Digital technology has revolutionized connectivity, but it has also overcome spatial obstacles that used to shield people from subjugating gazes and unlimited exercise of power. The home as an auratic space is dead, and this alienation has hindered our democratic capacities and created complex crises. The Death of Home aims to intellectually engage readers via enhancing spatial literacy to critically confront today’s crises.

Prior to the nineteenth century, those who are now regarded as scientists were referred to as natural philosophers. With empiricism, science was claimed to be a superior form of knowledge to philosophy, and natural philosophy was marginalized. This claim for science was challenged by defenders of natural philosophy, and this debate has continued up to the present. The vast majority of mainstream scientists are comfortable in the belief that through applying the scientific method, knowledge will continue to accumulate, and that (...) claims to knowledge outside science apart from practical affairs should not be taken seriously. This is referred to as scientism. It is incumbent on those who defend natural philosophy against scientism not only to expose the illusions and incoherence of scientism, but to show that natural philosophers can make justifiable claims to advancing knowledge. By focusing on a recent characterization and defense of natural philosophy along with a reconstruction of the history of natural philosophy, showing the nature and role of Schelling’s conception of dialectical thinking, I will attempt to identify natural philosophy as a coherent tradition of thought and defend it as something different from science and as essential to it, and essential to the broader culture and to civilization. (shrink)

he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem it. (...) The purpose of this chapter is to examine these intricate ties. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

Recent discussions about moral enhancement presuppose and recommend sets of values that relate to both the Western tradition of moral philosophy and contemporary empirical results of natural and social sciences, including moral psychology. It is argued here that this is a typology of thought that requires a fundamental interrogation. Proponents of moral enhancement do not account for important critical analyses of moral discourse, beginning with that of Friedrich Nietzsche and continuing with more prominent twentieth century thinkers such as the poststructuralist (...) Michel Foucault, the deconstructionist Jacques Derrida, and the moral philosopher Alasdair MacIntyre. In this paper, such analyses are taken into account to highlight the need for more fundamental philosophical interrogation of the project of moral enhancement. (shrink)

Filozofski vodič je stručna monografija namijenjena prvenstveno učenicima srednjih škola i studentima, koji se trebaju upustiti u pripremu ili maturskog rada ili pisanja seminarskog rada iz filozofije. Knjigu je recenzirao dr Predrag Krstić, istraživač saradnik na Institutu za filozofiju i društvenu teoriju Univerziteta u Beogradu i redovni profesor na Fakultetu za medije i komunikaciju Univerziteta Singidunum u Beogradu, sa iskustvom od trinaest godina u radu kao gimnazijski profesor filozofije, kao i prof. dr Miodrag Živanović redovni profesor u penziji Filozofskog fakulteta (...) Univerziteta u Banjoj Luci. Galić je tim povodom poklonila pet primjeraka vodiča Gimnaziji Banja Luka odmah po objavljivanju same knjige. (shrink)

How can we increase awareness and understanding of other cultures using interactive digital visualizations of past civilizations? In order to answer the above question, this book first examines the needs and requirements of virtual travelers and virtual tourists. Is there a market for virtual travel? Erik Champion examines the overall success of current virtual environments, especially the phenomenon of computer gaming. Why are computer games and simulations so much more successful than other types of virtual environments? Arguments that virtual environments (...) are impeded by technological constraints or by a paucity of evaluation studies can only be partially correct, for computer games and simulations are also virtual environments. Many of the underlying issues are caused by a lack of engagement with the philosophical underpinnings of culture, presence and inhabitation, and there are few exemplars that engage the public with history and heritage using interactive media in a meaningful and relevant manner. The intention of Playing With the Past is to help designers and critics understand the issues involved in creating virtual environments that promote and disseminate historical learning and cultural heritage through a close study of the interactive design principles at work behind both real and virtual places. Topics discussed include the design of virtual environments, and especially virtual heritage environments, virtual place-making, cultural presence, the pros and cons of game-style interaction, augmented reality projects, and appropriate evaluation methods. Virtual heritage environments discussed in the book include projects from Antarctica, Australia, Mexico, Malta, Egypt, Babylon, the Netherlands, Cambodia, and India. (shrink)

