Wittgenstein (1993), Derek Jarman’s biopic of the Austrian-born Cambridge philosopher is a fascinating – if perplexing – film. In equal measure aesthetic and didactic, its status is ambiguous, and not only because didacticism in the philosophy of art is often assumed to diminish aesthetic value. Nothing, however, of the film’s aesthetic is depreciated by the intention to instruct. Even if the objective was to teach, the film is also highly aestheticised. Composed of a series of richly theatrical set-pieces, Jarman’s film (...) aspires to a painterly aesthetic. This paper examines the aesthetic and epistemic dimensions of Wittgenstein . The consensus among professional philosophers is that the film, while idiosyncratic and stylised, nevertheless says something important about Wittgenstein’s philosophy. It is as if he has used the project to innovate ways of translating Wittgenstein’s philosophy to aesthetic form. The resultant representational strategies are best understood with reference to the picture theory developed in Wittgenstein’s early philosophy. In the Tractatus Logico - Philosophicus (1922) Wittgenstein characterised the proposition as an articulation of elements that, by virtue of shared logical form, corresponds to the disposition of objects in a possible fact. Under Jarman’s direction, cinematic tableaux are transformed into propositions in the Wittgensteinian sense. In this film, therefore, Jarman has refined his cinematic process into what, following the picture theory, I have called tractarian montage. It is because the philosophy is embedded in the film as a structural component of its form (and not just presented didactically) that Wittgenstein seems oddly right to Wittgensteinian viewers. The aesthetic and epistemic consequences that result from Jarman’s approach are precisely what make the film philosophically interesting – indeed they provide a valuable opportunity to reflect not only on the development of Wittgenstein’s philosophy but also, uniquely, on the relationship between his philosophy and his life. (shrink)

Pre-Socratic -- Socrates (469-399 B.C.) -- Plato (429-347 B.C.) -- Existentialism -- Aristotle (384-322 B.C.) -- The ship of Theseus -- Francis Bacon (1561-1626) -- The cow in the field -- David Hume (1711-1776) -- Hedonism -- Prisoner's dilemma -- St. Thomas Aquinas (1225-1274) -- Hard determinism -- Jean-Jacques Rousseau (1712-1778) -- The trolley problem -- Realism -- Immanuel Kant (1724-1804) -- Dualism -- Utilitarianism -- John Locke (1632-1704) -- Empiricism versus Rationalism -- Georg Wilhelm Friedrich Hegel (1770-1831) -- René (...) Descartes (1596-1650) -- A-Theory -- The liar paradox -- Thomas Hobbes (1588-1679) -- Philosophy of language -- Metaphysics -- Jean-Paul Sartre (1905-1980) -- Free will -- Philosophy of humor -- The Enlightenment -- Friedrich Nietzsche (1844-1900) -- The Sorites paradox -- Ludwig Wittgenstein (1889-1951) -- Aesthetics -- Philosoph of culture -- Epistemology -- Twin Earth -- Arthur Schopenhauer (1788-1860) -- Karl Marx (1818-1883) -- Martin Heidegger (1889-1976) -- Voltaire (1694-1778) -- Relativism -- Eastern philosophy -- Avicenna (980-1037) -- Bertrand Russell (1872-1970) -- Phenomenology -- Nominalism -- Gottfried Wilhelm Leibniz (1646-1716) -- Ethics -- Philosophy of science -- Baruch Spinoza (1632-1677) -- Philosopy of religion. (shrink)

I construe mathematical philosophy not in the narrow sense of philosophy of mathematics but in a broad indefinite sense of different manners of giving mathematics a privileged place in the study of philosophy. For example, in one way or another, mathematics plays an important part in the philosophy of Plato, Descartes, Spinoza, Leibniz, and Kant. In contrast, history plays a central role in the philosophy of Vico, Hegel, and Marx. In more recent times, Frege, Husserl, Russell, Ramsey, and Gödel all (...) began as mathematicians. One way of viewing Kant’s system of philosophy might be to stress that he was struck by the synthetic a priori character of mathematical propositions. He went on to offer a remarkable account of this fact and also look for and propose synthetic a priori foundations of physics, morality, and esthetics. (shrink)

My dissertation is a study of the relationships among aesthetics, ethics and politics in the philosophy of Ludwig Wittgenstein. In this project I use primary texts, records of conversations, and correspondence to describe Wittgenstein's "moral perfectionism." I then consider what place there might be for political action within his conception of the good life. The aim of the dissertation is twofold. First, it is an analysis of Wittgenstein's ethical thought and the continuity it provides between his early and later work. (...) I begin with Wittgenstein's claim that "Ethics and aesthetics are one," and then I trace the development of his views on ethics through the middle and later periods of his work. Second, the study of Wittgenstein's ethical views is an occasion for the study of the relationships among aesthetics, ethics, and politics. I argue that Wittgenstein's views on ethics and ethical language suggests a "politics of health". I read Wittgenstein as a critic of modernity whose work suggests both that our future political endeavors should be detached from questions of certainty, and that we should return to the Aristotelian model of allowing the good person to stand as a moral and political exemplar without epistemic or scientific justification. (shrink)

I discuss the role of beauty in physics. Physicists are sometimes described as platonists for their conviction that the fundamental laws are elegant and aesthetic arguments represent an important epistemic tool. After a review of the ideas of Plato and some of the leading figures of modern physics, which suggest that this is indeed the case, I present a list of current aesthetic criteria. I focus on symmetry and unity and demonstrate their increasing relevance in an array of experimentally verified (...) theories. I also deal with an open issue of naturalness as the third criterion. The laws of nature appear increasingly beautiful as we uncover them, and it is important to see if the trend continues in the future. (shrink)

Given the undeniable influence of the linguistic turn, it is common to characterize epistemology in the twentieth century as centrally concerned with meaning. But many of the early twentieth-century figures who helped to inspire that turn did not characterize meaning exclusively in terms of language. In response to contemporary accounts that tend to limit the scope of meaning to the semantic, pragmatic or conceptual, I use the work of Husserl and Wittgenstein to argue for the importance of non-linguistic aspects of (...) lived experience (Erlebnis) to the theory of meaning, situating the project historically as a legacy of Kant's Critical epistemology and systematically in terms of contemporary debates about the role and status of nonconceptual content. -/- I argue in Chapter One that a robust theory of meaning must take account of the way the conditions of the possibility for meaning are determined by intrinsically value-bearing features of everyday experience, features that are not themselves inherently linguistic or conceptual. Most contemporary nonconceptualist accounts of perceptual experience fail to adequately theorize the role of the nonconceptual on its own terms, reducing nonconceptual elements of experience to that of mere "fodder" for conceptualization and ignoring the epistemic role the nonconceptual plays in determining structural conditions of possibility. This can be overcome through a transcendental-constitutional approach that examines the full range of experiential structures--including those not mediated by language or concepts--by which meaning is constituted. -/- Tracing a series of parallel developments in the theories of meaning of Husserl and Wittgenstein in Chapters Two through Five, I argue that--despite important differences--both authors' later conceptions of meaning necessarily include accounts of its relation to an inexact, non-linguistic dimension of experiential life: the lifeworld (Husserl) or form(s) of life (Wittgenstein). What appears from the standpoint of linguistic and conceptual analysis to be an unfortunate inexactness is in terms of the later conceptions of both philosophers not the result of incomplete analysis, but of a recognition of the ontological primacy of the lived and fundamentally social phenomenon of meaningfulness that characterizes our experience in a way that outstrips conceptual and linguistic representation. (shrink)

Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of “surface reading.” While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, (...) which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein’s later work that stresses Wittgenstein’s parallel criticisms of the spirit of empiricism. Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery’s “Instruction Manual,” which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats’s “Leda and the Swan.” He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience. (shrink)

The inheritance of dualism from Plato to Descartes, and since, has impoverished the human relation with nature, the world, other humans, and other species. The division of soul and body, and its counterpart of mind and body, gave us a world from which we believe ourselves to be separate from and superior to other species. This self-othering standpoint has had devastating consequences socially, politically, economically, and ecologically. This essay seeks to identify some resources in the Western tradition in phenomenology (...) and pragmatism that avoid this standpoint and bring them into conversation with some primary insights of Buddhist philosophy: interdependent arising, the not-self, and interbeing. By doing so, it is not only suggested that comparative conversations are not only useful in their own right, but they add dimensions to our experience in the world. Moreover, they offer avenues for living enriched lives in concert with the world without engaging in self-deceptive mental and comforting psychological activities of who and what we really are. (shrink)

Why do we remember? And, for that matter, what is remembering? Placed between body and mind, the phenomenon of memory simultaneously involves biological, psychological, semiotic, and metaphysical elements. Memory’s place at the heart of our understanding of ourselves is why many of the greatest philosophers of all the time have dealt with the problem – or, better, have had to deal with it. Plato, Aristotle, Augustine, Descartes, Locke, Kant, Hegel, Bergson, Russell, and Wittgenstein, are just a few among many who (...) have proffered explanations. While all such proposals have been deficient in their own ways, each has advanced our understanding of the myriad phenomena associated with memory. With recent developments in phenomenology, analytic philosophy, and the empirical sciences interest in memory has intensified. In the 20th century, philosophers were particularly interested in identifying its causes, the ontology of mnemonic traces, the mechanisms of recall, and its epistemic characteristics. Moreover, as philosophy has directed its sight towards social objects and structures, questions involving memory have developed political and social dimensions as well – extending the debate to collective memory. What are the mechanisms of intersubjective memorization and recall of information, ideas, and representations? What are the ethical dimensions and consequences of public memory? (shrink)

Cet article vise à examiner la critique wittgensteinienne d’Héraclite et des idées de ce dernier selon lesquelles « tout coule » et « on ne peut entrer deux fois dans la même rivière ». Dans la première section, j’examinerai les sources et les interprétations traditionnelles de ces idées. Dans la seconde section, je discuterai le lien établi par David G. Stern entre les remarques de Wittgenstein sur l’image de la rivière et l’étude qu’il a faite de Platon à partir de (...) 1931. Dans la troisième section, je m’attacherai aux notes sur Héraclite antérieures à 1931 et je les relierai à la question d’un langage phénoménologique. Puis, dans les sections quatre et cinq, je critiquerai le portrait que dresse Hintikka de Wittgenstein en phénoménologue et je fournirai une analyse approfondie de la phénoménologie de Wittgenstein. Enfin, dans la sixième section, je tenterai de faire une synthèse de l’ensemble et de porter un nouveau regard sur la dernière philosophie de Wittgenstein.The aim of this paper is to focus on Wittgenstein’s criticism of Heraclitus and his ideas that « everything flows » and that « one cannot step into the same river twice ». In the first section, I review the sources and the traditional interpretations of these ideas. In the second section, I discuss David G. Stern’s association of Wittgenstein’s remarks on river imagery with his study of Plato after 1931. In the third section, I scrutinize the pre-1931 notes on Heraclitus and link them to the question of a phenomenological language. Then, in sections four and five, I criticize Hintikka’s portrait of Wittgenstein as a phenomenologist and provide an in-depth analysis of Wittgenstein’s phenomenology. Finally, in section six, I attempt to draw everything back together and take a fresh look at Wittgenstein’s later philosophy. (shrink)

Normal 0 21 false false false MicrosoftInternetExplorer4 This article will present an interpretation of Wittgenstein ’ s understanding of the relationship between ethics and aesthetics. In extension, it will inform recent discussions regarding a special kind of nonsensicality , which forms a central part of ethical and aesthetical expressions. Instead of identity between ethics and aesthetics, we should understand the relationship in terms of interdependence . Both attitudes provide a view sub specie aeternitatis and thus permit a view of the (...) world as a whole. Employing the vocabulary of Charles Taylor and Harry Frankfurt, it must be remembered that rather than a neutral view from nowhere, such wholeness arises out of strong evaluations that are made against the backdrop of a constitutive framework of intelligibility. At this point, the epistemic gain of actualizing Wittgenstein will reveal itself: it will put us in a position where it is possible to differentiate between ethical and aesthetical forms of identification that Taylor and Frankfurt neglect. However, in order to actualize Wittgenstein ’ s ideas, it is necessary to argue that Tractatus should not be understood in a Kantian fashion as suggested by Tilghman for instance. (shrink)

The purpose of this paper is to demonstrate that narrative representations can provide knowledge in virtue of their narrativity, regardless of their truth value. I set out the question in section 1, distinguishing narrative cognitivism from aesthetic cognitivism and narrative representations from non-narrative representations. Sections 2 and 3 argue that exemplary narratives can provide lucid phenomenological knowledge, which appears to meet both the epistemic and narrativity criteria for the narrative cognitivist thesis. In section 4, I turn to non-narrative representation, focusing (...) on lyric poetry as presenting a disjunctive objection: either lucid phenomenological knowledge can be reduced to identification and fails to meet the epistemic criterion, or lucid phenomenological knowledge is provided in virtue of aesthetic properties and fails to meet the narrativity criterion. I address both of these problems in sections 5 and 6, and I close with a tentative suggestion as to how my argument for narrative c.. (shrink)

