Abstract In Gadamer's later writings on art, his investigation into the being of the work exploits the temporal resonance of the concept of performative enactment ( Vollzug ), which displaces the priority of play ( Spiel ) in his earlier account. Drawing upon Heidegger, Gadamer deploys the concepts of tarrying ( Verweilen ) and the while ( die Weile ) to elucidate the temporality of the work of art as an event of being. On the one hand, tarrying describes the (...) temporal structure of the performance that enables the work to come forth. On the other hand, the while characterizes the unique presence of the work that takes place in and through its enactment. Here Gadamer's understanding of art engages his thought about “empty“ and “fulfilled“ time. For, the temporal event of the artwork is such that it interrupts the ordinary experience of passing time and thereby opens up another, more authentic experience of the fullness of time. (shrink)

Gadamer’s question “Are Poets Falling Silent?” is motivated by the “linguistic need” of modern lyric indicative of the “forgetfulness of language” that prevails today. In Paul Celan’s late work, Gadamer finds poetry that, bordering on the cryptic, stands on the verge of silence. Nevertheless, he insists that these poems do speak and that the title of Celan’s poem series, Breath-crystal, figures the truth of the poetic word. From this standpoint the paper discusses Gadamer’s hermeneutic understanding of the poetic word treating (...) the constitutive elements of the poetic word as an event of language, the way this conception of the poetic word both embraces and yet departs from the usual understanding of the radical turn to language in modern lyric, and the meaning of Gadamer’s claim regarding the truth of the poetic word that fulfills the original saying power of language. (shrink)

Posing the question of beauty anew, Gadamer pursues a hermeneutic remembrance of the original relation of beauty and truth forgotten by modern aesthetics. For Gadamer, the essential relation of kalos and aletheia is preserved, above all, in Plato. This essay elaborates his retrieval of Plato, re-thinking the splendor of beauty and the illumination of truth from being as an event of coming-to-presence. After discussing his engagement with Heidegger the essay reconstructs Gadamer’s interpretative argument, showing how he interprets the transcendence, radiance, (...) and measure that characterize Plato’s idea of the beautiful as structural features of being as an event of truth. (shrink)

This essay traces the trajectory of Gadamer’s retrieval of mimesis by reconstructing his interpretation of Aristotle’s Poetics. Mimesis names the transformationthat takes place when the work constitutes a structure (Gebilde) that offers a presentation (Darstellung) in which the spectator participates. The reconstructiontreats Gadamer’s interpretation of mythos, mimesis, and katharsis as he appropriates them to his understanding of the work as a “transformation into structure” which is a “transformation into the true” that effects a self-transformation in the spectator. By transforming mimesis (...) Gadamer retrieves this ancient concept for the hermeneutic understanding of the work of art as an event of being. (shrink)

ABSTRACTAlthough grounded in different philosophical traditions, Alexander Nehamas and Hans-Georg Gadamer each return to Plato's idea of the beautiful, to kalon, in order to reclaim the relevance of beauty for our understanding of art today. Their appeal to Plato challenges the reign of aesthetics that both see inaugurated by Kant's aesthetic theory. Nehamas criticizes the Kantian notion of “disinterest” as a “pleasure bereft of desire” in order to reassert the passionate longing that draws us toward art. Gadamer criticizes Kant's analysis (...) for the way it divides the aesthetic from the cognitive, thereby alienating art and beauty from any claim to knowledge or truth. So Nehamas emphasizes the import of Platonic erōs to a phenomenological account of our experience of beauty. Love, so understood, elides any easy distinction between the sensual and spiritual, between the desire to possess and the passion to know—just as beauty cannot be captured in distinctions between what is and what appears. Gadamer draws out precisely the ontological dimension of the beautiful as self-presentation. In so doing he revives the intimacy of beauty and truth, alētheia, as the movement into unconcealment by which something comes forth into its presence. In the end, I suggest appropriating Nehamas's phenomenological analysis of the erotic to Gadamer's ontological understanding of the alethic in order to renew the relation of erōs and kalon into an account that recalls this Platonic legacy for a contemporary hermeneutics of art. (shrink)

The poetry of Paul Celan, particularly his late work, offers a considerable challenge to hermeneutics.1 Stammering on the verge of silence, these poems expose understanding to its own limits.2 Yet,...