This essay contrasts Nietzsche’s remarks on elite education with W.E.B. Du Bois’ demand for democratized education. The essay takes their remarks as springboards for a twenty-first century philosophy of education rather than an historical account of their philosophies. Both thinkers cultivated Kant and Hegel’s dream that the spirit of freedom guided by reason would unite all the world’s peoples. Both held that education was key to realizing the dream. Their judgments about qualifying for education separated them. Nietzsche insisted that only (...) the elite should receive the fullest measure of education. Du Bois believed that in the future virtually every human being would receive a university-level education. The essay’s principal point is to show how contemporary technology can make Du Bois’ dream a reality. An African philosopher’s working model demonstrates a path to universal university education. (shrink)

At the core of Plotinus’ exploration of human selfhood, lies a reference to the myth of Dionysus-Zagreus and his mirror, one of the toys the Titans used to seduce the young Dionysus. In interpreting the myth within this context, the mirror has been invariably regarded by scholars as a symbol for matter, an external surface on which the soul is projected and becomes embodied as a human individual by dispersing in the material depths. This paper challenges this established view and (...) advances a new interpretation of Plotinus’ allusion to the myth and its philosophical significance. It argues that the mirror is not a symbol for matter, but rather a symbol for the soul itself, for its power to transform itself and retain its identity in the process of becoming a human individual. The function of the mirror is thus both deceptive and protective. While the desire that the soul, deceived by the mirror, feels for its own image guides it to leave behind its original condition and unity, it is this same desire that keeps the soul within itself: protected by the Dionysian mirror, even the most dispersed soul cannot desire anything other than what it takes to be itself, hence rather than disappearing in the radical alterity of matter, soul reaffirms its identity as an individual human self. (shrink)

Through a reading of Nietzsche's texts, primarily of Thus Spoke Zarathustra, this article develops a phenomenological description of the variety of intoxication exemplified in conditions of drunkenness, or in states of emotional excess. It treats Thus Spoke Zarathustra as a literary expression of such intoxication, arguing against attempts to find a coherent narrative structure and clear authorial voice behind this text's apparent disorder. Having isolated the intoxicated characteristics of Thus Spoke Zarathustra - its hyperbolic rhetoric and emotions, its lack of (...) balance, its injustice, its shifting and conflicting moods, and its self-contradictions - I then offer an interpretation of the work, and by extension of intoxication itself, in terms of Nietzsche's model of the self as a dynamic multiplicity of forces. At the same time, I argue for a multiple and dynamic conception of personality in general. (shrink)

This paper argues that time, not space, is the highlight of aesthetic and especially artistic form. Spatial relations must be translated into temporal relations and experienced as such if they are to be experienced as aesthetic form. The reverse is not the case, for aesthetic and artistic forms are not generally there to create spaces, at least not in a literal sense, but to give time in a very literal sense. The meaning of form is time.

This paper offers an intellectual portrait of the French psychoanalyst, Jacques Lacan, by considering his incorporation of perspectives associated with “modernism,” the artistic and intellectual avant-garde of the first half of the twentieth century. These perspectives are largely absent in other alternatives in psychology, psychiatry, and psychoanalysis. Emphasis is placed on Lacan’s affinities with phenomenology, a tradition he criticized and to which he is often seen as opposed. Two general issues are discussed. The first is Lacan’s unparalleled appreciation of the (...) paradoxical nature of human experience, together with his treatment of paradox as almost a criterion of truth. These points are illustrated by considering Lacan’s conceptions of the self and of erotic desire. The second issue is Lacan’s focus on the “ontological dimension,” on overall styles or modalities of what might be termed “transcendental subjectivity”: namely, what he calls the registers of the “Imaginary,” the “Symbolic,” and the “Real.” By emphasizing the incommensurable yet interdependent nature of these modalities, Lacan offers a synthesis of dynamic/conflictual and formal/ontological dimensions of the human condition. This paper offers an encompassing portrait of Lacan’s major ideas that is at odds with the widespread assumption that Lacan is somehow a deeply anti-humanist thinker who derides the subjective dimension. Lacan’s most distinctive contributions are fundamentally concerned with the nature of human experience. They show strong affinities with hermeneutic forms of phenomenology inspired by Heidegger, a philosopher who focused on ontological modes of Being and considered paradox as a mark of truth. (shrink)