Since Peter Geach coined the phrase in 1966 there has been much discussion among scholars of the "Socratic fallacy." No consensus presently exists on whether Socrates commits the "Socratic fallacy"; almost all scholars agree, however, that the "Socratic fallacy" is a bad thing and that Socrates has good reason to avoid it. I think that this consensus of scholars is mistaken. I think that what Geach has labeled a fallacy is no fallacy at all, but a perfectly innocent consequence of (...) Platonic epistemology. The "Socratic fallacy" arises from the "Priority of Definition" principle (PD). Plato is committed to (PD) in the "Meno." The "Meno" also contains a famous discussion of the difference between episteme and doxa (97a ff.). If we understand what Plato meant by episteme we can see that he must be committed to (PD); but we can also see that (PD) has none of the harmful consequences Geach attributes to it. Geach's view is indebted to Wittgenstein's philosophy of language. (PD) is implausible on this reading of the verb "to know," but not on Plato's. Plato claims that a demand for an explanation is appropriate wherever a claim to knowledge is made. Plato links the concept of episteme explicitly with the concept of logos; the connection between the terms may have been analytic. It does not follow from the Platonic conception of knowledge, as Geach argues, that it is "no use" using examples to establish general definitions. All that follows is that one cannot know that an alleged example of a term T is a genuine example until one has a general account of what it is to be T. Without the stronger conclusion, Geach cannot establish that the "Socratic fallacy" is a fallacy. (shrink)

This volume investigates the meaning of visual rhythm through Piet Mondrian's unique approach to understanding rhythm in the compositional structure of painting, drawing reference from philosophy, aesthetics, and Zen culture. Its innovation lies in its reappraisal of a forgotten definition of rhythm as 'stasis' or 'composition' which can be traced back to ancient Greek thought. This conception of rhythm, the book argues, can be demonstrated in terms of pictorial strategy, through analysis of East Asian painting and calligraphy with which Greek (...) thought on rhythm has identifiable commonalities. The book demonstrates how these ideas about rhythm draw together various threads of intellectual development in the visual arts that cross disparate aesthetic cultural practices. As an icon of early 20th Century Modernism, Mondrian's neoplasticism is a serious painterly and philosophical achievement. In his painting, Mondrian was deeply influenced by Theosophy, which took its influence from Eastern aesthetics; particularly East Asian and Indian thought. However, Mondrian's approach to visual rhythm was so idiosyncratic that his contribution to studies of visual rhythm is often under-recognized. This volume shows that a close inspection of Mondrian's own writing, thinking and painting has much to tell scholars about how to understand a long forgotten aspect of visual rhythm. Rodin's famous criticism of photography ("athlete-in-motion is forever frozen") can be applied to Muybridge's zoopraxiscope, the Futurists' rendition of stroboscopic images, and Duchamp's "Nude Descending a Staircase." Through a comparative study between Mondrian's painting and these seminal works, this volume initiates a new convention for the cognition of the surface of painting as visual rhythm. "Mondrian's simultaneous emphasis on the static and the rhythmic is hardly fodder for a publicist. Eiichi Tosaki has taken on the challenge of elucidating Mondrian's theories of rhythm, and particularly his conception of "static" rhythm. The result is a tour de force that will forever alter the reader's encounter with the works of Mondrian." Prof. Kathleen Higgins. (shrink)

Classical phenomenology -- The transcendental tradition -- The logical investigations of the I -- From the I to the ego -- The grammar of the transcendental ego -- Strawson on the primacy of personhood -- Wittgenstein on the lure of words -- The grammar of the transcendental ego -- Zahavi on transcendental subjectivity as intersubjectivity -- Contemporary arguments for the transcendental ego : Marbach, Soffer -- Schutz, Theunissen on social phenomenology -- Husserl's later thought -- The multidiscipline of (...) dialogical phenomenology -- Sociolinguistics -- Personal pronouns : reconsidering the traditional view -- Egocentrism and polycentrism -- Person deixis and polycentrism -- Anscombe -- Wittgenstein -- Personal pronouns : reconsidering the traditional view -- I and we : a relational community -- Benveniste and I : you connectedness -- Objectification in the third person -- Castaneda's phenomeno-logic of the I -- Developmental perspectives -- Piaget's legacy -- Recent research on the sociality of children -- Proto-conversations in infancy -- The dialogic model of Jaffe and Feldstein -- From proto-conversation to conversation -- Perspectives from blindness and autism -- Polycentrism and personal pronoun acquisition: loveland and others -- An egocentric model of personal pronoun acquisition : Charney and others -- Philosophical implications and directions for future research -- Philosophy of dialogue -- Rosenstock-Huessy's grammatical method of social research -- Rosenzweig's speech-thinking -- Buber's I and you -- The primordial duality in Buber, Humboldt, Plato -- Buber and his critics -- Rosenstock-Huessy -- Levinas -- Dialogical phenomenology -- The dialogic dimension of meaning and experience -- The practice of phenomenology -- Implications for politics and feminism. (shrink)

For any given society, its particular technology of communication has far-reaching consequences, not merely as regards social organization, but on the epistemic level as well. Plato's name-theory of meaning represents the transition from the age of primary orality to that of literacy; Wittgenstein's use-theory of meaning stands for the transition from the age of literacy to that of a second orality (audiovisual communication, electronic information processing). On the basis of a use-theory of meaning the problem of machine consciousness, to which (...) the later Wittgenstein again and again returned, is capable of a non-essentialist solution: appropriate changes in our form of life might well entail a radically different psychological language-game. (shrink)

The book includes engaging discussions of all of the areas central to aesthetics: aesthetic experience, representation, expression, the definition and ontology of art, evaluation, interpretation, truth, and morality. As well as providing a solid grounding in the seminal theories of Plato, Immanuel Kant, and Benedetto Croce, it presents the ideas of contemporary analytic thinkers, such as Ludwig Wittgenstein and Nelson Goodman, and the iconoclastic views of continental theorists, such as Roland Barthes and Jacques Derrida. Concerned throughout with enhancing the reader's (...) response to art, Colin Lyas brings his theoretical discussions to life with a wealth of topical examples of human creativity that are familiar to young people: Bowie as well as Beethoven, Warhol as well as Whistler. With comprehensive, up-to-date guides to further reading, Aesthetics is an invaluable introduction for students taking philosophy of art courses and essential reading for anyone who wishes to be informed and inspired to think about and experience art in a new way. (shrink)

The book includes engaging discussions of all of the areas central to aesthetics: aesthetic experience, representation, expression, the definition and ontology of art, evaluation, interpretation, truth, and morality. As well as providing a solid grounding in the seminal theories of Plato, Immanuel Kant, and Benedetto Croce, it presents the ideas of contemporary analytic thinkers, such as Ludwig Wittgenstein and Nelson Goodman, and the iconoclastic views of continental theorists, such as Roland Barthes and Jacques Derrida. Concerned throughout with enhancing the reader's (...) response to art, Colin Lyas brings his theoretical discussions to life with a wealth of topical examples of human creativity that are familiar to young people: Bowie as well as Beethoven, Warhol as well as Whistler. With comprehensive, up-to-date guides to further reading, Aesthetics is an invaluable introduction for students taking philosophy of art courses and essential reading for anyone who wishes to be informed and inspired to think about and experience art in a new way. (shrink)

