New concepts may prove necessary to profit from the avalanche of sequence data on the genome, transcriptome, proteome and interactome and to relate this information to cell physiology. Here, we focus on the concept of large activity-based structures, or hyperstructures, in which a variety of types of molecules are brought together to perform a function. We review the evidence for the existence of hyperstructures responsible for the initiation of DNA replication, the sequestration of newly replicated origins of replication, cell division (...) and for metabolism. The processes responsible for hyperstructure formation include changes in enzyme affinities due to metabolite-induction, lipid-protein affinities, elevated local concentrations of proteins and their binding sites on DNA and RNA, and transertion. Experimental techniques exist that can be used to study hyperstructures and we review some of the ones less familiar to biologists. Finally, we speculate on how a variety of in silico approaches involving cellular automata and multi-agent systems could be combined to develop new concepts in the form of an Integrated cell (I-cell) which would undergo selection for growth and survival in a world of artificial microbiology. (shrink)

S'étonnant qu'un simple physicien sache traiter des rapports de la physique et de la métaphysique, Edmond Domet de Vorges s'était demandé si Pierre Duhem n'avait pas bénéficié de l'aide de quelque théologien dans l'élaboration de son articulation de ces deux disci­plines. Faisant suite à cette question très perti­nente, cet article liste d'abord les intellectuels catholiques qui étaient en relation avec Duhem avant la publication, en 1893, de son article Physique et métaphysique et qui auraient effec­tivement pu l'aider à concevoir une (...) telle articulation. Se con­sacrant ensuite spécifiquement à l'un d'entre eux, à savoir Maurice Blondel, il étudie les similitudes et divergences existant entre les pensées du physicien bordelais et du philosophe d'Aix pour conclure que Blondel ne peut pas être celui qui aurait inspiré Duhem. À l'appui de cette conclusion, il fait notamment état d'une lettre inédite adressée par Duhem à Ambroise Gar­deil et dans laquelle celui-ci porte un jugement sévère à l'en­droit de son «pauvre ami» Blondel. ––– One might be surprised to find that a simple physician could be able explain with clarity the subtle relationship between physics and metaphysics. It is with this question in mind that Edmond Domet de Vorges asked himself if it might not have been with the aid of theologians that Pierre Duhem was able to find and express his subtle articulation between the two disciplines. Following in the footsteps of this pertinent question, this article begins by listing the catholic intellectuals who were acquain­tances of Pierre Duhem before the publication in 1893 of “Physique et métaphysique”, who may have been able to help him arrive at the relationship between the two sciences expressed in his publication. This line of questioning is followed by a specific study of one of these men, namely Maurice Blondel. The similarities and differences in the opinions of the physician from Bordeaux and the philosopher from Aix are explored with the resulting conclusion that Blondel could not have been he who inspired Duhem. This conclusion can be confirmed by a previously unpublished letter from Duhem to Ambroise Gardeil which contains a very severe judgement with regards to his “poor friend” Blondel. (shrink)

Summary In the wake of the French Revolution, the newly founded First Class of the Institute in Paris was able to make major contributions, not only to science but also to medicine. Unfortunately, the latter has hardly been appreciated. These medical contributions may be summarized as being: (1) through the interests of two of its sections, (2) through patronage and, in particular, its exceptional encouragement of one young man, François Magendie, (3) through the Montyon legacy, (4) through its implicit (...) recognition of pharmacy and pharmacology. Special attention is given to the relationship of the official body of science with Magendie, the founder of experimental physiology, through a detailed study of the minutes of the meetings of the First Class (renamed the Academy of Sciences after 1816). Whereas one might have expected medical institutions to have played a significant part in the development of the medical sciences, it was the Academy of Sciences which played a leading role. (shrink)