Death is a bad thing by virtue of its ability to frustrate the subjectively valuable projects that shape our identities and render our lives meaningful. While the presumption that immortality would necessarily result in boredom worse than death proves unwarranted, if the constraint of mortality is a necessary element for virtues, relationships, and motivation to pursue our life-projects, then death might nevertheless be a necessary evil. Mortal or immortal, it’s clear that the value of one’s life depends on its subjectively (...) determined quality, rather than its quantity. Thus, it is imperative to live forever in the present, with flourishing always in mind. (shrink)

The debate regarding representation is haunted by the fact that it takes place within a context of general suspicion whereby everything, it is claimed, is always representation. Such is the hurdle that Foucault identifies and Derrida attempts to elucidate in his debate with Heidegger, in which he takes issue with Heidegger’s critique of the “age of representation.” Derrida’s deconstruction of Heidegger’s account of the history of representation leads to a reconstruction that privileges the motifs of dissemination, of envoi (sending or (...) dispatching). In art too, Derrida confronts Heidegger, this time with the aim of re-thinking the relationship between the work and what lies outside and beyond it. By framing the Derrida/Heidegger debate within a consideration of the Lascaux cave drawings, and by examining the positions of Girard, Bataille and Blanchot in relation to the question of the origins of art, it will be possible to re-draw the boundaries of representation insofar as they lie at the intersection between philosophy and art. (shrink)

This article considers the war against terror in relation to classical tragedy. It uses Heidegger's analysis of Sophocles's play Antigone to argue that human beings are essentially `homeless' and yet our destiny lies in the continual attempt to overcome this homelessness by establishing foundational principles that might bring our journeying to an end. The tragedy of this situation is that the search for foundations and a search for a home invariably bring differing worlds in conflict with each other as their (...) paths to truth collide. Lucien Goldmann's analysis of the tragedy of refusal is also considered in relation to a non-foundational politics that may permit us not only to endure, but actually to affirm our homelessness as an attempt to resist the terror and anabolic militarism that marks the current age. (shrink)

In this essay, I argue for three interpretative claims about the philosophical strategies and examples employed in the first of Heidegger’s three lectures on ‘The Origin of the Work of Art’. I argue that his initial response to a Van Gogh painting is intended to dramatize a confusion rather than to articulate an insight; that his invocation of a poem by C. F. Meyer serves a number of functions overlooked by other commentators; and that Heidegger’s overall approach is best understood (...) in terms of Michael Fried’s conception of modernism in painting. (shrink)

The concept of “conceptual personae” is a contradiction in terms. On one sense of the term, personae are the characters in a work of art, such as a play or a novel. As characters, they are not common terms – King Lear is a particular; he is not a universal, for he cannot be shared in common. However, concepts are quite unlike King Lear. As universals, they are common terms that can be shared in common. “Conceptual personae” renders the particular (...) universal and thereby declares the universal not to be universal. However, I argue that as long as philosophers maintain a traditional attitude toward conceptual truth, philosophers will not be able to successfully think the structure of being without appealing to the mythical imagination, of which conceptual personae form an essential constituent. (shrink)

After examining the problem that gratuitous suffering poses for Nietzsche's notion of life affirmation, I mount a skeptical response to this problem on Nietzsche's behalf. I then consider an orthogonal objection to Nietzschean life affirmation, which argues that the need to justify life is symptomatic of life denial and show how strengthening the skeptical defense sidesteps this worry. Nietzsche's skepticism about our all‐too‐human, epistemic position thus aids his project of life affirmation in two ways. First, it suggests that we are (...) unable to determine reliably whether a given instance of suffering is, in fact, gratuitous. Second, it provides a corrective to the moralistic need to redeem life, showing that all attempts to justify life as a whole are epistemically fraught. Before concluding, I examine Nietzsche's reasons for advancing such an epistemological argument and suggest how we might approach life affirmation in nonrational terms. (shrink)