Since Peter Geach coined the phrase in 1966 there has been much discussion among scholars of the "Socratic fallacy." No consensus presently exists on whether Socrates commits the "Socratic fallacy"; almost all scholars agree, however, that the "Socratic fallacy" is a bad thing and that Socrates has good reason to avoid it. I think that this consensus of scholars is mistaken. I think that what Geach has labeled a fallacy is no fallacy at all, but a perfectly innocent consequence of (...) Platonic epistemology. The "Socratic fallacy" arises from the "Priority of Definition" principle (PD). Plato is committed to (PD) in the Meno. The Meno also contains a famous discussion of the difference between episteme and doxa (97a ff.). If we understand what Plato meant by episteme we can see that he must be committed to (PD); but we can also see that (PD) has none of the harmful consequences Geach attributes to it. Geach's view is indebted to Wittgenstein's philosophy of language. (PD) is implausible on this reading of the verb "to know," but not on Plato's. Plato claims that a demand for an explanation is appropriate wherever a claim to knowledge is made. Plato links the concept of episteme explicitly with the concept of logos; the connection between the terms may have been analytic. It does not follow from the Platonic conception of knowledge, as Geach argues, that it is "no use" using examples to establish general definitions. All that follows is that one cannot know that an alleged example of a term T is a genuine example until one has a general account of what it is to be T. Without the stronger conclusion, Geach cannot establish that the "Socratic fallacy" is a fallacy. (shrink)

Easy to understand philosophy papers in all areas. Table of contents: Three Short Philosophy Papers on Human Freedom The Paradox of Religions Institutions Different Perspectives on Religious Belief: O’Reilly v. Dawkins. v. James v. Clifford Schopenhauer on Suicide Schopenhauer’s Fractal Conception of Reality Theodore Roszak’s Views on Bicameral Consciousness Philosophy Exam Questions and Answers Locke, Aristotle and Kant on Virtue Logic Lecture for Erika Kant’s Ethics Van Cleve on Epistemic Circularity Plato’s Theory of Forms Can we trust our senses? Yes (...) we can Descartes on What He Believes Himself to Be The Role of Values in Science Modern Science Kant’s Moral Philosophy Plato’s Republic as Pol Potist Bureaucracy Schopenhauer on Human Suffering Bertrand Russell on the Value of Philosophy The Philosophical Value of Uncertainty Logic Homework: Theorems and Models Searle vs. Turing on the Imitation Game Hume, Frankfurt, and Holbach on Personal Freedom Manifesto of the University of Wisconsin, Madison Secular Society Michael’s Analysis of the Limits of Civil Protections Bentham and Mill on Different Types of Pleasure Set Theory Homework Aristotle on Virtue Nagel On the Hard Problem Wittgenstein on Language and Thought Camus and Schopenhauer on the Meaning of Life Camus’ Hero as Rebel without a Cause My Little Finger: Camus’ Absurdism Illustrated Are Late-term Abortions Ethical? Does Mathematics Assume the Truth of Platonism? The Self-defeating Nature of Utilitarianism and Consequentialism Generally What is The Good Life? Bentham and Mill regarding types of pleasures Kant’s Moral Philosophy Five Short Papers on Mind-body Dualism Tracy Latimer’s Father had the Right to Kill Her: Towards a doctrine of generalized self-defense Arguments Concerning God and Morality Goldman, Rousseau and von Hayek on the Ideal State J.S Mill on Liberty and Personal Freedom A Kantian Analysis of a Borderline Date-rape Situation Living Well as Flourishing: Aristotle’s Conception of the Good Life Three Essays on Medical Ethics: Answers to Exam Questions on Elective Amputation, Vaccination, and Informed Consent Hobbes, Marx, Rousseau, Nietzsche: Their Central Themes De Tocqueville on Egoism Mill vs. Hobbes on Liberty Exam-Essays on the Moral Systems of Mill, Bentham, and Kant Kant’s Moral System Aristotle on Virtue Plato’s Cave Allegory An Ethical Quandary Superorganisms The Tuskegee Experiment A Rawlsian Analysis Why Moore’s Proof of an External World Fails A Defense of Nagel’s Argument Against Materialism A Utilitarian Analysis of a Case of Theft The Paradox of the Self-aware Wretch: An Analysis of Pascal’s Moral Philosophy Jean-Paul Sartre: Decline and Fall of a Marxist Sell-out A One Page Proof of Plato’s Theory of Forms Plato’s Republic as Pol Potist Bureaucracy The problem of the one and the many Four Short Essays on Truth and Knowledge What is ‘the Good Life?’ The Ontological Argument Different Political Philosophies: Plato, Locke, Madison, Rousseau, Hayek, and Mill on the State What do I know with certainty? Skepticism about skepticism Neuroscience and Freewill Operant Conditioning What makes us special? Are Late-term Abortions Ethical? No Two Papers on Epistemology: Gettier and Bostrom Examination Nietzsche on Punishment God’s Foreknowledge and Moral Responsibility . (shrink)

Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato's analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic (...) and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous material objects. It is in this shared project, I contend, that Rodchenko's strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato's objects of absolute beauty to be, in the context of industrial capitalism and the crisis of perception that Benjamin, among others, saw as its consequence, sites of loss and meaninglessness for modern consciousness, yet sites which nonetheless contain emancipatory potential for a social order that has been systematically alienated from itself and its environment. (shrink)

The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...) testimony about art does not have much epistemic value. The situation is somewhat different with respect to aesthetic testimony about nature, proofs, and theories. (shrink)

Plato did not allow many artists and poets into his Utopia Republic because of their bad and misleading influence on the young. But it seems that he learned storytelling and narrating from them and concealed what he learned beneath his philosophy. Thus, Plato's dialogues became more effective and gained aesthetic and artistic qualities. Theaetetus, one of the best known dialogues of Plato, is a conversation and discussion about episteme. Due to using classical dramatic structure, this dialogue is the most important (...) dialogue with regard to dramatization of philosophical thoughts. The goal of this article is to study the dramatic structure of Plato's dialogues and show its potentials for interaction with narrative theories. It could be said that Plato's dialogues have many resemblances to the Greek drama and, today, we can call Plato a playwright. Thus, it is important and necessary to reread and reevaluate Plato's works via narratological view. (shrink)