Physicien théoricien, philosophe de la physique et historien des théo­ries physiques, le savant catholique français Pierre Duhem (1861-1916) a profondément marqué la pensée du vingtième siècle. Chacun connaît le Système du monde, dont les dix volu­mes ont contribué à la redécouverte de la science médiévale, et La théorie physique, qui a notamment donné lieu à la célèbre «thèse Duhem-Quine». Si Clio a donc gardé de Duhem le sou­venir d’un grand historien des sciences et d’un philosophe perspicace de la physique, lui-même (...) cependant n’aspirait qu’à être reconnu comme physicien. Son œuvre est en effet traver­sée par un projet scientifique qui consiste à ordonner et à réunir les diverses branches de la physique sous l’égide de la thermo­dynamique dans le cadre d’une théorie représentative et non explicative du réel. C’est ce projet que Duhem a voulu réaliser dans ses publications scientifiques, exposer dans ses écrits philoso­phiques, et finalement cautionner par ses recherches historiques. Cependant l’investissement toujours plus important de Duhem en histoire des sciences et la présence dans son œuvre de con­sidéra­tions apologétiques et d’écrits patriotiques peuvent don­ner à penser qu’il s’est progressivement détourné de ce projet primordial au profit d’autres préoccupations. De même, les tensions qui, à l’inté­rieur de ce projet scientifique, subsistent entre sa volonté unificatrice et sa revendication phénoménaliste peuvent conduire à une relativi­sation de cette dernière, conçue comme une demande contextuelle, passa­gère et finalement peu significative. Sans ignorer ces préoccu­pations historiques, religieuses ou patriotiques, sans négliger ce con­flit d’intérêt entre les deux parties constitutives du projet duhémien, cette étude entend tout d’abord réaffirmer que ce projet scientifique ne sera jamais ni abandonné, ni amputé. Toutefois, dès lors que sont maintenues la permanence, la prio­rité et l’intégralité de ce projet, trois paradoxes surgissent im­médiatement. Si Duhem se voulait avant tout physicien et souhaitait être reconnu comme tel, par quelle extravagance de l’histoire est-il finalement connu pour ses recherches histori­ques et ses travaux philosophiques et non pour ce qui lui tenait le plus à cœur? S’il ne voulait être qu’un illustre physicien, pourquoi s’est-il acharné, au retour du laboratoire, à exhumer de l’oubli les manuscrits et les théories scientifiques des au­teurs médiévaux? Enfin, s’il voulait vraiment établir une physi­que qui soit unifiée, cohérente et parfaite, pourquoi se prive-t-il du réa­lisme et s’embarrasse-t-il du phénoménalisme? Basée sur la corres­pondance inédite de Duhem, cette étude, centrée plus particu­liè­rement sur ce troisième paradoxe, contribue fina­lement à élucider chacun d’eux. (shrink)

Tant par son œuvre politique importante que par le potentiel créateur de son travail sur la perception, l'expression et l'ontologie, Maurice Merleau-Ponty a exercé une influence peu remarquée sur la pensée politique française. Aux lectures des Aron, Sartre et Lefort qui ont déterminé la compréhension et le sens politiques de l'œuvre de Merleau-Ponty s'ajoute une postérité immédiate chez ses contemporains. Colette Audry, Tran Duc Thao, Jean-Toussaint Desanti, et Frantz Fanon furent marqués par leur proximité à Merleau-Ponty tout autant que (...) par ses écrits, reprenant chacun à son propre compte son attitude. Une postérité silencieuse, quelque peu différée, se remarque chez Cornelius Castoriadis, Françoise Collin et Jean-François Lyotard, qui construisirent leurs pensées dans une rupture créative avec celle de Merleau-Ponty. Enfin, une postérité politique se fait sentir dans le moment qui nous est contemporain): Vincent Peillon, Marc Crépon et Luce Irigaray reviennent ici sur leur relation à sa philosophie et sur ce qu'elle permet de penser. À travers ces postérités, les contributrices et contributeurs de cet ouvrage se penchent sur les questions de l'engagement militant et philosophique, de la relationalité et de l'altérité, de la racisation et des émotions, du corps et de la parole, de la vie esthétique, de l'ontologie et la révolution, du républicanisme, du conflit et des épreuves historiques, ou encore du toucher et de la culture politique. (shrink)

This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and (...) Merleau-Ponty, the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection. (shrink)