This paper assesses the contribution of Karl Polanyi, a theorist largely ignored in fascism scholarship, toward understanding fascism’s interwar rise and present-day implications. In exploring Polanyi’s work in The Great Transformation and lesser-known and unpublished writings, a sophisticated and largely original conception of fascism emerges, rooted in the idea of ‘anti-individualism’ as its foundational trait. Polanyi accounts for fascism’s philosophical content, ideological plasticity, political function and societal form, intervening in debates over how to define fascism, its ambiguity with the populist (...) far-right, and on its both economically reactionary and socially revolutionary qualities. Polanyi’s analysis suggests an enduring vulnerability on the part of liberal capitalism to fascist currents as (1) a solution to the instability of the market economy (and broader incompatibility between capitalism and democracy) at the systemic level, and (2) to the crisis of the individual subject on a social and moral level. I end by considering how Polanyi’s theory might be applied to locate current neo-fascist movements and elucidate the sociological problems underpinning their existence. (shrink)

ABSTRACTThis review essay of Shawn Loht’s new book, Phenomenology of Film: A Heideggerian Account of the Film Experience, not only offers an ontological reading of the filmic experience inspired by Heidegger’s philosophy but also contributes substantially to the ongoing debate of whether or not film is a medium that is legitimately philosophical. In addition to confronting unique ideas about film that emerge from Loht’s analysis of Heidegger’s phenomenological ontology of Dasein, including a reading of later Heidegger of the “Turn,” this (...) essay also seeks to think with and then beyond Loht in a way that might inspire readers to further pursue these issues in relation to a potentially reconceived understanding of the practice of film-as-philosophy. (shrink)

At least since the appearance of Aristotle’s Politics, Plato’s Republic has been read as arguing for a politics of unity in which difference is understood as a threat to the polis. By focusing on the musical imagery of the Republic, and specifically on its compositional organization around three ‘preludes’, this essay seeks an understanding of Socratic politics that moves beyond the hypothesis of unity. In the first ‘prelude’, Thrasymachus and his insistence that justice is the self-interest of the stronger threatens (...) to subject the harmony of the community to the tyrannical whims of the individual. In the second, the perfected justice of Adeimantus’s city threatens to destroy the erotic rhythm of difference that is the very condition for the possibility of the polis. It is only in the song of dialectic, which itself is called a ‘prelude’, that the tension between the rhythm of plurality and the rational homophony of unity is dynamically tuned in such a way that both the anarchic politics of self-interest and the totalitarian politics of rationalized oppression are equally muted. This conception of politics is embodied in the relationship that emerges between Glaucon and Socrates. Ultimately, the true political community is established here, between rational, erotic individuals seeking justice in concrete, living dialogue. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a more (...) spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a more (...) spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

Inspired by a passage from Kate Chopin’s The Awakening, this article considers the possibility of a “medical sublime.” It works through a history of the sublime in theory and in the arts, from ancient times to the present. It articulates therapeutic dimensions of the sublime and gives contemporary examples of its medical relevance. In addition, it develops the concept of sublime-based stress-reduction workshops and programs. These workshops bring the sublime out of the library and the museum into the lives of (...) the healthcare community—patients, families, clinicians, staff, concerned others—in the service of better navigating human vulnerability and finitude. Opening the cannon of aesthetic theory and the arts as resources for the human condition is at the heart of health humanities. The sublime can be an invaluable tool in this task. (shrink)

This article deals with our constructed notions of evil and how an historical appraisal takes shape after specific stories and narratives become important objects of public deliberation, historical criticism, and disclosive views of what constitutes the moral harms of human cruelty. I analyze the historical representations of the meaning of evil in specific historical times through narratives that have made important contributions to our historical understanding of them. I also propose that our learning from them is the result of public (...) debates, of memory wars, and of important interventions from public intellectuals, writers, historians and witnesses. Therefore, deliberating about human cruelty is always a reconstructive effort to understand and judge what has happened and why it could have been prevented. The term evil is a moral filter that allows us to situate the kind of moral harm that needs a specific lens of moral understanding and a reconfiguration of actions that tie perpetrators to sufferers. Moral harms are better ways to describe the kind of actions that we call evil. The article highlights the relevance of language, disclosive views, criticism, public debate and the ways in which societies cope with their past in order to envision a different future. (shrink)