Wittgenstein’s concepts shed light on the phenomenon of schizophrenia in at least three different ways: with a view to empathy, scientific explanation, or philosophical clarification. I consider two different “positive” wittgensteinian accounts―Campbell’s idea that delusions involve a mechanism of which different framework propositions are parts, Sass’ proposal that the schizophrenic patient can be described as a solipsist, and a Rhodes’ and Gipp’s account, where epistemic aspects of schizophrenia are explained as failures in the ordinary background of certainties. I argue that (...) none of them amounts to empathic-phenomenological understanding, but they provide examples of how philosophical concepts can contribute to scientific explanation, and to philosophical clarification respectively. (shrink)

Doxastic distinctions help us define the basis and biases in belief–formation. Empirical and extra-empirical justification play an important role in determining doxastic distinctions. When we distinguish the different types of beliefs, we understand that there are basically three kinds of beliefs, namely, verifiable, falsifiable, and unfalsifiable beliefs. Empirical justification provides the basis for establishing the veracity of verifiable and falsifiable beliefs. Extra-empirical justification provides the basis for establishing the veracity of unfalsifiable or irrefutable beliefs. Verifiable or falsifiable beliefs that are (...) reductive require the mandatory acceptance of their truth. However, unfalsifiable beliefs which are non-reductive require the volitional acceptance of their truth. Because there is both empirical and extra-empirical justification in belief-formation, we can accept beliefs with or without, against, or regardless of empirical evidence. Unfalsifiable beliefs do not mean that these beliefs are unjustifiable; it simply means that these beliefs are not empirically justifiable. Understanding the basis and biases of belief-formation is to be aware of how we come to know what we believe. As empirical basis allows us to hold beliefs based on either the principle of confirmation or falsification. Extra-empirical basis, namely phenomenological conjectures, allows us to hold beliefs founded on existential assertions. The intent of this paper is to present doxastic distinctions to help us understand the basis and biases associated with belief-formation. As long as epistemic claims are accepted, and their content is considered believable, the means used to arrive at those beliefs must also be respected. Every doxastic distinction not only provides the basis for belief-formation but also defines the role and limits of both empirical and extra-empirical justification in belief-formation. When we recognize the different types and different ways of justifying beliefs: we understand why we can accept beliefs with or without evidence; against or regardless of empirical justification, and know when to define beliefs as Plato argued as justified true belief and when to define beliefs as justified belief-decisions. Keywords: beliefs, justified true belief; justified belief-decisions, empirical and extra-empirical. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 89-103 MuseSearchJournalsThis JournalContents[Access article in PDF]Philosophical AestheticsDonald Phillip VereneIs there an aesthetics of philosophy? Does philosophical discourse have a foundation in sense and sensibility? If the answer to these questions is affirmative and there is in some sense a philosophical aesthetics, what conclusions might be drawn for philosophical education?Put another way: Does philosophy require the power of the imagination and the product (...) of this power-image? Or is philosophy the product of the pure concept, the rational idea? Does philosophical reason rest upon a logic that resides in thought alone that is expressed essentially in principles and arguments disconnected from images and sentiment?The Philosophical ImaginaryThe French philosopher Michèle Le Doeuff says:Whether one looks for a characterization of philosophical discourse to Plato, to Hegel or to Bréhier, one always meets with a reference to the rational, the concept, the argued, the logical, the abstract. Even when a certain coyness leads some authorities to pretend that they do not know what philosophy is, no agnosticism remains about what philosophy is not. Philosophy is not a story, not a pictorial description, not a work of pure literature. Philosophical discourse is inscribed and declares its status as philosophy through a break with myth, fable, the poetic, the domain of the image. 1Le Doeuff continues:If, however, one goes looking for this philosophy in the texts which are meant to embody it, the least that can be said is that it is not to be found there in a pure state. We shall also find statues that breathe the scent of roses, comedies, tragedies, architects, foundations, dwellings, [End Page 89] doors and windows, sand, navigators, various musical instruments, islands, clocks, horses, donkeys and even a lion, representatives of every craft and trade, scenes of sea and storm, forests and trees: in short, a whole pictorial world sufficient to decorate even the dryest "History of Philosophy." 2Le Doeuff points to Hegel's work as an example of the claim that the sole form of philosophy is thought. Yet the works of Hegel, like those of Plato, are full of images. Plato and Hegel are masters of metaphor. One can say of them what Aristotle says in the Poetics, that "the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others and it is a sign of genius. For the right use of metaphor requires an eye for similarities in dissimilars." 3 Despite his mastery of metaphor, in the Republic Plato uses his doctrine of eidos to criticize the power of eikon to present truth. Hegel, in the Phenomenology, uses his doctrine of the Begriff to claim that the Bild cannot produce the science of the absolute. Plato and Hegel say one thing in their texts, but in the texts themselves they do another. Plato's dialogues are filled with metaphors and likely stories from the Ring of Gyges to the metaphor of the Sun to the tale of Atlantis, as are Hegel's works, from the "night in which all cows are black" to the phrenological skull to the owl of Minerva that flies only at the falling of dusk.How are we to comprehend the extremes of philosophical doctrine on the one hand and the discourse that expresses it on the other? Is the discourse simply the outer shell of the doctrine, inessential to its truth, or does the doctrine itself require for its truth all that is needed for its proper statement?I wish to seek the answer to this by connecting Plato to Hegel, using Vico as an intermediary, in particular Vico's conception of la sapienza poetica (poetic wisdom) and his conception of the universale fantastico (imaginative universal). My claim is that philosophical discourse, as well as philosophy itself, depends upon an aesthetic that cannot be overcome by reason, that there is a philosophical imaginary that necessarily accompanies philosophical rationality. The concept, the idea, always has a shadow, a doppelgänger through which... (shrink)

This article examines the theory of recollection in Plato's Meno and attempts to unravel some long-standing puzzles about it. What are the prenatal objects of the soul's vision? What are the post-natal objects of the soul's recollection? What is innate in the Meno? Why does Socrates (prima facie) suggest that both knowledge and true opinion are innate? The article pays particular attention to the ana- prefix in the verbs aneuriskô, anakineô and analambanô, and suggests that they are used for two (...) distinct stages of recollection: a phenomenological stage of ‘finding again’ or ‘awakening’ our innate content, which Plato calls doxa, and an epistemic stage of ‘getting it back’ as epistêmê. Thinking of the verbs with this ‘back/again’ sense of the ana- prefix (instead of as ‘up’, in the common translation of analambanô as ‘take up’) allows us to understand why Plato would simultaneously imply that our souls had prenatal epistêmê, have post-natal innate true opinion and have the potential to analambanein epistêmê. He is not talking about ‘taking up’ epistêmê that he also calls doxa, but about ‘getting back’ the epistêmê we had prenatally. The article concludes with an examination of what this innate content is, suggesting that it is a type of ‘principle’ and ‘essential’ mental content. (shrink)