This essay traces the trajectory of Gadamer’s retrieval of mimesis by reconstructing his interpretation of Aristotle’s Poetics. Mimesis names the transformationthat takes place when the work constitutes a structure (Gebilde) that offers a presentation (Darstellung) in which the spectator participates. The reconstructiontreats Gadamer’s interpretation of mythos, mimesis, and katharsis as he appropriates them to his understanding of the work as a “transformation into structure” which is a “transformation into the true” that effects a self-transformation in the spectator. By transforming mimesis (...) Gadamer retrieves this ancient concept for the hermeneutic understanding of the work of art as an event of being. (shrink)

The twelve essays contained in this important volume address the fundamental, but elusive, topic of hermeneutic truth. To their credit, these authors succeed in illuminating and developing what Gadamer leaves largely unthematized in Truth and Method. Refusing to accept the disjunction of truth and interpretation, they share the conviction that there is, as Wachterhauser's introduction says, "truth after interpretation".

Given the centrality of art for Nietzsche it is surprising that Julian Young's book is the first to address its import for Nietzsche's philosophy as a whole. For this reason alone Nietzsche's Philosophy of Art is a welcome addition to the growing literature on Nietzsche in English. More than that, this study contains a comprehensive, yet concise, account of this topic that soberly elucidates and evaluates Nietzsche's shifting arguments and positions.

In lieu of an abstract, here is a brief excerpt of the content:The Quest for the Historical Abstract ExpressionismDaniel A. SiedellAbstract Expressionism:The International Context, by Joan Marter and David Anfam. Piscataway, NJ: Rutgers University Press, 2007, 320 pp. $26.95, paper.Abstract Expressionism, by Debra Bricker Balken. London: Tate, 2005, 80 pp. $9.60, paper.Reading Abstract Expressionism: Context and Critique, by Ellen Landau. New Haven, CT: Yale University Press, 2005, 768 pp. $45.00, paper.What makes any definition of a movement in art dubious (...) is that it never fits the deepest artists in the movement—certainly not as well as, if successful, it does the others.—Harold Rosenberg, 1952From the moment of its inception in the 1940s, "Abstract Expressionism" has been the subject of reframings, redefinitions, and revisions. This is because it is more than the sum total of artworks and artists traditionally recognized as part of the movement. It is a constitutive part of postwar American cultural life, and it has shaped how we understand art and the role of the artist. It has also shaped the practice of art criticism and defined the role of the art critic. Because it is part of the United States' creation myth of a distinctive postwar "American identity," it also possesses significant symbolic value. And this symbolic value is why it has been such a popular subject for art museum exhibitions for nearly half a century. The fact that in the last ten to fifteen years, major art museums have mounted major exhibitions of the work of key figures in the movement, like Jackson Pollock (including a feature film starring Ed Harris), Mark Rothko, Willem de Kooning, and Barnett Newman, and that auction prices for these artists reach tens of millions of dollars, suggest that, no matter how contested and complicated the concept of "Abstract Expressionism" is, the artists associated with the movement remain relevant.1Abstract Expressionism is not merely big business for museums, collectors, and auction houses. It has also been big business for scholars. The symbolic power of Abstract Expressionism and its influence on shaping and [End Page 107] forming contemporary artistic and critical practice has made the movement an important subject for historical and critical scrutiny. The publication of Irving Sandler's The Triumph of American Painting in 1970 was the first book-length study on Abstract Expressionism, and it marked the gradual beginning of the movement's transformation from a living entity to a more reified subject palatable for academic inquiry. Blending Alfred H. Barr's formalism with an historian's interest in subject matter and iconography and a critic's access to the artists, The Triumph of American Painting provided a taxonomy of sources and influences. Sandler's book, in part, provoked the publication of Serge Guilbaut's How New York Stole the Idea of Modern Art in 1983 (written in 1978 as a doctoral dissertation), which initiated nearly fifteen years of serious and provocative scholarship on Abstract Expressionism. Guilbaut's radical revisionist approach to the subject—which sought to reinterpret the entire development of Abstract Expressionism as an aesthetic weapon of the Cold War—provoked a slew of responses from art historians eager to either jump on the careening bandwagon of Marxist social histories of modern art or hunker down in the trenches to protect hard-won scholarly turf. The latter was the response of a loose federation of art historians eager to forge a scholarly orthodoxy. This emergent paradigm is revealed in a 1988 special issue of Art Journal called "Abstract Expressionism: New and Improved," coedited by Stephen Polcari and Ann Gibson. This issue included essays by those art historians who understood themselves as part of a "new generation" of scholars characterized by their collective desire to transcend the polemics and limitations of those critics and curators whose distorted picture of the movement would be restored to clarity through scholarly distance, a distance that a "new synthesis" of Abstract Expressionist "art, culture, history, and society together, not separately" would produce.2 Sandler and Guilbaut were swiftly dismissed by these art historians of the "new and improved," the former because of his formalism and close proximity to the artists—many of whom he knew personally—the latter because of his Marxism... (shrink)