Bernard Williams thought that philosophy should address real human concerns felt beyond academic philosophy. But what wider concerns are addressed by Ethics and the Limits of Philosophy, a book he introduces as being ‘principally about how things are in moral philosophy’? In this article, we argue that Williams responded to the concerns of his day indirectly, refraining from explicitly claiming wider cultural relevance, but hinting at it in the pair of epigraphs that opens the main text. This was Williams’s solution (...) to what he perceived as the stylistic problem of how to pursue philosophy as cultural critique. Taking the epigraphs as interpretative keys to the wider resonances of the book, we show how they reveal Williams’s philosophical concerns – with the primacy of character over method, the obligation to follow orders, and the possibility of combining truth, truthfulness, and a meaningful life in a disillusioned world – to be recognisably rooted in the cultural concerns of post-war Britain. In the light of its epigraphs, the book emerges as the critique of a philosophical tradition’s inadequacies to the special difficulties of its cultural moment. (shrink)

What is the aim of philosophy? There may be too many philosophical branches, traditions, practices, and programs to admit of a single overarching aim. Here I focus on a fairly traditional philosophical project that has recently received increasingly sophisticated articulation, especially by Frank Jackson (1998) and David Chalmers (2012). In §1, I present the project and suggest that it is usefully thought of as ‘total axiomatics’: the project of attempting to axiomatize the total theory of the world. In §2, I (...) raise a problem for the project that I call the ‘problem of multiple axiomatizations.’ I consider some initially alluring but ultimately unpromising approaches to this problem in §3. In §4, I defend a surprising approach to the problem, according to which competing axiomatizations of the total theory of the world are effectively evaluated for their aesthetic virtues. (shrink)

There is an aesthetic undercurrent traversing Deleuze's philosophy along confluent trajectories of Baruch Spinoza and Friedrich Nietzsche, which harbours untapped potentials and far-reaching consequences for contemporary discussions of art and architecture. According to this subterranean stream, aesthetic experience is generated, neither in ready-made mental faculties of a subject, nor in essential qualities of an object, but through affective interactions of a relational field. A cartographic inquiry of affective aesthetics constitutes the subject matter of this paper, beginning with a philosophical elaboration (...) that connects aesthetic theories of Spinoza, Nietzsche and Deleuze, evolving via a comparative analysis of aesthetic processes specific to Francis Bacon's artistic assemblages and Vogelkop bowerbirds' architectural constructs, and concluding with the possibility of a non-anthropocentric aesthetics. (shrink)

Mencius’ aesthetics unfolded around the ideal personality in his mind. Such an ideal personality belonged to a great man who was sublime, practical and honorable, and it was presented as the beauty of magnificence or the beauty of masculinity. Mencius put forward many propositions such as the completed goodness that is brightly displayed is called greatness, nourishing one’s grand qi 气 (the great morale personality), only after a man is a sage can he completely suits himself to his own form, (...) the saints only apprehended before me that of which my mind approves along with other men, being conscious of sincerity on self-examination, and flowing abroad, above and beneath, like that of Heaven and Earth, all of which described an ideal personality through the course of its formation and its psychological experience. As a prominent school before the Qin dynasty, Mencius’ aesthetics greatly developed the Confucian teaching of internal sage. It shared many similarities with Zhuangzi’s thought and was also an aesthetic mode opposed to the latter. Both kinds of aesthetics were prominent: Mencius’ teaching was like imposingly towering and muscularly overflowing majestic mountains; Zhuangzi’s thought was like gracefully flowing water with an air of femininity. In real life though, Mencius’ teaching has greater practical significance in addressing the unbearable lightness of being, a disease of modernity. (shrink)

This paper considers the implications for education of a reworked ancient Greek ethics and politics of flourishing, where ‘flourishing’ comprises the objective actualisation of our intellectual, imaginative and affective potential. A brief outline of the main features of an ethics of flourishing and its potential attractions as an ethical framework is followed by a consideration of the ethical, aesthetic and political requirements of such a framework for the theory and practice of education, indicating the ways in which my approach differs (...) from other recent work in the field. I argue that the teaching of philosophy in schools and philosophical approaches to the teaching of other subjects are ideally suited to meet the pedagogic requirements of individual and communal flourishing so understood, contributing greatly both to the understanding of what a well-lived life might be, and to the actual living of it. I further argue that these requirements are not only derived from ancient Greek philosophy but are in turn especially well-served by the teaching and deployment of Greek philosophy itself. My claim is not that Greek philosophy has all the answers, or that other philosophers and philosophical approaches should be excluded; it is simply that Greek philosophy offers rich resources for those seeking to introduce children and young people to philosophy and to foster thereby their flourishing in both childhood and as adults. (shrink)

