Appearing in English for the first time, Jean-Luc Nancy’s 2002 book reflects on globalization and its impact on our being-in-the-world. Developing a contrast in the French language between two terms that are usually synonymous, or that are used interchangeably, namely globalisation (globalization) and mondialisation (world-forming), Nancy undertakes a rethinking of what “world-forming” might mean. At stake in this distinction is for him nothing less than two possible destinies of our humanity, and of our time. On the one (...) hand, with globalization, there is the uniformity produced by a global economical and technological logic leading to the contrary of an inhabitable world, “the un-world” (l’im-monde)—as Nancy refers to it—an un-world that entails social disintegration, misery, and injustice. And, on the other hand, there is the possibility of an authentic world-forming, that is, of a making of the world and of a making sense that Nancy calls a “creation” of the world. Nancy understands such world-forming in terms of an inexhaustible struggle for justice. This book is an important contribution by Nancy to a philosophical reflection on the phenomenon of globalization and a further development on his earlier works on our being-in-common, justice, and a-theological existence. (shrink)

Over the past 25 years, no religious institution in America has done more to explore the link between the environment and spirituality than the Cathedral of St. John the Divine. Now, for the first time, a selection of the finest of the Cathedral's ecological sermons appears in a single volume.

Part 1 examines the roles of intelligent cause, empirical materials, and the resulting cosmos, in the account of world-making in the Timaeus. It is argued that the presence of is essential for the distinctness of and ; and an explanation is proposed for why the biblical idea of creation faces no such problem. Part II shows how different suggestions implicit in Plato's doctrine of the intelligible model give rise to radically different kinds of Platonic metaphysics.

Part 1 examines the roles of (a) intelligent cause, (b) empirical materials (fire, earth etc.), and (c) the resulting cosmos, in the account of world-making in the Timaeus. It is argued that the presence of (b) is essential for the distinctness of (a) and (c); and an explanation is proposed for why the biblical idea of creation faces no such problem. Part II shows how different suggestions implicit in Plato's doctrine of the intelligible model give rise to radically (...) different kinds of Platonic metaphysics. (shrink)

_Philosophical reflections on the phenomenon of globalization._.

The article describes a rarely mentioned and discussed method of explication first found in Chapter six of Descartes’s posthumously published _The World_ (_Le Monde_), where he uses a fictitious cosmological narrative to develop an account of our material universe and its laws. The assumption of such an approach is that the thing’s structure (nature) can be revealed by its genesis (its producibility), even if the latter is fictitious, or rather, precisely _because_ it is fictitious. This method of “genetic epistemology” turns (...) out to be surprisingly influential: it is found, for example, in Rousseau’s reflections on the state of nature, but also in commentaries on Descartes’s philosophy – e.g. in Martial Gueroult’s principle of “the order of reasons”. (shrink)

The first IVF baby was born in the 1970s. Less than 20 years later, we had cloning and GM food, and information and communication technologies had transformed everyday life. In 2000, the human genome was sequenced. More recently, there has been much discussion of the economic and social benefits of nanotechnology, and synthetic biology has also been generating controversy. This important volume is a timely contribution to increasing calls for regulation - or better regulation - of these and other new (...) technologies. Drawing on an international team of legal scholars, it reviews and develops the role of human rights in the regulation of new technologies. Three controversies at the intersection between human rights and new technology are given particular attention. First, how the expansive application of human rights could contribute to the creation of a brave new world of choice, where human dignity is fundamentally compromised; second, how new technologies, and our regulatory responses to them, could be a threat to human rights; and, third, how human rights could be used to create better regulation of these technologies. (shrink)

