and Immanuel Kant, on the history of physics and on the scope and limitations of scientific explanation, and a realistic understanding of science and truth. In his treatment of leading currents in 20th century philosophy, Krüger presents new and original arguments (...) for a deeper understanding of the continuity and dynamics of the development of scientific theory. These result in significant consequences for the claim of the sciences that they understand reality in a rational manner. The case studies are complemented by fundamental thoughts on the relationship between philosophy, science, and their common history. (shrink)
I show the sense in which the concept of history as a human science affects our theory of the natural sciences and, therefore, our theory of the unity of the physical and human sciences. The argument proceeds by way of reviewing the effect of the Darwinian contribution regarding teleologism and of post-Darwinian paleonanthropology on the transformation of the primate members of Homo sapiens into societies of historied selves. The strategy provides a novel way of recovering the unity of the (...) sciences: by construing the physical sciences themselves as human sciences - and, therefore, as themselves historied. (shrink)
Abstract In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
To date, no satisfactory account of the connection between natural-scientific and historical explanation has been given, and philosophers seem to have largely given up on the problem. This paper is an attempt to resolve this old issue and to sort out and clarify some areas of historical explanation by developing and applying a method that will be called “pragmatic explication” involving the construction of definitions that are justified on pragmatic grounds. Explanations in general can be divided into “dynamic” and “static” (...) explanations, which are those that essentially require relations across time and those that do not, respectively. The problem of assimilating historical explanations concerns dynamic explanation, so a general analysis of dynamic explanation that captures both the structure of natural-scientific and historical explanation is offered. This is done in three stages: In the first stage, pragmatic explication is introduced and compared to other philosophical methods of explication. In the second stage pragmatic explication is used to tie together a series of definitions that are introduced in order to establish an account of explanation. This involves an investigation of the conditions that play the role in historiography that laws and statistical regularities play in the natural sciences. The essay argues that in the natural sciences, as well as in history, the model of explanation presented represents the aims and overarching structure of actual causal explanations offered in those disciplines. In the third stage the system arrived at in the preceding stage is filled in with conditions available to and relevant for historical inquiry. Further, the nature and treatment of causes in history and everyday life are explored and related to the system being proposed. This in turn makes room for a view connecting aspects of historical explanation and what we generally take to be causal relations. (shrink)