My dissertation presents a comprehensive rethinking of the Kantian imperative, articulating it on the basis of what I call originary sense. Calling primarily upon the works of Maurice Merleau-Ponty, Gilles Deleuze, and Jean-François Lyotard, I show (1) that sense constitutes the ontologically most basic dimension of our worldly being and (2) that the way in which this sense happens is determinative for our experience of the ethical imperative. By originary sense I mean to name something that is neither (...) sensible sense (sensation) nor intelligible sense (meaning), but rather a kind of unity of these two that is ontologically anterior to their separation. In the first chapter I follow Merleau-Ponty’s argument in Phenomenology of Perception that sensible sense and intelligible sense belong originarily together at the level of the lived body. We are able to intend the meaning of worldly situations (Husserl’s Sinngebung) only insofar as we are responsive in an embodied way to the imperatives that are given in the sensible itself. The intelligible lawfulness so characteristic of the Kantian imperative is thus shown to be grounded in a more fundamental unity of intelligible and sensible sense. The second chapter follows Merleau-Ponty’s later works, especially The Prose of the World and The Visible and the Invisible, showing how the sensibility that is inseparable from the imperative introduces important limitations to the universalizing tendencies of Kant’s moral philosophy, drawing us back to the irreducible situatedness of ethical situations. In the third chapter I turn to the very different articulation of sense given by Gilles Deleuze, primarily in his Logic of Sense. I show there that Merleau-Ponty’s phenomenological conception of sense does not allow us to think the singularity of the imperative, the fact that the ethical command weighs on a me that cannot be grasped in terms of the generalities of my public identity. This singularity corresponds broadly to the idea of dignity in Kant’s moral philosophy. I argue that Deleuze, who conceptualizes sense as an event, gives us the resources to think singularity and to understand what it entails for our ethical practice. Finally, I attempt in the fourth chapter to think these two sides of the imperative—its demand for universality and its emphasis on singularity and dignity— together in the idea of libidinal sense. Calling on Jean-François Lyotard’s Libidinal Economy and, to a lesser extent, on Deleuze and Guattari’s Anti-Oedipus, I show that these two apparently incompatible requirements of the imperative have a common source in the event of libidinal investment (cathexis). In thus locating the source of the imperative in originary, libidinal sense, I hope both to shed some light on the irreducible complexity of our ethical being and to present a more humane, less moralizing version of the imperative than is typically articulated in moral philosophy. (shrink)

"... no other book undertakes to relate all these French philosophers to each other the way that [Lawlor] does, brilliantly." —François Raffoul For many, Jacques Derrida, Michel Foucault, and Gilles Deleuze represent one of the greatest movements in French philosophy. But these philosophers and their works did not materialize without a philosophical heritage. In Thinking through French Philosophy, Leonard Lawlor shows how the work of Maurice Merleau-Ponty formed an important current in sustaining the development of structuralism and post-structuralism. (...) Seeking the "point of diffraction," or the specific ideas and concepts that link Derrida, Foucault, and Deleuze, Lawlor discovers differences and convergences in these thinkers who worked the same terrain. Major themes include metaphysics, archaeology, language and documentation, expression and interrogation, and the very experience of thinking. Lawlor’s focus on the experience of the question brings out critical differences in immanence and transcendence. This illuminating and provocative book brings new vitality to debates on contemporary French philosophy. (shrink)

Il est assez rare qu’un concept philosophique s’échappe de l’arène académique. C’est pourtant le cas du concept de spécisme, qui a fait une entrée remarquée dans la sphère publique au cours de la dernière décennie. Il est désormais au cœur du débat de société sur nos devoirs envers les animaux non humains. Hélas, ce concept et les enjeux qu’il soulève sont souvent mal compris. Nombreux sont les auteurs qui contestent sa légitimité alors qu’ils le maitrisent mal. D’autres l’utilisent plus volontiers (...) sans toutefois mieux le comprendre. Les confusions qui entourent cette notion l’empêche de contribuer à la discussion autant qu’elle le pourrait. Le présent ouvrage entend remédier à cet état de faits en donnant de la notion de spécisme une présentation à la fois assez précise pour rendre justice aux discussions philosophiques dont elle fait l’objet et suffisamment claire pour être accessible à quiconque s’intéresse au statut moral des animaux. Il se divise en deux parties. La première aborde des questions ontologiques : Qu’est-ce exactement que le spécisme ? À quelles conditions existe-t-il ? Ces conditions sont-elles remplies dans les faits ? Quant à la seconde, elle porte sur des questions éthiques : Le spécisme peut-il être justifié ? Faut-il au contraire le condamner au même titre que le racisme et le sexisme ? (shrink)

Common sense has it that animals matter considerably less than humans; the welfare and suffering of a cow, a chicken or a fish are important but not as much as the welfare and suffering of a human being. Most animal ethicists reject this “speciesist” view as mere prejudice. In their opinion, there is no difference between humans and other animals that could justify such unequal consideration. In the opposite camp, advocates of speciesism have long tried to identify a difference that (...) would fit the bill, but they have consistently seemed to fail. In light of this, some naturally began to appeal to Moorean arguments: the case against speciesism must be flawed somehow, these philosophers maintain, because speciesism is supported by a strong and widespread intuition. This chapter draws on recent findings in social psychology to criticize this defence of speciesism. It argues that the strong and widespread intuition that humans count more than animals is epistemically defective because it is causally shaped by a pair of irrelevant influences: cognitive dissonance and tribalism. Accordingly, it is no suitable basis for a Moorean argument. (shrink)