Dharmakīrti’s apoha theory of concept formation aims to provide an account of intersubjectivity without relying on the existence of real universals. He uses the pan-Yogācāra theory of karmic imprints to claim that sentient beings form concepts by treating unique particulars as if a certain subset of them had the same effects. Since this judgment of sameness depends on an individual's habits, desires, and sensory capacities, and these in turn depend on the karmic imprints developed over countless lifetimes and continuously reshaped (...) by ongoing actions, the extent to which individuals experience themselves as acting within a shared world depends on these imprints. However, a number of critics—traditional and contemporary—have expressed compelling doubts about whether or not apoha can be successful given Dharmakīrti's ontology which, in addition to denying universals, eventually denies the reality of even the most basic structure of conventional experience: subject/object duality. In line with the tradition he inherits, Dharmakīrti considers even the mere division of a moment of awareness into defined structures of subject and object to be a distortion shaped by beginningless karmic imprints. While this initial moment of awareness is nonconceptual, the experience of a certain world is always already shaped by the previous actions of sentient beings trapped within the web of saṃsāra, in a process driven by ignorance. Dharmakīrti’s reliance on karmic imprints on two distinct levels—one within the conventional world, and one which constitutes the conventional world—may thereby provide a compelling account of intersubjectivity without relying on universals. (shrink)

Jewish texts from Late Antiquity, as well as culturally affiliated sources, contain three different traditions about the creation of the world from alphabetic letters. This observation, which contradicts the common assumption that the myth of creation from letters stems from the holiness of the Jewish language, calls for comparative study. A structural approach to the letter as a founding ontological element is corroborated by the ancient Greek word stoicheion , which refers to both physical foundations and alphabetic (...) letters. To analyze this attitude to the letter in the ancient world, I draw on the psychoanalytic theory of Jacques Lacan, which addresses the question of the letter in the framework of human discourse. I use Lacan's concepts to describe and illuminate the inherent connection between letters and the very foundations of the world. (shrink)

According to an important set of medieval arguments, it is impossible to make a distinction between creation and conservation on the assumption of a beginningless universe. The argument is that, on such an assumption, either God is never causally sufficient for the existence of the universe, or, if He is at one time causally sufficient for the existence of the universe, He is at all times causally sufficient for the universe, and occasionalism is true. I defend the claim that (...) these arguments are successful. Since Christian theology requires a distinction between creation and conservation, arguments in favour of the possible eternity of the world fail. (shrink)

Calvin's 1559 Institutes is one of the most important works of theology that emerged at a pivotal time in Europe's history. As a movement, Calvinism has often been linked to the emerging features of modernity, especially to capitalism, rationalism, disenchantment, and the formation of the modern sovereign state. In this book, Michelle Sanchez argues that a closer reading of the 1559 Institutes recalls some of the tensions that marked Calvinism's emergence among refugees, and ultimately opens new ways to understand the (...) more complex ethical and political legacy of Calvinism. In conversation with theorists of practice and signification, she advocates for reading the Institutes as a pedagogical text that places the reader in the world as the domain in which to actively pursue the 'knowledge of God and ourselves' through participatory uses of divine revelation. Through this lens, she reconceives Calvin's understanding of sovereignty and how it works in relation to the embodied reader. Sanchez also critically examines Calvin's teaching on providence and the incarnation in conversation with theorists of political theology and modernity who emphasize the importance of those very doctrines. (shrink)

There are books which, in the manner of a legal brief, seek to present a case by marshalling evidence around a central thesis or ‘claim’. Then there are books which are more like canvases: they assemble a wide variety of elements into a hitherto unknown or at least unseen pattern. Roy Porter’s thesis, which can be pieced together from a few half-sentences repeated at the beginning, middle and end of this book, is that there was a British Enlightenment—which was general (...) enough that he dispenses with the need to address the question of ‘national enlightenments’, particularly the Scottish and the Irish, in this case—and that the British Enlightenment was the genuine source, or site, of the creation of ‘modernity’ or modern society, even “the birthplace of the modern” world, as his title indicates. (shrink)

A profound exploration of the simple numerical ratios that underlie our solar system, its musical harmony, and our earliest religious beliefs.

