Michel de Montaigne, the great Renaissance skeptic and pioneer of the essay form, is known for his innovative method of philosophical inquiry which mixes the anecdotal and the personal with serious critiques of human knowledge, politics and the law. He is the first European writer to be intensely interested in the representations of his own intimate life, including not just his reflections and emotions but also the state of his body. His rejection of fanaticism and cruelty and his admiration for (...) the civilizations of the New World mark him out as a predecessor of modern notions of tolerance and acceptance of otherness. In this volume an international team of contributors explores the range of his philosophy and also examines the social and intellectual contexts in which his thought was expressed. (shrink)
Certainly I am in no way opposed to philosophy, or metaphysics in the sense that Wm. James defined it as a particularly intense effort to think clearly. Indeed, Klein would like to say that what I am talking about is nothing but metaphysics. But the kind of philosophy/metaphysics that is needed here is of a particular kind: a kind that does not separate philosophy/metaphysics and physics into two disjoint realms. It is of the kind that seeks to construct useful testable (...) physical theories that are adequately connected to what we can know. (shrink)
The point of departure of any ethical theory is the anthropological fact that normally developed humans must lead their own lives themselves. This means that their conduct is neither programmed nor determined by instincts. Human beings must on every occasion engage the circumstances of a practical situation by their own choice and decision. Even when they find themselves delivered over to the stimuli and powers of particular circumstances in a completely passive manner, this does not occur in the way that (...) it does for a robot, but rather, on the basis of a background of an essential possibility that they can conduct themselves otherwise than they are now behaving. Where there is the possibility of a choice, then the question inevitably arises regarding the principle of the choice. On what do we base our decision to choose one possibility rather than another? We can let fate decide, we can consult astrological charts, we can appeal to an authority, or we can try to find out what we truly want, what are our deepest desires and what choice agrees best with these desires. Finally, we can also inquire into what decision is the objectively correct and rational one, i.e. which decision is good independent of our subjective preferences. This latter case, of course, presupposes a standard of the objectively good and rational, in regard to which we can be responsible for and evaluate our decisions as well as our ensuing actions. (shrink)
ABSTRACTThis essay explores the importance of the Black Notebooks beyond their contribution to Heidegger’s political biography. While attention has up to now focused almost exclusively on other matters, the Black Notebooks offer new perspectives on Heidegger’s writings from the 1930s and 1940s, and beyond. The essay argues, that any reading of Heidegger’s later work that tries to ignore the question for the History of Being, as it moves from a consideration of the Meaning of Being to the History of Being, (...) is doomed to misunderstand the whole of Heidegger’s thought. Therefore, if one wants to mobilize Heidegger’s thinking as a response to the great questions of our age, which this essay identifies as those of Global Warming, Globalisation, Nihilism and the Nightmare of the Manipulated Human Being, then one needs to force the question of history as the central problem underlying any future potentiality of Heidegger's philosophical impact. (shrink)
Susanne Langer is mainly known as the American philosopher who, starting from her famous Philosophy in a New Key, worked in aesthetics and famously saw art as the product of the human mind’s most important, distinctive and remarkable ability, i.e., the ability to symbolise. But Langer’s later consideration of the connection between art and symbol is propagated by an early interest in the logic of symbols themselves. This rather neglected early part of Langer’s thought and her early (...) interests and lines of reasoning, which she somehow abandoned later on to dedicate herself exclusively to the study of art, are the topic of this paper. (shrink)
Starting from a reflection on the present stage of technological civilisation, a critical reading of Jonas's ethics of responsibility from a Husserlian point of view is presented. It is argued that Jonas's ethics fails to meet the challenge of the collective character of technological action, that his view of human history is problematic and that the metaphysical foundation of his ethics is uncritical and naive.