Sometime ago, I found myself using the diagnosis of a student’s depression as a critical tool of interpretation, searching for signs of mental illness in her essay that explored order and disorder in T. S. Eliot’s The Waste Land. I realised that my reading had become a creative act, combining poem, poet, student essay and author to create, in a sense, one readable text. The present paper is a reflection upon the processes of order and disorder located in a diagnosis (...) of “madness” and the readings of writer and text this diagnosis initiated. I look to deconstruct acts of reading and diagnosis. (shrink)

This is the second of two articles that are connected in a reading of The plague by Albert Camus. The other article is a determined narration of the events of a tragedy that befalls a city on the coast of Algeria. That article resists analysis beyond the decisions that are made regarding text to use, and of course interpretations to make. This article is juxtaposed to the first, with the intention of taking key themes of education and narration and considering (...) them within the context of another tragedy and another kind of narration. In this article the narratives of government education policy are considered in relation to the event of a tragic earthquake in Christchurch, New Zealand. The government narratives are then replaced by the narratives of Oran to consider alternative ways of thinking about tragedy and education and in particular to think about the ways in which the narrative relates to the tragedy and to any learning that might happen as a result of, and during, a tragedy. (shrink)

This article explores the story of ‘the other Mersault’ whose narrative is published in the posthumous and arguably incomplete work A happy death. That this work is incomplete and that it appears to be a precursor to The outsider, has arguably limited scholarly analysis of its character and plot. However, the themes that are explored in A happy death are significant in their distinction to those themes that are experienced by the other, younger, Meursault. In A happy death the world (...) must be conquered by the will of a young man to find his happiness. He is not an outsider, and he is not content with his lot. Given an opportunity to address this latter concern, he acts upon his life in a search for happiness and in so doing engages in an ultimately frustrating, yet in some way enlightening, quest. In this article Mersault’s search for happiness is plotted in relation to his thinking about time, childhood, happiness and death. His journey is considered in relation to other stories of the search for some greater human condition. It is argued that his will to be happy reveals the absurdity of searching or not searching. This absurdity is considered in relation to the nature and purpose of school in the sense that such a relation to the search for knowledge might free school from its disciplinary tasks … and frees the learner, the child, the teacher, from the violence of having to want to know. (shrink)

ABSTRACTThis paper explores similarities between the sacrilegious revaluations Nietzsche and Spinoza undertook with regards to Christianity and Judaism respectively. In both cases, these revaluations involve a devaluation of an ancestral religious tradition, followed by the infusion of alternative values posited through forms of secular salvation linked to immanent conceptions of eternity. Given the importance of the structural and phenomenological similarities the paper analyses, it is argued that if Nietzsche thought of himself as the Anti-Christ, there is a convincing case to (...) think of Spinoza as the Anti-Moses. And because both the Anti-Christ and the Anti-Moses not only devaluated their respective religious traditions, but also suggested forms of beatitude based on a valorizing notion of eternity, their efforts are profoundly religious. Accordingly, Nietzsche and Spinoza are not only arguably the greatest Christian and Jewish heretics, but also the prophets of innovative forms of secular and immanent... (shrink)

Both Nietzsche and Merleau-Ponty repudiate the mirror view of perception and embrace what Nietzsche refers to as solar love or creative perception. I argue that Merleau-Ponty thinks of this type of perception primarily in terms of convergence and Nietzsche in terms of divergence. I then show how, contrary to their own emphases, Merleau-Ponty's notion of flesh and Nietzsche's idea of chaos suggest that convergence and divergence are abstractions from an ontologically prior realm of hybrid perceptions. In this realm, each perception (...) is shot through with the others, simultaneously inside and outside one another. The creative tension among these perceptions continually produces new perspectives or voices, that is, a realm whose very being is metamorphosis. Moreover, this realm of hybrid perceptions suggests a political principle that might prove attractive for communities in an age of diversity and cultural hybridity. (shrink)