Broadening access to both computational and educational resources is crit- ical to diffusing machine learning (ML) innovation. However, today, most ML resources and experts are siloed in a few countries and organizations. In this article, we describe our pedagogical approach to increasing access to applied ML through a massive open online course (MOOC) on Tiny Machine Learning (TinyML). We suggest that TinyML, applied ML on resource-constrained embedded devices, is an attractive means to widen access because TinyML leverages low-cost and globally (...) accessible hardware and encourages the development of complete, self-contained applications, from data collection to deployment. To this end, a collaboration between academia and industry produced a four part MOOC that provides application-oriented instruction on how to develop solutions using TinyML. The series is openly available on the edX MOOC platform, has no prerequisites beyond basic programming, and is designed for global learners from a variety of backgrounds. It introduces real-world applications, ML algorithms, data-set engineering, and the ethi- cal considerations of these technologies through hands-on programming and deployment of TinyML applications in both the cloud and on their own microcontrollers. To facili- tate continued learning, community building, and collaboration beyond the courses, we launched a standalone website, a forum, a chat, and an optional course-project com- petition. We also open-sourced the course materials, hoping they will inspire the next generation of ML practitioners and educators and further broaden access to cutting-edge ML technologies. (shrink)

Partindo do tratamento da questão sobre a função social do filósofo, constroem-se os aportes teóricos para direcionar alguns apontamentos para uma temática semelhante: a função social do professor de filosofia. Serão propostas quatro funções sociais para o filósofo como aportes para a discussão a respeito do papel social do professor de filosofia. É para chegar a esses aportes que a investigação é dividida em dois momentos. No primeiro a função social do filósofo é discutida com amparo das reflexões de Franklin (...) Leopoldo e Silva. Serão extraídas quatro funções sociais do filósofo. No segundo momento é discutida a relação entre filosofia e educação. As quatro funções sociais do filósofo serão aplicadas no contexto da atividade do professor de filosofia. O artigo se encerra com as Considerações Finais. (shrink)

Kunst schaffen -- Kunst rahmen -- Birgit Spalts reflektierende Urteilskraft -- Kunst einordnen -- Kunst: immanent.

This is a reply by the author to the contributors to a symposium on the book, The Range of Reasons (Oxford University Press, 2021).

