This essay introduces the second of three installments of an “elegiac symposium” in Common Knowledge on figures and concepts devalued in what Thomas Kuhn refers to as “paradigm shifts.” The essay suggests that Kuhn’s idea is provincial, in three specified senses, and then goes on to show how differently Japanese culture regards and manages major change. The author of this introduction, who is also the journal’s editor, begins by evaluating a triptych of 1895 by Toshikata as a response to the (...) seemingly revolutionary changes brought by the Meiji Restoration a generation before. He then goes on to discuss, as exemplary of Japanese attitudes toward change, the Shinto ritual during which the sacred shrines of Ise Jingū are torn down and rebuilt every twenty years. The essay concludes by explaining how the impetus for this ritual is also involved in less-exalted aspects of Japanese culture; for example, in the peculiarities of the market for ukiyo-e woodblock prints. Overall, this essay shows that Japanese ways of regarding concepts such as “old” and “new,” “continuity” and “change,” differ so radically from those presupposed in the West that the latter should be regarded as provincial rather than as universally valid. (shrink)

In this introduction to Part 1 of “Contextualism—the Next Generation: Symposium on the Future of a Methodology,” the editor of Common Knowledge, a “journal of left-wing Kuhnian opinion,” reports that the new symposium responds to contextualist criticism of the previous CK symposium, which was on xenophilia. The content of the earlier symposium met with objections, from contextualists, on the grounds of methodology, and the new symposium questions the methodology of contextualism for the limits that it places on content as well (...) as on normative aims and degree of focus. Tracing the origins of contextualism to Kuhn and his theory that paradigms of scientific knowledge are incommensurable, this essay then argues that Kuhnian method is formal, with scant concern for content, and that Kuhn’s work was vatic, more than philosophical or historical. Kuhn’s depiction of his sudden, blinding realization that Aristotelian physics is correct in its own context is assessed as an ironic application of biblical scenes of revelation to what is, essentially, a process of scrupulous, piecemeal scholarship. What Kuhn unknowingly wanted, the essay concludes, was a combination of contextualism and phenomenology, as a means of knowing what it was like to believe in Aristotelian, as opposed to modern, concepts of matter, quality, space, void, position, change, and motion. The essay then introduces the first contribution to the new symposium: a monograph retrieving geometrical and taxonomic—Euclidean and Theophrastan—idioms of discourse about fictional characters and inquiring into their changing affective content. (shrink)

In this piece, the editor of Common Knowledge offers excerpts from his two-year correspondence with a reader in Hong Kong, who was drawn to arguments made in the journal about maintaining “quietism and resistance in the face of vile behavior.” In the summer and fall of 2019, during the insurrection in Hong Kong, his correspondent shifts rapidly from taking comfort in CK’s defense of quietism to a full embrace of “uncivil disobedience.” She implies that the solidarity the editor expresses with (...) Hong Kong is merely rhetorical, and he responds by writing this article and quoting in it the entire text of the 1984 Joint Declaration of the Chinese and British governments on the question of Hong Kong. The declaration’s guarantees of autonomy and civil rights appear in bold italics. The editor concludes by suggesting that it falls to the United Nations Security Council to enforce the terms of the treaty. (shrink)

In this introduction to the first installment of the Common Knowledge symposium on xenophilia, the editor explains the rationale of the new project, citing increases in aggressive xenophobia internationally. He comments on the intergroup-relations theorist Todd Pittinsky's argument that, since tolerance is not logically the antithesis of negative feelings toward out-groups, even long-established traditions of toleration are inadequate to prevent intergroup aggression. Pittinsky proposes that tolerance be replaced, as a principle of peacekeeping, by the encouragement of positive feelings toward out-groups, (...) and the author of this essay responds by showing how the Freudian theory of ambivalence and the history of literature on which Freud drew in constructing it support Pittinsky's viewpoint. Enemies regularly fall in love, above all in Shakespearean drama, which Freud explains by arguing that all human relations are love-hate relations. Thus, this essay suggests, it takes as much psychic energy to repress the love in what appear to be relationships of hatred as to repress the hatred in what appear to be relationships of love. There is a metaphysical component as well to this argument: the xenophobe and xenophile equally presuppose that the identity principle is applicable to society as well as to mathematics; both assume that each discrete social group is self-identical and differs from all other groups more or less radically. The main difference between –phile and –phobe is the latter's relative incapacity to live with ambivalence. Given these arguments, one must expect to find negative as well as positive motives in the etiology and conduct of xenophilia—and the first installment of the Common Knowledge symposium is said to focus on cases of xenophilia in which varieties of enmity accompany that singular and underrated variety of love. (shrink)