In this thesis the appropriate aesthetic evaluation of designed landscapes is explored. The overarching research question for this thesis is: What is an appropriate appreciation of a designed landscape as a designed landscape? This overarching research question is split into sub-questions. The first sub-question is: What is the current theoretical basis for the aesthetic evaluation of designed landscapes and does it provide appropriate arguments for aesthetic evaluations? Two important points about the aesthetic evaluation of designed landscapes were found in the (...) existing literature on environmental aesthetics and in critical evaluations of designed landscapes. Modern environmental aesthetics is focussed on natural environments as it has been shaped in response to early 20th century aesthetics, which was dominated by questions on art. The designed landscape phenomenologically related more to environments, but is ontologically closely related to artworks. Designed landscapes thus fall between two fields. The designed landscape has gone largely unacknowledged by philosophers and geographers. The lack of a specific theory for the appropriate appreciation of designed landscapes has made it easier for landscape architects and critics to miss out on the current insights of environmental aesthetics, leading to the inconsistent belief among landscape architects and landscape architecture critics that landscapes are scenic entities. Actual design criticism as offered in the Landscape Architecture Europe books is shown to be based on the inconsistent belief that aesthetic experiences of works of landscape architecture are mostly visual. To explore what an appropriate appreciation should be based in, first the ontology and phenomenology of one example, the post-war design for the landscape of Walcheren, is described and discussed. To explore its ontology, a literature research has revealed the design process and decisions. To explore the phenomenology, the descriptions of two walks on the island made by the author were analysed. The descriptions of ontology and phenomenology of Walcheren offer insights into the relevance for the aesthetic evaluation of this landscape of being designed and of the sensorial richness of this designed landscape. In both fields of ontology and phenomenology insights into aesthetic value go beyond the visible. The second and third part of the research answers the sub-questions about appropriate appreciation regarding respectively ontology and phenomenology of designed landscapes in general. The literature on topics adjacent to the field of landscape architecture, such as design and architecture aesthetics, was surveyed for aspects that might also be relevant for the aesthetic evaluation of landscape architecture. These aspects were then weighed according to a philosophical method of reasoning from first principles. Starting from a principle of appropriate appreciation, different cues were tested to see whether or not they have to be considered in such an appropriate appreciation. Following descriptions of the True Appreciation Principle (TAP) as provided by Lopes, cues were tested against the Appropriate Appreciation Principle for Designed Landscapes (AAP-DL): An appreciation of landscape L as a designed landscape is appropriate only as far as it does not depend counterfactually on any belief that is inconsistent with the truth about the nature of designed landscapes. Examples are provided where cues can influence one’s evaluation, and evaluation thus depends counterfactually on those taking those cues into account. If something might influence one’s evaluation one should consider it. The exploration has provided important cues for the aesthetic evaluation of designed landscapes. The findings are the base of an evaluative framework that takes into account the ontology and phenomenology of designed landscapes in order to evaluate designed landscapes according the AAP-DL. A discussion is provided on the importance of such an appropriate appreciation for different audiences. (shrink)

This text departs from a contradictory claim in deaf studies and sound studies: both disciplines describe a hierarchical regime of the sensible – visuocentrism and audiocentrism – which they try to counter with conceptualisations as “acoustemology” or “deaf gain.” However, as we argue, they both thereby erect what they claim to overcome: a sensual regime that privileges one sense over another and a restricted conception of subjectivity deriving from it. First, we draw a philosophical line in the critique of sensual (...) regimes. Then we propose a figure for the transcendence of the separation of the sensible: in re-reading of the myth of Odysseus and the sirens, we engage various examples from literature, art, and acoustics to describe sirens as a mythological and technical archetype of the transcendence of the sensual regime, as well as reified subjectivity. The question, then, is not how to escape the sirens, but how they can be approached. It is necessary, we argue, for sound studies to develop a critical self-consciousness of its own restricted concepts in order to move from sonic thinking towards a sirenic thinking. (shrink)