Ambitious in scope and innovative in concept, this book offers an overview and critique of the conventions surrounding artistic creativity and intellectual endeavour since the outset of 'the broader modernity', which the author sees as beginning with the decline of feudalism and the Church. As a work of intellectual history, it suggests that art and the conventions associated with the artistic constitute a secular institution that has supplanted pre-Reformation theology. Beginning with Luther, Calvin, and Shakespeare and culminating with the Kantian (...) notion of the artist as an 'original genius,' the author reconstructs the steps by which art and creative activity were installed as the redemptive values of a modernity. In the process, the author reads passages from Plato, Proust, Donne, Locke, Berkeley, Hume, Kleist, Rousseau, Melville, Wittgenstein, Benjamin, as well as the graphic works of Holbein, Dürer, Mondrian, and Rothko. (shrink)

In this paper, I suggest an aesthetic model that is consistent with anti-foundational scientific knowledge. How has an aesthetics without foundation to be configured? In contrast to the conventional subject/object model, with idealistic and subjective aesthetics, but also with object-oriented assumptions, I suggest that aesthetics has to be characterized as relational aesthetics in terms of process-oriented perception and that this leads to an _Aesthetics Without Objects_ (AWO) approach. The relational nature of processes means that they do not happen _inter_-, that (...) is, between ontologically delimited and stable entities, but rather they _correspond_ between relations. I will try to show that AWO matches well with the onto-phenomenological-epistemic and relational models proposed by recent theories in different fields of science, especially in the relational interpretation of quantum physics. The field of aesthetics, then, does not indicate perceptual fixed contents—either subjective or objectual properties—rather it emerges from a correspondence occurring in an engaged and situated perceptual movement, an _agencing_ that is prior to any sharp distinction between a perceiver and a perceived. I propose to call _haptic_ this perceptual agencing. In the first section, I describe the reasons according to which the adoption of AWO seems more correct and advisable, both with respect to contemporary scientific models and to the current ecological changes on the planet. In the second section, I portray some characteristics of AWO. In the third section, I argue that AWO calls for haptic perception. In the fourth section, I briefly draw some meta-aesthetics consequences concerning, on the one side, socio-political issues of AWO and, on the other side, the possibility for a theory in an anti-foundational model. I conclude with a proposal: a process-oriented aesthetics approach has to be understood mainly as an _art of thinking_. This means rethinking and re-evaluating the idea of aesthetics as an _artisan thought_. (shrink)

Deleuze's publications have attracted enormous attention, but scant attention has been paid to the existential relevance of Deleuze's writings. In the lineage of Nietzsche, Life Drawing develops a fully affirmative Deleuzean aesthetics of existence. For Foucault and Nehamas, the challenge of an aesthetics of existence is to make your life, in one way or another, a work of art. In contrast, Bearn argues that art is too narrow a concept to guide this kind of existential project. He turns instead to (...) the more generous notion of beauty, but he argues that the philosophical tradition has mostly misconceived beauty in terms of perfection. Heraclitus and Kant are well-known exceptions to this mistake, and Bearn suggests that because Heraclitean becoming is beyond conceptual characterization, it promises a sensualized experience akin to what Kant called free beauty. In this new aesthetics of existence, the challenge is to become beautiful by releasing a Deleuzean becoming: becoming becoming. Bearn's readings of philosophical texts--by Wittgenstein, Derrida, Plato, and others--will be of interest in their own right. (shrink)

This absorbing study of Plato's criticism of poetry offers a new interpretation based upon central features of both the pre-Platonic conception of poetry and previously neglected features of Plato's various discussions of poetry and the poets. Professor Mitscherling's analysis is unique in that he concentrates on the philosophical significance of Plato's distinction between dramatic and nondramatic sorts of poetry. Mitscherling shows that this distinction proves in fact to be central to the conception of poetry that Plato consistently elaborates throughout his (...) dialogues. Mitscherling also makes a unique contribution by outlining a possible Platonic aesthetics, which draws on current work in phenomenology and hermeneutics in such a way as to promise an entirely new direction for current work in continental aesthetics. The author employs Gadamer's analyses of the ontology of the work of art, in conjunction with a phenomenological analysis of the aesthetic experience, in the construction of a foundation for aesthetics that is consistently Platonic. Mitscherling concludes with the hypothesis that Plato's criticism of poetry did not apply to poetry itself, nor was it directed to art in general or the educational system, or the Sophists. Rather, Plato was specifically against the techn? of mim'sis, that is, the technique of persuading by appearing to be what one is not, or by merely appearing to speak the truth. (shrink)

From Physical World to Transcendent God(s): Mediatory Functions of Beauty in Plato, Dante and Rupa Gosvami -/- Dragana Jagušić -/- In various philosophical, religious and mystical traditions, beauty is often related to intellectual upliftment and spiritual ascent, which suggests that besides its common aesthetic value it may also acquire an epistemic, metaphysical and spiritual meaning or value. I will examine in detail three accounts in which beauty, at times inseparable from desire and love, mediates between physical, intellectual and spiritual levels (...) of existence. Since beauty, in all three accounts, takes on a mediatory role or function,1 I will name these mediations as follows: ancient Greek Eros-mediation or Beauty-mediation (Plato: ca. 429-347 BCE), late medieval Italian Beauty and Love-mediation (Dante Alighieri: 1265-1321) and pre-modern Indian Beauty and Love-mediation (Rūpa Gosvāmi: 1470/90-1564 CE).2 In the first section, I will analyse the stages of Eros or Beauty mediation in Plato; in the second section, I will turn to Dante’s Beauty and Love-mediation and compare it with Plato’s account. In the third section, I will analyse Rūpa’s account of Beauty and Love-mediation in comparison with both Plato and Dante. I will argue that there are certain patterns of mediation mutually shared if not between all three accounts, then at least between two of them. While Plato’s account clearly influenced Dante and was well integrated into Dante’s account, there is no mention or evidence of a pre-modern Bengali theologian influenced by ancient Greek and medieval Italian philosophy and mysticism. However, a strong convergence of elements of Beauty-mediations in Plato and Dante, as well as Beauty and Love-mediations in Dante and Rūpa Gosvāmi, confirms the universality of certain features of Beauty and Love-mediation and speaks in support of an all-inclusive account of them.3 -/- 1 By Beauty-mediation I mean an aesthetic, intellectual or spiritual reconciliation between opposites, such as human and divine, mortal and immortal, particular and universal, sexual and sacred and so on. 2 Rūpa Gosvāmi was an Indian theologian. More information about him is provided in section 3. 3 I am here applying transitivity: if Plato’s account (A) shares elements with Dante’s account (B) and if Dante’s account (B) shares those same elements with Rūpa’s account (C), then Plato’s (A) and Rūpa’s (C) accounts share some elements as well. Obviously, all accounts have some different elements not mutually shared, but I will not deal with them here. (shrink)