In his introduction to part 2 of the Common Knowledge symposium on xenophilia, the journal's editor tours the reader through two private apartments and through two public art collections in an effort to establish that aesthetically coherent mixtures of apparently immiscible objects from widely divergent cultures are possible and also morally glamorous. Xenophobia at its least reprehensible, he argues, is a fear of ecumenism and its consequences, as well as a fear of one's own conversion — of “turning Turk.” Xenophilia (...) at its most admirable is a pursuit of coherent mixtures where others cannot imagine their possibility. Bits lifted from reputedly pure and organic wholes may be transformed by means of overlap and mediated juxtaposition into a novel milieu that has a wholeness, authenticity, and charisma of its own. Such coherence depends on minds that are capable of loving what does not satisfy their narcissism and that can sense in the products of their own culture elements or signs of enervation, anomie, lack, derangement, waywardness, rigidity, preciousness, or warping. The author concludes that xenophilia neither signals nor facilitates the adulteration that xenophobes so fear. (shrink)

In this introduction to part three of the Common Knowledge symposium “Fuzzy Studies: On the Consequence of Blur,” the journal’s editor argues that blur is not a medium of concealment, confusion, or evasion. Making distinctions between kinds of relative unclarity, he reserves the word blur for the kind that results from de-differentiating objects or qualities or states of affairs whose differences have been overstated. To refine what blur is and is not, he compares kinds of unclarity found in images by (...) Giotto, Rubens, Hokusai, Kunitora, Manet, Zeshin, and Richter. With reference to art criticism by Hubert Damisch, Wayne Andersen, Anthony Hughes, Robert Storr, Julian Bell, Christopher Prendergast, and especially T. J. Clark, he agrees that choosing between focus and blur can be a moral decision, though not in the sense for which Clark arraigns the Impressionists. Characterizing the way of seeing that Clark encourages in The Painting of Modern Life as a form of staring, this essay argues that “lean and hungry looking” is indecent, whereas unfocused receptivity is irenic. What Bell calls the “aestheticized halfheartedness” of Manet is redescribed here as a genre of moral heroism, and the essay concludes that it is differentiation that is on morally shaky ground. (shrink)

This essay is the journal editor's introduction to part 3 of an ongoing symposium on quietism. With reference to writings of James Joyce, Francis Picabia, J. M. Coetzee, Charles Taylor, Alasdair MacIntyre, Elaine Pagels, and Karen King—and with extended reference to Jonathan Lear's study of “cultural devastation,” Radical Hope—Jeffrey Perl explores the possibility that the fear of anomie (“anomiphobia”) is misplaced. He argues that, in comparison with the violence and narrowness of any given social order, anomie may well be preferable, (...) and, in any case, may be no more than another name for quietism. (shrink)

In this introduction to Part 1 of the Common Knowledge symposium, “Fuzzy Studies,” the journal's editor discusses four essays from the 1980s by Richard Rorty, in which Rorty chose to associate himself with various neopragmatists, Continental thinkers, and “left-wing Kuhnians” under the rubric of the “new fuzziness.” The term had been introduced as an insult by a philosopher of science with positivist leanings, but Rorty took it up as an “endearing” compliment, arguing that “to be less fuzzy” was also to (...) be “less genial, tolerant, open-minded, and fallibilist.” He defined the “new fuzziness” as “an attempt to blur just those distinctions between the objective and subjective and between fact and value which the critical conception of rationality has developed.” This introduction also examines W. V. Quine's essay “Speaking of Objects” (1957), which describes objects as fuzzy “half-entities”; Clifford Geertz's essay “Blurred Genres” (1980), which advises social scientists that being “taxonomically upstanding” is futile; and Lofti Zadeh's article “The Concept of a Linguistic Variable and Its Application to Approximate Reasoning” (1975), which abandons “Aristotelian, bivalent logic” in favor of a “fuzzy logic” based on Zadeh's “fuzzy set theory.” This introductory piece relates these theoretical works of the past half-century to the sorites paradox and to classical issues of vagueness raised and still unresolved in Western philosophy. Returning then to Rorty, the author questions how Rorty expected his endorsement of the “new fuzziness” to be applied, as proposed, to theology and politics. Suggesting that such applications are the natural work of historians, the author, having asked the historian Natalie Zemon Davis for comment, then quotes her response—which associates fuzzy studies, “common knowledge,” and peacemaking—at length. (shrink)

In the last homily he gave before becoming Pope Benedict XVI, Cardinal Joseph Ratzinger described modern life as ruled by a “dictatorship of relativism which does not recognize anything as definitive and whose ultimate goal consists solely” of satisfying “the desires of one’s own ego.” An eminent scholar familiar with the centuries-old debates over relativism, Ratzinger chose to oversimplify or even caricature a philosophical approach of great sophistication and antiquity. His homily depicts the relativist as someone blown about “by every (...) wind of doctrine,” whereas the relativist sticks firmly to one argument—that human knowledge is not absolute. Gathering prominent intellectuals from disciplines most relevant to the controversy—ethics, theology, political theory, anthropology, psychology, cultural studies, epistemology, philosophy of science, and classics—this special double issue of _Common Knowledge_ contests Ratzinger’s denunciation of relativism. One essay relates the arguments of Ratzinger to those of two other German scholars—the conservative political theorist Ernst Wolfgang Böckenförde and the liberal philosopher and sociologist Jürgen Habermas—since all three men assume that social order depends on the existence of doctrinal authority. The contributors here argue for an intellectual and social life free of the desire for an “infantilizing” authority. One proposes that the Christian god is a relativist who prefers limitation and ambiguity; another, initially in agreement with Ratzinger about the danger relativism poses to faith and morals, then argues that this danger is what makes relativism valuable. The issue closes with the first English translation of an extract from a book on Catholic-Jewish relations by Cardinal Carlo Maria Martini, one of the Catholic Church’s most progressive figures. _Contributors_. David Bloor, Daniel Boyarin, Mary Baine Campbell, Lorraine Daston, Arnold I. Davidson, John Forrester, Kenneth J. Gergen, Simon Goldhill, Jeffrey F. Hamburger, Julia Kristeva, Carlo Maria Cardinal Martini, Christopher Norris, Joseph Cardinal Ratzinger, Richard Shusterman, Barbara Herrnstein Smith, Jeffrey Stout, Gianni Vattimo. (shrink)