Many people believe that human interests matter much more than the like interests of non-human animals, and this “speciesist belief” plays a crucial role in the philosophical debate over the moral status of animals. In this paper, I develop a debunking argument against it. My contention is that this belief is unjustified because it is largely due to an off-track process: our attempt to reduce the cognitive dissonance generated by the “meat paradox”. Most meat-eaters believe that it is wrong to (...) harm animals unnecessarily, yet they routinely and deliberately behave in ways that cause great unnecessary suffering to animals. As recent research suggests, this practical inconsistency puts them in an unpleasant state of dissonance, which they try to escape by resolving the paradox. And they do so in part by adopting the speciesist belief—if animal suffering matters much less than human suffering, then harming animals cannot be so wrong after all. Since this belief-forming process does not track moral truth, I conclude that we are not justified in believing that human interests matter more than the similar interests of non-humans. (shrink)

Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers—among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature , first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of (...) reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarme;, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language. (shrink)

Oscar Horta has argued that speciesism is wrong by definition. In his view, there can be no more substantive debate about the justification of speciesism than there can be about the legality of murder, for it stems from the definition of “speciesism” that speciesism is unjustified just as it stems from the definition of “murder” that murder is illegal. The present paper is a case against this conception. I distinguish two issues: one is descriptive and the other normative. Relying on (...) philosophers’ use of the term, I first answer the descriptive question negatively: speciesism is a purely descriptive concept. Then, based on both its main functions in the philosophical and public debates and an analogy with racism, I answer the normative question negatively: speciesism should remain a purely descriptive concept. If I am correct, then speciesism neither is nor should be wrong by definition. (shrink)

This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and thereby the (...) structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)

Over the past two decades, the study of moral reasoning has been heavily influenced by Joshua Greene’s dual-process model of moral judgment, according to which deontological judgments are typically supported by intuitive, automatic processes while utilitarian judgments are typically supported by reflective, conscious processes. However, most of the evidence gathered in support of this model comes from the study of people’s judgments about sacrificial dilemmas, such as Trolley Problems. To which extent does this model generalize to other debates in which (...) deontological and utilitarian judgments conflict, such as the existence of harmless moral violations, the difference between actions and omissions, the extent of our duties of assistance, and the appropriate justification for punishment? To find out, we conducted a series of five studies on the role of reflection in these kinds of moral conundrums. In Study 1, participants were asked to answer under cognitive load. In Study 2, participants had to answer under a strict time constraint. In Studies 3 to 5, we sought to promote reflection through exposure to counter-intuitive reasoning problems or direct instruction. Overall, our results offer strong support to the extension of Greene’s dual-process model to moral debates on the existence of harmless violations and partial support to its extension to moral debates on the extent of our duties of assistance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a completed thing or act (...) and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a completed thing or act (...) and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

The philosophical tradition in the West has always subjected life to conceptualdivisions and questions about meaning. In Vital Nourishment, François Jullien contends that althoughthis process has given rise to a rich history of inquiry, it proceeds too fast. In their anxietyabout meaning, Western thinkers since Plato have forgotten simply to experience life. In thisinstallment of his continuing project of plumbing the philosophical divide between Eastern andWestern thought, Jullien slows down, and, using the third and fourth century B.C.E. Chinese thinkerZhuanghi (...) as a foil, begins to think about life from a point outside of Western inquiry.The questionof how to "feed life," or nourish it, is the point of departure for the Chinese traditionthat Jullien locates in Zhuanghi. Life passes through each of us, and we have a duty to becomeamenable to its ebbs and flows. We must cultivate a sense of being adequate to it so that we canhouse it. Exploring notions of breath, energy, and immanence, Jullien reopens a vibrant space ofintellectual exchange between East and West. In doing so, he refuses to commit to a rigid frameworkof meaning, and his text unfolds as an elegant process that mirrors the very type of thought heexplores. Pointing out that it seems intellectually and politically imperative today to reinvigorateWestern thought with ideas from the East, Jullien seeks to create a space of mutual inquiry thatmaintains the integrity of both Eastern and Western thinking. Vital Nourishment is both a richintellectual historical journey and a text very much attuned to the philosophical politics of thepresent.François Jullien is Professor at the Université Paris VII-Denis Diderot and director at theInstitut de la Pensée Contemporaine. He is the author of Detour and Access: Stratgies of Meaning inChna and Greece, The Propensity of Things: Toward a History of Efficacy in China, and In Praise ofBlandness: Proceeding from Chinsese Thought and Aesthetics, all published by Zone Books. (shrink)