Both the irreducible complexity of biological phenomena and the aim of a universalized biology (life-as-it-could-be) have lead to a deep methodological shift in the study of life; represented by the appearance of ALife, with its claim that computational modelling is the main tool for studying the general principles of biological phenomenology. However this methodological shift implies important questions concerning the aesthetic, engineering and specially the epistemological status of computational models in scientific research: halfway between the well established categories of (...) theory and experiment. ALife models become powerful epistemic artefacts allowing the simulation of emergent phenomena, the interaction between different levels of organization and the integration of different causal factors in the very same manipulable object. The use of computational models in ALife can be classified in four main categories depending on their position between theoretical and empirical practices: generic, conceptual, functional and mechanistic. For each of these categories we analyse their epistemic value and select paradigmatic examples that illustrate how ALife models can be fruitfully inserted in the study of life. (shrink)

Plato is usually credited as the source of the "ancient quarrel" between reason and rhetoric—and, for him, the arts fall mostly on the less favorable side of rhetoric.1 To be sure, Plato's harsh verdict on the arts rests on an idealist metaphysics and epistemology (or realism about universals)—enshrining a general pessimism about the epistemic prospects of sense experience—which few, nowadays, would consider persuasive. For Plato, since what is presented to us by the senses is no more than an inaccurate copy (...) of truth as revealed by the intellect, and since the artist merely reproduces such copies, the productions of artists are not once but twice removed from any genuine knowledge of reality. To be sure, Plato is .. (shrink)

The rule-following paradox of Kripke's Wittgenstein posits that there is no fact of the matter about an individual that can determine whether he means one thing or another by a term, such as "+". The paradox thus renders the existence of meaning illusory. The objective of this thesis is to examine the paradox and try to offer a version of a dispositional account that can counteract Kripke's skeptics. ;Gaining insights from previous dispositionalist accounts of meaning and rule-following, including those of (...) Dretske, Fodor, Millikan, Martin & Heil, Shogenji, and Yallowitz, my project is to put all those insights together to formulate a functional view of human dispositions to rule-following which will resolve the error, finitude, and first-person epistemic problems that Kripke raises against the dispositionalist approach. Specifically, I argue that rule-following or meaning consists in one's possessing a disposition, realistically construed. A rule-following disposition is real in the sense that it is responsible for, and hence not to be equated with, its manifestations under various conditions. A person acquires a real disposition to rule-following through a learning history which is constrained by biologically innate human endowments of learning and cognition. The error problem then becomes the problem of how to identify the disposition without vacuity or circularity. My claim is that identifying a rule-following disposition is a task of scientific hypothesizing, which is epistemically and methodologically sound. The finitude problem is in my view a form of Humean inductive skepticism. My response to it is to adopt a reliabilist theory of justification and its treatment of the induction problem. A distinctive contribution of mine is to offer a functionalist account of dispositions and introspection in the resolution of the first-person epistemic problem. My aim is to do full justice to the phenomenology and epistemology of meaning and rule-following from the first-person point of view. ;My conclusion is that a satisfactory dispositional account such as the one I offer not only vindicates the reality of rule-following and meaning but also increases our understanding of the nature of meaning and human rule-following phenomenon. (shrink)

Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...) both of these books is the aesthetic project of revealing the inner essence of something in its outward appearance. Kierkegaard's portrait of Socrates in The Concept of Irony is a phenomenology of the spirit of irony. My interpretation adds a new dimension to our understanding of Kierkegaard's aesthetics and his relation to Hegel; it presents him as a follower of Plato, whom he is usually thought to have dismissed; and it uncovers a deep connection between Kierkegaard's first two books, which are never read in conjunction. (shrink)

This paper presents a new reading of Kant's moral feeling: in lieu of highlighting a positive feeling of respect, I am interested in a thorough phenomenological interpretation of a negative feeling of humiliation. The paper's tone is set by underscoring that human moral Gesinnung is that which is necessarily cultivated, which entails that the striving moral agent, among other things, learns to identify and confront inclinations. It is argued, then, that one's mindfulness of the various kinds of pain of humiliated (...) inclinations presupposes the agent's aesthetic attunement to the law of duty. To this end, two phenomenological interpretations are offered. First, general humiliation Kant caters for in the Critique of Practical Reason. Second, specific humiliation Kant alludes to in the Metaphysics of Morals. On the whole, the paper's findings ascertain the epistemic weight of humiliation, which to date has been undervalued. (shrink)

Although most scholars trace the Liar Paradox to Plato’s contemporary, Eubulides, the paper argues that Plato builds something very like the Liar Paradox into the very structure of his dialogues with significant consequences for understanding his views. After a preliminary exposition of the liar paradox it is argued that Plato builds this paradox into the formulation of many of his central doctrines, including the “Divided Line” and the “Allegory of the Cave” and the “Ladder of Love”. Thus, Plato may have (...) been the first to formulate the view that Graham Priest calls dialetheism, roughly, the view that some contradictions are, in an illuminating way, inescapable and true. The paper argues that Plato builds this Liar paradox into the formulation of his signature views because he holds that the attempt by finite human beings to theorize about transcendent realities results in the simultaneous necessity, and impossibility, of transgressing the limits of language—leading to the paradoxes. Finally, it is argued that the existence of these paradoxes in these Platonic doctrines is the direct result of an intrinsic hermeneutical circle in Plato’s aforementioned signature views. (shrink)

This compelling reevaluation of the relationship between logic and knowledge affirms the key role that the notion of judgement must play in such a review. The commentary repatriates the concept of judgement in the discussion, banished in recent times by the logical positivism of Wittgenstein, Hilbert and Schlick, and the Platonism of Bolzano. The volume commences with the insights of Swedish philosopher Per Martin-Löf, the father of constructive type theory, for whom logic is a demonstrative science in which judgement is (...) a settled feature of the landscape. His paper opens the first of four sections that examine, in turn, historical philosophical assessments of judgement and reason; their place in early modern philosophy; the notion of judgement and logical theory in Wolff, Kant and Neo-Kantians like Windelband; their development in the Husserlian phenomenological paradigm; and the work of Bolzano, Russell and Frege. The papers, whose authors include Per Martin-Löf, Göran Sundholm, Michael Della Rocca and Robin Rollinger, represent a finely judged editorial selection highlighting work on philosophers exercised by the question of whether or not an epistemic notion of judgement has a role to play in logic. The volume will be of profound interest to students and academicians for its application of historical developments in philosophy to the solution of vexatious contemporary issues in the foundation of logic. ​. (shrink)