We point out some concepts that appear rather frequently in physics discussions, which, despite a seemingly innocent initial appearance, turn out to have important implicit implications that put into question the very assumption of their meaningfulness. The message of this essay is that, in order to avoid the ensuing confusions, their usage should be accompanied with clarifications that make them meaningful, and then to confront the often uncomfortable underlying assumptions required to do so. In particular, we will visit the notions (...) of novel physics occurring at a certain energy scale, or at certain distance from a black hole’s event horizon, and the various meanings of the word “fluctuations”. (shrink)

A psychedelic renaissance is currently taking place in mental healthcare. The number of psychedelic-assisted therapy trials is growing steadily, and some countries already grant psychiatrists special permission to use psychedelics in non-research contexts under certain conditions. These clinical advances must be accompanied by ethical inquiry. One pressing ethical question involves whether patients can even give informed consent to psychedelic-assisted therapy: the treatment’s transformative nature seems to block its assessment, suggesting that patients are unable to understand what undergoing psychedelic-assisted therapy actually (...) means for them and whether it aligns with their values. The present paper argues that patients often have sufficient knowledge to give informed consent because they know that they want to change their negative status quo and that psychedelic-assisted therapy offers an effective way to do so. Accordingly, patients can understand what the transformative nature of psychedelic-assisted therapy means for them and a make a value-aligned choice even if they are unable to anticipate the manifestation of a psychedelic experience. (shrink)

This study takes as its starting point CousinCousin, Victor’s HegelianHegelianism-sounding claim in his 1828 lectures that the history of philosophy is identical to philosophy itself—and it does so in order to interrogate the various resemblances and divergences between CousinCousin, Victor and Hegel when it comes to determining the relationship between philosophy and the history of philosophy. In particular, the study investigates the difference between the “official” position CousinCousin, Victor takes up in 1833 in which spiritualistSpiritualism philosophy grounds eclectic history of (...) philosophy and his earlier more experimental and provisional positions, which map roughly onto Hegel’s own various ways of articulating the philosophy-history of philosophy relationship. (shrink)

Příspěvek si klade dvojí cíl. V prvé řadě je jeho záměrem vyzdvihnout přínos monografie O revoluci pro celek myšlení Hannah Arendtové. Především pak nabízí interpretaci klíčového oddílu knihy, v němž spočívá vlastní jádro arendtovského návrhu „nové politické vědy“. Ústředním pro politický řád se ukazuje být rozdíl mezi pramenem moci a pramenem autority, která politickému řádu propůjčuje stabilitu. Příspěvek dokládá, že Arendtová v zakladatelském aktu politického společenství spatřuje dva „bludné kruhy“ – bludný kruh legitimity moci a bludný kruh legitimity zákonů. Zatímco (...) s prvním bludným kruhem si zdařilá americká revoluce věděla rady, druhý bludný kruh, který odkazuje k potřebě autority sankcionující pozitivní zákonodárství, ji uvedl do teoretických obtíží. Stať ukazuje, že Arendtová sama důsledně trvá na možnosti nalézt pramen autority výhradně v prostoru politického jednání. (shrink)

There has recently been a focus on the question of statue removalism. This concerns what to do with public history statues that honour or otherwise celebrate ethically bad historical figures. The specific wrongs of these statues have been understood in terms of derogatory speech, inapt honours, or supporting bad ideologies. In this paper I understand these bad public history statues as history, and identify a distinctive class of public history-specific wrongs. Specifically, public history plays an important identity-shaping role, and bad (...) public history can commit specifically ontic injustice. Understanding bad public history in terms of ontic injustice helps understand not just to address bad public history statues, but also understand the value of public history more broadly. (shrink)

Aquinas holds that by its nature the human will has happiness as its ultimate end in every choice, and yet he holds that one can and ought to love God more than oneself or one’s own happiness. This generates the so-called “problem of love”: how can an eudaimonist like Aquinas account for non-selfish love? I argue that Aquinas’s doctrine of goodness as the will’s object and his distinction between the love of desire and the love of friendship solve this problem (...) and indicate that Aquinas’s eudaimonism is only “subordinated eudaimonism.” By its nature the will has happiness—total inhering goodness—as its ultimate object secundum quid, and God—total subsisting goodness—as ultimate object simpliciter. Nevertheless, Aquinas argues on philosophical grounds and with the support of Aristotle’s Liber de Bona Fortuna that God Himself would have to move the will if one were to love God above oneself even in the order of nature. (shrink)

The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on literature and science, this volume presents (...) fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)

The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on literature and science, this volume presents (...) fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)

Journal of Applied Philosophy, EarlyView.

