My main concern in this paper is to develop some ideas within the Kantian ethical tradition. More precisely, my aim is to develop an ethical perspective that is grounded upon the Kantian ideas of autonomy and ideal of the person (Kant’s notion of humanity) as fundamental starting points for a coherent account of Kant’s ethics in contrast to the deontological duty-based interpretation of his moral philosophy, then sketch, subsequently, some suggestions to show why this reading has more philosophical import than (...) what a deontological reading may provide. I take no issue for the time being however, as to whether or not the perspective I have in mind leads to either a Kantian orthodoxy or a revisionist direction in Kant scholarships. (shrink)

Modal epistemic conditions have played an important role in post-Gettier theories of knowledge. These conditions purportedly eliminate the pernicious kind of luck present in all Gettier-type cases and offer a rather convincing way of refuting skepticism. This motivates the view that conditions of this sort are necessary for knowledge. I argue against this. I claim that modal conditions, particularly sensitivity and safety, are not necessary for knowledge. I do this by noting that the problem cases for both conditions point to (...) a problem that cannot be fixed even by a revised similarity ranking or ordering of worlds. I offer as groundwork a set theoretical analysis of the profiles of the problem cases for safety and sensitivity. I then demonstrate that these conditions fail whenever necessary links constitutive of the epistemic situation actually obtain but are not modally preserved. (shrink)

: In this paper I attempt to rethink the relationship between art and life by formulating it based on the rereading of the Benjaminian mimetic faculty by the anthropologist Michael Taussig. Taking this position within history as non-teleological change and based on human activity, to uphold a distinction between original and representation metaphysically becomes impossible. This is important in so far as any notion of primacy becomes obsolete, while at the same time one can work with the historical existence, both (...) material and ideational, of initially abstract concepts such as art. Art then is something that in itself does not have a materially specific reality, but forms reality through artworks, institutions, pecuniary allocations or human motivation. Taking art as a world-forming force that is nonetheless historically produced in turn opens up new, pluralist ways of using this historical given for possible futures. (shrink)