The Cosmos we live in consists of Invisible Prakriti and Visible World. In Visible World, we do live. All the galaxies, Milky Ways, nebulas and planets, stars, and physical bodies belong to this world are governed by the physical and mathematical laws of nature. Prakriti which is invisible spiritually governed and wave-formed existed even before the Big-Bang. Purush holds the Visible World and Prakriti around makes entire Cosmos in existence. Purush which is an absolutely positively charged (...) and quality less with no traces of negative portions always existed, neither being created nor destroyed. A fraction of a Purush known as Omega Point appears into the portion of Prakriti due to some causal effect for further expansion of the Visible World. Purush is situated in the middle of the cylindrical universe surrounded by the Prakriti and Visible World. Theories proposed by different scientists and philosophers to verify the Purush seem to be incomplete trial and error of the zigzag puzzle show. Today, our scientists, cosmologists, and mathematicians are trying to explain the function of the universe through only four physical dimensions of science, which seems to be incomplete without explaining the transcendental factors while dealing with the living bodies. (shrink)

The aim of this essay is to review Friedrich Nietzsche's "The Gay Science" in English Translation. It compares and contrasts the translations by Thomas Common, Walter Kaufmann, Josefine Nauckhoff, and R. Kevin Hill. First, I argue in favor of translating the work's title "Die Fröhliche Wissenschaft" as "The Gay Science" or perhaps more precisely as "The Gay Knowledge". Nietzsche who is likely the greatest stylist in the German language wrote with philological precision and succinctness. This exactitude and awareness of the (...) shaping influence of linguistic means on the contents expressed therefore needs to be reflected throughout in any kind of rendition of Nietzsche's artful texts and the evaluation and assessment thereof. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one (...) of the themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

There are two ways in which Ghazali contributes to the discussion of whether God exists: by arguing for the existence of God, and by arguing against certain views which, in his opinion, stand in the way of truly believing that God exists. In this paper I examine Ghazali’s argument from creation and his refutation or the philosophers’ second proof for the eternity or the world. My purpose will be to argue that: firstly, Ghazali’s argument and his refutation are (...) based on incompatible views of time, and cannot, therefore, both be maintained. Secondly, Ghazali fails to establish the one interesting premiss which he employs in his argument from creation. (shrink)

According to Husserl, Plato played a fundamental role in the development of the notion of teleology, so much so that Husserl viewed the myth narrated in the Timaeus as a fundamental stage in the long history that he hoped would eventually lead to a teleological science of the world grounded in transcendental phenomenology. This article explores this interpretation of Plato’s legacy in light of Husserl’s thesis that Plato was the initiator of the ideal of genuine science. It also outlines (...) how Husserl sought conceptual resources within transcendental phenomenology to turn the key elements of Plato’s creation myth into rigorous scientific ideas. (shrink)

This article takes up the idea of language as a home and dwelling, and reconsiders what this might mean in the context of diasporic bilingualism – where as a ‘heritage speaker’ of a minority language, the ‘mother tongue’ may be experienced as both deeply familiar yet also alien or alienating. Drawing on a range of philosophical and literary accounts (Cassin, Arendt, Anzaldúa, Vuong, among others), this article explores how the so-called ‘mother tongue’ is experienced by heritage speakers in an English-dominant (...) world. From navigating one’s being in-between language-worlds, to the experience of language loss and efforts of reconnection, I argue that bilingual dwelling involves many complex layers often overlooked by philosophical accounts of language that do not attend to the lived world of the migrant and racialised outsider. By turning to the example of bilingual parenting, I then examine how such an undertaking, while labour-intensive, offers opportunities to refresh and co-create language-worlds anew. (shrink)