This essay is the journal editor's introduction to part 3 of an ongoing symposium on quietism. With reference to writings of James Joyce, Francis Picabia, J. M. Coetzee, Charles Taylor, Alasdair MacIntyre, Elaine Pagels, and Karen King—and with extended reference to Jonathan Lear's study of “cultural devastation,” Radical Hope—Jeffrey Perl explores the possibility that the fear of anomie is misplaced. He argues that, in comparison with the violence and narrowness of any given social order, anomie may well be preferable, and, (...) in any case, may be no more than another name for quietism. (shrink)

Compilation of articles originally published in Common knowledge.

A juvenile. Not unique, but a rarity for a university press. The publisher characterizes Skammy (about Skamandrios) as: an exciting story of adventure and mighty deeds, Skammy...struggles with great questions of life, death, and immortality. It offers models of human thought, behavior, and morality ranging from heroism, courage, integrity, and endurance to cowardice and treachery.".

This essay introduces the second installment of a symposium in Common Knowledge called “Apology for Quietism.” This introductory piece concerns the sociology of quietism and why, given the supposed quietude of quietists, there is such a thing at all. Dealing first with the “activist” Susan Sontag's attraction to the “quietist” Simone Weil, it then concentrates on the “activist” William Empson's attraction to the Buddha and to Buddhist quietism, with special reference to Empson's lost manuscript Asymmetry in Buddha Faces (and to (...) Sharon Cameron's work on the topic in her book Impersonality). The author, who is also editor of the journal, argues against the effort of some contributors to substitute new terms for quietism and emphasizes instead what he calls (quoting Sontag) “the need for repose.”. (shrink)

This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the arts, the essay suggests that a wider array of choices exists for legal interpretation (...) than the usual alternative between originalism or literalism, on the one hand, and intuitionism, on the other hand. Contributions to the symposium (titled “Between Text and Performance”) emphasize what Roger Moseley calls “improvisatory fluency in historical idioms,” and this introduction recommends that jurists develop for the law the kind of “ear” that musicians must have when a score invites or demands improvisation. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” (on Switzerland's Lake Neuchâtel) with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist (and sinologist) François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)

In this essay review of Megan Quigley's Modern Fiction and Vagueness: Philosophy, Form, and Language, the editor of Common Knowledge comments on the explicit relationship between that book's arguments and those of the journal's six-part series “Fuzzy Studies: A Symposium on the Consequence of Blur,” published in 2011–13. He points out that there are aesthetic forms and concepts of vagueness that are related only tangentially to what analytic philosophers, in treating the “sorites paradox” and its implications, have meant by the (...) term, and he suggests that this book suffers by limiting itself to Anglophone works, when the most relevant work is perhaps in French, and by limiting its reach to fiction, when the most relevant genres of art are perhaps poetry, painting, and music. The review concludes by regretting Quigley's making T. S. Eliot her study's straw man and by observing not only that her interpretation of Eliot's relationship to analytic philosophy is demonstrably incorrect but also that there is no point in valorizing vagueness or “fuzzy studies” if the upshot is not a sort of mutual respect and acceptance that scientistic clarity in the arts and humanities does not foster. (shrink)

This essay, which is the editor's introduction to part 1 of a multipart symposium on quietism, also constitutes his call for symposium papers. The symposium is meant be comprehensive. It is described as political and broadly cultural as well as religious, and in religious terms is said to cover not only the Catholic and Protestant quietisms (most properly so called) of the late seventeenth and eighteenth centuries, but also the proto-quietisms of the medieval Western church and reputedly quietist aspects of (...) the Gnostic, Eastern Orthodox, early Hasidic, Shi'ite, Jain and other Indic, Taoist, and Zen religious traditions. This introduction emphasizes the secular approaches, mostly antipolitical or postphilosophical, that wear the adjective “quietist” metaphorically, including the postmodern currents that Martha Nussbaum has named “hip quietism” and the “minimalist” philosophical version developed by Wittgenstein and some of his successors, notably Richard Rorty. This introduction concludes with attention to Rorty's late essay “Naturalism and Quietism,” then with a dedication of the entire symposium to Rorty's memory. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)