This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy's philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of "making," and outlines the tensions inherent in the _faire_, the "making" that characterizes the very process of production and thereby the (...) structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)

Animal ethicists often distinguish between direct and indirect defenses of speciesism, where the former appeal to species membership and the latter invoke other features that are simply associated with it. The main extant charge against indirect defenses rests on the empirical claim that any feature other than membership in our species is either absent in some humans or present in some nonhumans. This paper challenges indirect defenses with a new argument, which presupposes no such empirical claim. Instead, the argument from (...) discordance resorts to the following principle: a certain feature can only justify discriminating on the basis of that feature. (shrink)

Katarzyna de Lazari-Radek and Peter Singer have recently provided an evolutionary argument for utilitarianism. They argue that most of our deontological beliefs were shaped by evolution, from which they conclude that these beliefs are unjustified. By contrast, they maintain that the utilitarian belief that everyone’s well-being matters equally is immune to such debunking arguments because it wasn’t similarly influenced. However, Guy Kahane remarks that this belief lacks substantial content unless it is paired with an account of well-being, and he adds (...) that utilitarian beliefs about wellbeing—e.g. the belief that pleasure is good and pain is bad—were probably shaped by evolution. Logically, de Lazari-Radek and Singer should therefore reject these beliefs along with the deontological beliefs that evolved. The present paper is a defense of their argument. After considering a number of unsuccessful replies to Kahane’s objection, I put forward a more promising solution: de Lazari-Radek and Singer should combine their objectivist view in metaethics with a subjectivist account of well-being, such as the desire theory. Such a hybrid account would tackle Kahane’s challenge because subjective accounts of value are immune from evolutionary debunking arguments. And it would be compatible with utilitarianism, which doesn’t fit very well with metaethical subjectivism. Before concluding, I deal with two concerns that this solution might raise: I argue that the desire theory is actually subjective enough to escape Kahane’s objection, and I deny that retreating to the combination of ethical objectivism and prudential subjectivism is ad hoc. (shrink)

No one who has read the classics with any attention can fail to have been struck by certain oddities in both the Greek and Latin usage of epithets denoting colour. How really strange their application often is may have escaped general notice for three reasons: partly, it may be, because custom has staled their surprising character—phrases such as ‘the wine-dark sea’ having become, so to say, ‘household words’; partly because a natural and on the whole commendable diffidence prevents our attributing, (...) at least to the Greeks, anything that seems in the least derogatory from an artistic point of view; and partly because these instances of curious usage are scattered and so have no cumulative effect on our judgement. (shrink)

La philosophie bergsonnienne a rendu le monde de ses contemporains moins opaque, les aidant à lui trouver un sens. Si la France cartésienne coïncide avec les partisans de la démocratie parlementaire ancrée à gauche, celle de Bergson recrute ses plus gros bataillons dans la droite nationale, conservatrice, mais également dans une gauche antiparlementaire, révolutionnaire.

This book looks at two ‘revolutions’ in philosophy – phenomenology and conceptual analysis which have been influential in sociology and psychology. It discusses humanistic psychiatry and sociological approaches to the specific area of mental illness, which counter the ultimately reductionist implications of Freudian psycho-analytic theory. The book, originally published in 1973, concludes by stating the broad underlying themes of the two forms of humanistic philosophy and indicating how they relate to the problems of theory and method in sociology.

In this article three viewpoints on the relation of body and language are discussed: the poststructuralist viewpoint of Judith Butler, the phenomenological viewpoint of Maurice Merleau-Ponty and the postmodernist viewpoint of Jean-François Lyotard. The reason juxtaposing for these three accounts is twofold. First, the topic requires a combination of post-structuralist and phenomenological insights, and second, the accounts are supplementary. Butler's account raises questions that can be answered with the help of Merleau-Ponty's work. Lyotard's anthropology of the inhuman offers (...) a perspective of finitude that is missing in the other two. The aim of the article is to outline the necessary ingredients of an adequate conception of the speaking embodied subject. (shrink)