Young children learn to make sense of the world through mimetic processes. These processes are focused to begin with on their parents, brothers and sisters and people they know well. Young children want to become like these persons. They are driven by the desire to become like them, which will mean that they belong and are part of them and their world. Young children, and indeed humans in general are social beings. They, more than all non-human primates, are (...) social beings who cannot survive without the Other. In mimetic processes the outside world becomes the inner world and the inner world becomes the outside world. The imaginary is developed and the imaginary develops ways of relating to the outside world. In a mimetic loop, this in turn affects the inner world of the imaginary. These processes are sensory and governed by desire. All the senses are involved which means that the imaginary has multiple layers. Since there is an intermingling of images, emotions and language, these processes are rooted in the body and at the same time transcend the body as they become part of the imaginary. Human beings create images of themselves in all cultures and historical periods. They need these images to understand themselves and their relationship to other human beings and to develop social relations and communities. Images of the human being are designs and projections of the human being and his or her relationship to other people and to the world. They are formed to visualize representations of individuals or aspects of them. They arise when we communicate about ourselves. They support us to live with diversities and to develop similarities and feelings of belonging with other people. They are the result of complex anthropological processes, in which social and cultural power structures play an important role. (shrink)

This article studies the debate between the Neoplatonist philosophers Simplicius and John Philoponus on the question of the eternity of the world. The first part consists in a historical introduction situating their debate within the context of the conflict between Christians and Pagan in the Byzantine Empire of the first half of the sixth century. Particular attention is paid to the attitudes of these two thinkers to Aristotle's attempted proofs of the eternity of motion and time in Physics 8.1. (...) The second part traces the origins, structure and function of a particular argument used by Philoponus to argue for the world's creation within time. Philoponus takes advantage of a tension inherent in Aristotle's theory of motion, between his standard view that all motion and change is continuous and takes place in time, and his occasional admission that at least some kinds of motion and change are instantaneous. For Philoponus, God's creation of the world is precisely such an instantaneous change: it is not a motion on the part of the Creator, but is analogous to the activation of a state, which is timeless and implies no change on the part of the agent. The various transformations of this doctrine at the hands of Peripatetic, Neoplatonic, and Islamic commentators are studied, as is Philoponus' use of it in his debate against Proclus. (shrink)

In this essay, I closely examine the role of the screening criterion in the Howard-Snyders’ thought experiment. Jove’s use of a screening criterion plays a crucial role in preserving his moral status. It allows him to take significantly less moral risk in selecting a world for creation. It also helps him resolve the problem of moral luck in his favor. However, it is plausible that a highest screening criterion may not exist, and that for a given screening criterion, (...) a higher one may exist. If this is the case, then Jove faces an infinite regress in selecting a screening criterion, making it impossible for him to use the randomizer. (shrink)

I consider the most serious problem for the traditional account of divine creation in theistic actualism. According to van Inwagen's modal collapse argument, ultimate explanation entails that gratitude to God for one's existence is totally inappropriate. Ultimately, the actual world, and everything in it, is self-explanatory, and not a consequence of divine creation. I argue that van Inwagen's argument is unsound. It is consistent with an ultimate explanation for the world that the actual world is (...) contingently necessary. If God actualizes the world as a matter of contingent necessity, then gratitude to God for one's existence is perfectly appropriate. It is true that we exist as a matter of necessity, but that necessary existence is just a contingent fact. There are possible worlds in which we fail to exist altogether. (shrink)

The starting point of this article is the observation that the emergence of the Anthropocene rehabilitates the need for philosophical reflections on the ontology of technology. In particular, if technological innovations on an ontic level of beings in the world are created, but these innovations at the same time create the Anthropocene World at an ontological level, this raises the question how World creation has to be understood. We first identify four problems with the traditional concept (...) of creation: the anthropocentric, ontic and outcome orientation of traditional concepts of creation, as well as its orientation of material fabrication. We subsequently develop a progressive concept of World creation with four characteristics that move beyond the traditional conceptuality: a materialistic concept of creation that accounts for the ontogenetic process and the ontic and ontological nature of creation, and is conceptualized as semantic creation of the World in which we live and act. (shrink)

The conditions of creation -- Actual creatures, virtual creatings -- Creatural confinement -- Creative subtraction -- Creation mediated : art and literature -- Creation unmediated : philosophy.