This paper brings out an inconsistency between David Chalmers's dualism, which is the main element of his philosophy of mind, and his structuralism, which is the main element of his epistemology. The point is ad hominem , but the inconsistency if it can be established is of considerable independent interest. For the best response to the inconsistency, I argue, is to adopt what Chalmers calls ‘type‐C Materialism’, a version of materialism that has been much discussed in recent times because of (...) its promise to move us beyond the stand‐off between standard versions of materialism and dualism. In turn, if that version of materialism is true, both dualism and structuralism should be rejected. (shrink)

In naturalistic settings, great apes exhibit impressive social intelligence. Despite this, experimental findings are equivocal about the extent to which they are aware of other minds. At the high level, there is only negative evidence that chimpanzees and orangutans understand the concept of belief, even when simplified non-verbal versions of the ‘location change’ false belief test are used (Call & Tomasello, 1999). More remarkably, even the evidence that they are aware of simpler mental states – such as seeing – is (...) equivocal and ‘decidedly mixed’ (Call & Tomasello 2005, p. 61). At best, there appear to be signature limits to simian capacities in this regard. In addition, there exists a range of proposals about what lies behind their particular form of social intelligence. Within the cognitivist camp, these range from positing a Naïve, Weak, or Minimal Theory of Mind (Bogdan 2009, Tomasello, Call and Hare 2003, Apperly and Butterfill 2009); Perceptual Mindreading (Bermúdez 2009); an Early Mindreading System (Nichols and Stich 2003); or a Theory of Behaviour (Povinelli and Vonk 2004). -/- In line with this experimental evidence, this contribution motivates a different explanatory possibility. It defends the view that the basic ways that apes and humans (both children and adults) engage with other minds is emotionally charged, enactive and non-representational. If true, this would be important for thinking about the moral status of animals capable of such mind minding. This is not only because it would identify an important cross species commonality, but also especially because it would promote the importance of non-cognitive aspects of such engagements. For example, it is at odds with the idea that having a ‘theory of mind’ is required for being phenomenally conscious (Carruthers 2000, 2005). (shrink)

In this article, I argue that that the primary goal of statues honouring public figures is to create and shape a collective identity. The way that these statues further the goal of identity is not by holding up the subjects of the statues as admirable but rather by asserting that the subjects were in some way objectively important and central to some group surrounding the statue. I will look at the defences for keeping statues of and awards named after John (...) A. Macdonald and show that the primary concern is not with defending the character of Macdonald but rather that removing him is ‘erasing history’. These defences are not about defending Macdonald as a person but rather defending a conception of the Canadian identity that requires Macdonald play a central role. Against these defences of Macdonald, I show that the ‘objective history’ case for him and other such similar figures fails. In the particular case of Macdonald, it fails because he was actually not that important for Canadian history. In the general case of negative public figures, I provide a short defence of how group identities are not static and not unchangeably rooted in a single historically based articulation. (shrink)

Addresses perceived irresolvable paradoxes regarding reality as presented by a number of philosophers.

An expanded version of the theory of traditional referentiality suggests that the ambiguous glowing eyes of Iliad 1.200 are Achilles', not Athena's. The image "glowing eyes" bifurcates into two syntactic groups, a verb group and an adjective group, with different connotations. The verb group is associated with enraged mortals; the adjective group, vision and the divine. This division suggests that the verbally glowing eyes in Iliad 1.200 belong to Achilles and express his fury. Yet, colored by the adjective group, they (...) also imply Achilles' tragedy by indexing his vision, semi-divinity, and vitality at the moment when he seals his doom. (shrink)