The dual concepts of mindfulness and mindlessness are described. Mindfulness is a state of conscious awareness in which the individual is implicitly aware of the context and content of information. It is a state of openness to novelty in which the individual actively constructs categories and distinctions. In contrast, mindlessness is a state of mind characterized by an over reliance on categories and distinctions drawn in the past and in which the individual is context-dependent and, as such, is oblivious to (...) novel aspects of the situation. Mindlessness is compared to more familiar concepts such as habit, functional fixedness, overlearning, and automatic processing. Like mindlessness, these concepts concern rigid invariant behavior that occurs with little or no conscious awareness. The primary difference is that mindlessness may result from a single exposure to information. When information is given in absolute language, is given by an authority, or initially appears irrelevant, there is little manifest reason to critically examine the information and thereby recognize the ways it may be context-dependent. Instead, the individual mindlessly forms a cognitive commitment to the information and freezes its potential meaning. Alternative meanings or uses of the information become unavailable for active cognitive use. Automatic vs controlled processing, while seemingly most similar to mindlessness/mindfulness, are orthogonal to them. One can process information in a controlled but mindless manner, or automatic but mindful. Related concepts like scripts, set, expectancy, labels, and roles direct behavior, but these too may be enacted mindlessly or mindfully. The major consequences of mindlessness/mindfulness are discussed with respect to their relevance for overt behavior , memory, and health. Finally, the relationship between traditional notions of consciousness and mindfulness is briefly examined. (shrink)
Research on the effects of perceptual manipulations on recognition memory has suggested that recollection is selectively influenced by task-relevant information and familiarity can be considered perceptually specific. The present experiment tested divergent assumptions that perceptual features can influence conscious object recollection via verbal code despite being task-irrelevant and that perceptual features do not influence object familiarity if study is verbal-conceptual. At study, subjects named objects and their presentation colour; this was followed by an old/new object recognition test. Event-related potentials showed (...) that a study-test manipulation of colour impacted selectively on the ERP effect associated with recollection, while a size manipulation showed no effect. It is concluded that verbal predicates generated at study are potent episodic memory agents that modulate recollection even if the recovered feature information is task-irrelevant and commonly found perceptual match effects on familiarity critically depend on perceptual processing at study. (shrink)
Langer's first book, The Practice of Philosophy, is relevant to a discussion of the theory of the art work as symbol for the apparently perverse reason that it refers to the art work only tangentially. Where symbolism is mentioned, it is described in general terms that are largely indifferent to its consequences for the theory of art. It seems from this that Langer's consideration of the connection between the art work and the symbol is propagated by an early (...) interest in the symbol alone, and that only at a later stage in the evolution of her system does the idea of the symbol's congruity to the art work occur to her. This is not of itself a criticism of the system; but her eventual qualification of the description of art as symbol is pre-figured and underscored by the description's synthetic origins. What seems to occur by the time Problems of Art appears is that an over-literal adherence to a metaphor--the art work as a symbol of the life of feeling--is discerned, and gradually but severely reduced; the symbol, in short, collapses. (shrink)
Sustainable development (SD) – that is, “Development that meets the needs of current generations without compromising the ability of future generations to meet their needs and aspirations” – can be pursued in many different ways. Stakeholder relations management (SRM) is one such way, through which corporations are confronted with economic, social, and environmental stakeholder claims. This paper lays the groundwork for an empirical analysis of the question of how far SD can be achieved through SRM. It describes the so-called SD–SRM (...) perspective as a distinctive research approach and shows how it relates to the wider body of stakeholder theory. Next, the concept of SD is operationalized for the microeconomic level with reference to important documents. Based on the ensuing SD framework, it is shown how SD and SRM relate to each other, and how the two concepts relate to other popular concepts such as Corporate Sustainability and Corporate Social Responsibility. The paper concludes that the significance of societal guiding models such as SD and of management approaches like CSR is strongly dependent on their footing in society. (shrink)
Within capitalist modernity, `children' and `culture' were ideologically positioned as `sacred' in opposition to the `profane' sphere of commerce and industry. In the last quarter of the 20th century, this romantic construction of childhood as a time of enchantment was appropriated by the `children's culture industry' and re-inscribed as a marketing strategy. Capitalist childhood was reconstituted as a time of consumption. In invoking the myth of the `sacred child', however, capital also elicits ambivalence about the `profanity' of commercial intrusion into (...) the domain of childhood. Similarly, the narratives of `good' versus `evil' through which children's culture is organized can be deployed in opposition to the conditions under which global capital produces children's consumer goods. While the cultural tension surrounding the commercialization of childhood has diminished as money itself takes on the aura of the `sacred', the residual power of romantic mythology creates potential for critical engagement on the terrain of capitalist childhood. (shrink)