Arendarcikas, Birute Since the Second Vatican Council and the historic embrace of Paul VI and the Patriarch of Constantinople Athenagoras I in January 1964, the pope and the hierarchs of the Roman Catholic and Eastern Orthodox Churches have, after centuries of mutual separation, embraced each other once again as sister churches. On many occasions the pope and the hierarchs of the respective churches have drawn attention to the loving veneration of, and special devotion to, Mary, the Mother of God, which (...) both churches hold in common and which unite them as sister churches. In his apostolic exhortation Marialis Cultus on devotion to the Blessed Virgin Mary, Paul VI affirms that 'in venerating with particular love the glorious Theotokos and in acclaiming her as the "Hope of Christians", Catholics unite themselves with their brethren of the Orthodox Churches, in which devotion to the Blessed Virgin finds its expression in a beautiful lyricism and in solid doctrine'. Similarly, in a shared homily with Pope John Paul II, delivered during Vespers in the Basilica of St Mary Major in Rome on 5 December 1987, Ecumenical Patriarch of Constantinople Dimitrios I said: Of all the entire Christian world our two sister Churches have maintained throughout the centuries unextinguished the flame of devotion to the most venerated person of the all holy Mother of God, dedicating to her the finest and most inspired artistic works of song, architecture and painting, turning to her sweetest figure the hearts' desires and the hopes of the devout people of every epoch. (shrink)

This contribution continues the comparison between ancient and modern beliefs on scientific cosmology which began in a previous article in this Journal. I begin with a brief survey of contemporary theories on Big Bang cosmology, followed by a study of the cosmological theories of the Presocratic thinker Pherecydes of Syros. The second part of my paper studies the ramifications of the basic Platonic principle that bonum est diffusivum sui. I begin by studying the vicissitudes of this theory in the Patristic (...) thought of Origen, the Arians, and Athanasius. Following Willy Theiler, I suggest that similarities between the views of Origen and the Neoplatonist philosopher Porphyry of Tyre may be traceable to Plotinus' teacher Ammonius Saccas. Finally, following Endress, I study the way the Arabic translation of some propositions from Proclus' Elements of Theology were accompanied by interpolated glosses derived from the Christian Neoplatonist John Philoponus, which were designed to make Proclus' thought more acceptable to a creationist, Monotheistic belief system such as Islam. Philoponus' theories of instantaneous creation were taken up, thanks to al-Kindi, by the Neoplatonica Arabica, whence they exerted an important influence on the development of Islamic thought. An Appendix of texts with translation and bibliography completes the article. (shrink)

My mother died within the first few months of the pandemic. Her sudden and rapid decline from Alzheimer's disease is difficult to separate from the COVID-19 restrictions put in place by her nursing home just two months prior. We went from visiting her daily to not at all, then to a strictly enforced twenty-minute hospice visit to say goodbye. After her passing, and still amidst the pandemic, I could not write. The conventional methods and outputs of bioethics inquiry felt impossible.Making (...) art is the only thing that felt possible then. Perhaps that's the function of art, to make things feel more possible. I began by collecting materials from work—package inserts, empty prescription bottles and gelatin capsules—to... (shrink)