Brought about through philosophical analysis – a first in the history of art – paradigm shifts in the ontology and epistemology of sculpture are described, motivated, and exemplified with pieces they inspired. Navigating the new aesthetic environment requires an ‘escape from Plato's Cave’ by means of a kind of phenomenological reduction. The new conceptual foundation allows artists unprecedented levels of freedom to explore and innovate, connects sculpture to music, and has the potential to enhance significantly the appreciation of art and (...) its impact on contemporary culture. The algorithmic nature of my paradigms shows that art and science have more in common than previously thought. (shrink)

The critique of pure sense data is a characteristic feature of contemporary philosophy, from Wittgenstein and Heidegger to Martha Nussbaum and Ernst Tugendhat. These authors variously call into question that the data of sensation should be taken as primordial. Other contemporary authors have responded to this general critique starting from considerations about the role of sensory states, often referred to as “qualia,” in our experiential awareness. In this paper, I suggest that the philosophy of science of Ernst Mach is especially (...) paradigmatic in that it displays in one same intellectual effort the presence of these two polarizing views in the philosophical discussion of the twentieth century. In Mach a radical biological and epistemic pragmatism coexists with the most extreme sensual elementism. I show that Mach is at the same time the proponent of a phenomenological lineage that Edmund Husserl, the father of phenomenology, is aware to take up and continue. What I propose is that Husserl’s phenomenology emerges as true juncture between the extremes of sensualism and pragmatism by way of a recasting of the modern intentionalist conceptions of experience beyond any mentalist and realist paradigm. (shrink)

This paper contends, following Plato and Broekman, that seeing images as images is crucial to theorizing medicine and that considering clinical pictures as images of images is a much-needed epistemic complement to the domineering view that sees clinical pictures as mirrors of disease. This does not only offer epistemic, but also ethical benefits to individual patients, especially in those cases where patients suffer from chronic, debilitating, and terminal illnesses and where medicine provides no, or limited, answers in terms of treatment, (...) intervention, and meaning. By creating room for a theory of clinical pictures that rightfully emphasizes its pictorial nature, patients and doctors alike may be encouraged to consider under what authorship, and with which epistemic tools, alternative, supplemental images may be produced to get at the existential reality of disease and suffering. Ultimately, this paper argues that the epistemic tools provided by aesthetics may offer such glimpses into the reality of disease and suffering, and I conclude by discussing a few artistic renditions of breast cancer to illustrate my point. (shrink)

The paper argues that Plato’s dialogue form creates a Quinean “opaque context” that segregates the assertions by Plato’s characters in the dialogues from both Plato and the real world with the result that the dialogues require a hermeneutical interpretation. Sec. I argues that since the assertions in the dialogues are located inside an opaque context, the forms of life of the characters in the dialogues acquires primary philosophical importance for Plato. The second section argues that the thesis of Sec. I (...) coheres with the claim in Plato’s Seventh Letter that since philosophical truth is incommunicable by means of language it is of primary importance for philosophers to develop proper “schemes of living”. Sec. III argues since the forms of life of the characters portrayed in the dialogues is of primary philosophical importance for Plato, and since hermeneutical methods are required to interpret emerging forms of life, Plato’s dialogues are positively crafted to be read hermeneutically. Sec IV argues that Heidegger, who is famous for seeing Plato’s views as antithetical to his own hermeneutical approach, is mistaken, and that Plato’s real views are, in principle, more akin to Heidegger’s views than he thinks. (shrink)

In this critical review I explore the anti-intentionalist stance Adorno offers in his aesthetics, specifically focusing on his Notes to Literature, and the internal limits to this stance. Adorno rejects the primacy of authorial intentionalism: The presuppositions of its aesthetic methodology, he claims, place the individual in a position of epistemic priority, without exploring the social totalities which constitute the conditions of the presentation of aesthetic knowledge by any such individual. The role of the creator for Adorno is inherently mediated (...) within the context of such totalities. -/- This is not to wholly discount the role of creative intentions, however. Rather, Adorno frames the artist as a ‘bearer’ and a ‘representative of the total social subject’. In this context he allows for a qualified form of subjectivity, construed as a mode of creativity produced by a particular kind of “achieved self-awareness” or disposition of consciousness towards an “estrangement of meaning”. Indeed, the loss of the stronger presupposition that the subject acts as an authentic expository force can lead to a realization that objectivity by this means constitutes a “loss”, Adorno claims, which creates the possibility for pursuing a critical stance to facilitate the capacity for creating autonomous works of art. Creators of autonomous works acknowledge “the paradoxical relationship of the autonomous work to its commodity character” (‘Valery’s Deviations’), namely an awareness of their inherent reification. The self-alienating yet autonomous work is described by Adorno as possessing and demonstrating tacit yet genuine ‘wants’, but this is framed by the demands of the human condition to recognize how ill-fitting the forces of social production are upon and towards securing them. Aesthetic intentions and the subjects which channel them can be critically valuable if they allude to or exposit the contradictions between these demands and those forces. (shrink)

This book provides a comprehensive view of the aesthetic realm, placing the various major artforms within the setting of nature and the built environment as they arise within the field of experience. Each chapter displays the regional ontology of the form considered: the comprehensive set of eidetic features that limn the space of the art. It draws upon artists' statements, writings of key figures in the history of philosophy--including Plato, Hegel, Dewey, and Heidegger-and writings from various commentators on art. This (...) volume is unique in its systematic and phenomenological approach, and in how it addresses aesthetics writ large. (shrink)

This paper discusses the most persistent controversial issue that occurred in Western educational philosophy ever since Socrates questioned the Sophists: the role of truth in teaching. Ways of teaching these kinds of controversy issues are briefly considered to isolate their epistemic characteristics, which will enable the interpretation of Plato and Dewey as exemplars of rationalism and empiricism regarding the role of knowledge in the curriculum and thus include their partial truths in the epistemic ethos of teaching. The consideration of pedagogy (...) will then include the partial truths of rationalism and empiricism in the epistemic ethos of teaching by following Kant's ‘Concepts without percepts are empty; perceptions without conceptions are blind’.This claim, however, is narrowed down in two ways compatible with postmodernism and the heavy emphasis on constructionism in faculties of education. After quoting Harry Broudy's statement that the educational epistemic ethos should be domain‐specific, guided by the experts’ inquiry protocols in each curricular area, it is narrowed down further with Maxine Greene's explication that it should be pluralistic and lesson‐specific. This epistemic ethos is not argued as a synthesis but as an aggregate of the partial truths of various epistemologies in the spirit of the postmodern doubt in any one theory of knowledge without throwing out the baby with the dirty bath water.Finally, the streams of consciousness involved in teaching and learning good knowledge are described phenomenologically to disclose how truth can be disclosed in teaching, thereby grounding propositional knowledge, for example, ontologically in the being of the student and in the being of the world. (shrink)