It can hardly be denied that play is an important tool for the development and socialisation of children. In this article we argue that, through dramaturgical play in combination with pedagogical tools such as the Community of Inquiry (CoI), in the tradition of Philosophy for Children (P4C), students can creatively think, reflect and be more aware of the impact their gestures (Schmid 2000b) have on others. One of the most fundamental aspects of the embodied human life is human interaction that (...) is based on expressions, what Schmid calls gestures. Through self-reflection, one’s set of gestures can be developed into a deliberate ‘life-performance’; a conscious, selected and coherent work of art (Schmid, 2000b, p. 332). Drawing on Nietzsche’s idea of living artistically, we explore how Schmid’s philosophy of the art of living, P4C and the liberal arts, with a focus on drama education, can work together to develop (self-) reflective, reasonable citizens who are able to develop their own art of living while respecting and supporting the development of the good and beautiful life of others. (shrink)

Jean-Francois Lyotard's essay `Adorno as the Devil' had argued that Theodor Adorno's Philosophy of Modern Music was a `diabolic' work of `negative theology' which attributed to Schoenberg's music a secret redemptive power. However, in his later writings, such as the essays in The Inhuman, Lyotard has himself moved close to a `negative theological' position with respect to modernity, time, aesthetics and music. The paper uses the occasion of Lyotard's own theologically inspired essays on music, `God and Puppet' and `Obedience', to (...) re-evaluate the following: Adorno's claims that music transcends mere language and `reaches' for the theological; and more general claims within modern western culture on behalf of music's ability to express the inexpressible. The argument is that the music as negative theology position is not inherently metaphysical but rather that it reflects the importance of the `unsayable' to modern conceptions of reason. In resisting the `closure' of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present within modern forms of time. In other words, negative theology is not the discourse of the devil; it is the impossible discourse of western reason and its internal fracturing. (shrink)

In his 2010 article, ‘Secular Spirituality and the Logic of Giving Thanks’, John Bishop recalls a striking theme in a recent address by Richard Dawkins in which he appeared to enthusiastically endorse the appropriateness of a ‘naturalised spirituality’ that involved ‘existential gratitude’, and this led him to investigate the notion of a naturalised or secular spirituality with particular reference to Robert Solomon’s Spirituality for the Skeptic (2002). This essay looks to pick up on Bishop’s engagements with both Dawkins and Solomon, (...) but to extend the conversation well beyond them in order to defend the credibility and integrity of secular spirituality in its movement of ontological gratitude. In this way it looks to offer a first sketch of what might be termed a ‘hermeneutics of ontological gratitude’. To this end – and via a distinction between gratitude for existence and life – the essay considers Dawkins’ argument and Solomon’s work in further detail, before turning to consider various other perspectives on the problem including Kenneth Schmitz’s existential Thomist notion of ontological contingency, Hannah Arendt’s concept of primary natality, and Emmanuel Levinas’ sketch of the self in its interiority and economy. My claim is that any serious naturalistic spirituality needs to take into account not only a gratitude for one’s existence per se, but for the whole context of individual and collective being. (shrink)

In this paper I consider three widespread assumptions: (1) the assumption that we are accountable for our intentional actions only if they are in some special sense ours; (2) the assumption that it is possible for us to be more or less “true to” ourselves, and that we are flawed human beings to the extent that we lack “integrity”; and (3) the assumption that we can sometimes give ourselves reasons by giving ourselves commands. I acknowledge that, as Ruediger Bittner has (...) argued, each of these assumptions is problematic, and that the failure to appreciate the problems has led many philosophers astray. I try to show, however, that it is possible to make sense of each assumption in a way that addresses Bittner’s concerns. (shrink)

If philosophers have discussed life as preparation for death, this seems to make aging coterminous with dying and a melancholy passage that we are condemned to survive. It is important to examine the discourse on aging and end of life and the ways various models either limit possibilities for human agency or suggest means of being innovative in relation to such parameters. I challenge developmental views of aging not by arguing for eternal life, but by using Plato’s conception of form (...) in conjunction with Simmel’s work and Arendt’s meditation on intergenerational solidarity, to evoke a picture of the subject as having capacities that offer avenues for improvisational action. This paper proposes a method for analyzing any social form as a problem-solving situation where the real “problem” is the fundamental ambiguity that inheres in the mix between the finite characteristics of the action and its infinite perplexity. I work through the most conventional chronological view of aging to show how it dramatizes a fundamental ethical collision in life that intensifies anxiety under many conditions, always raising the question of what is to be done with respect to contingency, revealing such “work” as a paradigm of the human condition. (shrink)