The question of the eternity of the world was much debated in antiquity, for it seemed to be one of the key philosophical differences between the majority of pagan philosophers and the Christians. Indeed, the whole meaning of the Christian drama was grounded in a historical account of the cosmos, which had an absolute beginning at the Creation, a critical turning point at the Incarnation, and a triumphant conclusion at the Resurrection. But the pagan philosophers, with the possible (...) exception of Plato, who was ambiguous on this point, taught by means of highly sophisticated arguments that the world was eternal. This occasioned a head-on clash between the Fathers and the philosophers, and it provoked a good deal of thought on the part of the Christian writers. This thought was crystalized in Boethius's Consolation of Philosophy and Augustine's Confessions and City of God. The problem seems to have been largely forgotten during the formative period of Latin Christianity from the seventh to the ninth centuries; the traditional Christian version of the beginning was frequently asserted, but the question was not argued, nor was there any attempt to reconcile Genesis with the teaching of the philosophers. (shrink)

Preyer and Krausse’s Sociology on Next Society proposes a new perspective on interpreting the global society of the future. In these Notes, the author discusses some of the key points of the volume. The paradigm shift in the sciences is often introduced by the creation of a new language, a new view of the relationship between words and things. The question is whether this semantic and epistemological feature also characterizes the approach proposed by Preyer and Krausse. The sociology of (...) the Next Society – observes the author – is in fact the latest attempt to get rid of the sociology of social systems based on the analogy between society and living organism. This attempt has been underway for at least 50 years and this volume constitutes the final result. In reality, it is a question of freeing sociology from the hegemony of the socio-biological sciences. And it is not an easy task. The author asks whether this attempt has been successful and what the results are in terms of interpreting the new form of the world. On the one hand, the sociology of the Next society places itself in the sphere of the new theories on the world but, on the other, it still adopts a traditional model. In fact, it aims at overcoming the “society of individuals”, typical of the modern-bourgeois western society, with a society based on the membership of social, professional, etc. orders. The ordering of society should be based on the “membership order”. The authors themselves qualify the next society as a neo-feudal society. How prolific is its approach is still an open question. The numerous researches promoted and directly conducted by the authors are an attempt to give an empirical basis to their proposal. Compared to other theories of global society, the sociology of the next society shows its vitality in placing itself at the level of the “global” analysis of the world. Its limits, perhaps, are in not seeing that there are different “projects” or “forms of globality” competing with each other. Each civilization has a claim to universality and a project of hegemony over the world that could be better understood through an approach based on the concept and paradigm of social conflict, both within societies and between societies and civilizations. (shrink)

Although Maimonides' discussion of creation is one of his greatest contributions - he himself claims that belief in creation is second in importance only to belief in God - there is still considerable debate on what that contribution was. Kenneth Seeskin takes a close look at the problems Maimonides faced and the sources from which he drew. He argues that Maimonides meant exactly what he said: the world was created by a free act of God so that (...) the existence of everything other than God is contingent. In religious terms, existence is a gift. In order to reach this conclusion, Seeskin examines Maimonides' view of God, miracles, the limits of human knowledge, and the claims of astronomy to be a science. Clearly written and closely argued, Maimonides on the Origin of the World takes up questions of perennial interest. (shrink)

A brilliant and comprehensive history of the creation of the modern Western mind. Soul Machine takes us back to the origins of modernity, a time when a crisis in religious authority and the scientific revolution led to searching questions about the nature of human inner life. This is the story of how a new concept—the mind—emerged as a potential solution, one that was part soul and part machine, but fully neither. In this groundbreaking work, award-winning historian George Makari shows (...) how writers, philosophers, physicians, and anatomists worked to construct notions of the mind as not an ethereal thing, but a natural one. From the ascent of Oliver Cromwell to the fall of Napoleon, seminal thinkers like Hobbes, Locke, Diderot, and Kant worked alongside often-forgotten brain specialists, physiologists, and alienists in the hopes of mapping the inner world. Conducted in a cauldron of political turmoil, these frequently shocking, always embattled efforts would give rise to psychiatry, mind sciences such as phrenology, and radically new visions of the self. Further, they would be crucial to the establishment of secular ethics and political liberalism. Boldly original, wide-ranging, and brilliantly synthetic, Soul Machine gives us a masterful, new account of the making of the modern Western mind. (shrink)