A Non-Technical Introduction to Ethnomethodological Investigations of the Foundations of Mathematics through the Use of a Theorem of Euclidean Geometry* I ...

Defense of a psychological account of what it is for an artwork to be complete.

In this book, Livingston develops the political implications of formal results obtained over the course of the twentieth century in set theory, metalogic, and computational theory. He argues that the results achieved by thinkers such as Cantor, Russell, Godel, Turing, and Cohen, even when they suggest inherent paradoxes and limitations to the structuring capacities of language or symbolic thought, have far-reaching implications for understanding the nature of political communities and their development and transformation. Alain Badiou's analysis of logical-mathematical structures forms (...) the backbone of his comprehensive and provocative theory of ontology, politics, and the possibilities of radical change. Through interpretive readings of Badiou's work as well as the texts of Giorgio Agamben, Jacques Lacan, Jacques Derrida, Gilles Deleuze, and Ludwig Wittgenstein, Livingston develops a formally based taxonomy of critical positions on the nature and structure of political communities. These readings, along with readings of Parmenides and Plato, show how the formal results can transfigure two interrelated and ancient problems of the One and the Many: the problem of the relationship of a Form or Idea to the many of its participants, and the problem of the relationship of a social whole to its many constituents. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...) properties and even the most perfect descriptions, and claims about the holistic and sensibility-relative character of aesthetic qualities and values. With reference to considerations advanced by Frank Sibley, Alan H. Goldman, and particularists and anti-particularists in meta-ethics, I contend that strong versions of the apparent truism lack sufficient warrant. Two successors are proposed, however. One reframes the thesis in terms of our contingently limited descriptive and theoretical capacities with regard to a subset of the aesthetic qualities of extraordinary works; the second involves a shift from epistemic to axiological matters: what even the most perfect descriptions cannot provide, and in some cases spoil, is our gauging of an item's inherent, experiential value. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

Here Donald Livingston traces this distinction through all of Hume's writings and reveals its relevance for contemporary discussion.

The problem of explaining consciousness remains a problem about the meaning of language: the ordinary language of consciousness in which we define and express our sensations, thoughts, dreams and memories. This book argues that the problem arises from a quest that has taken shape over the twentieth century, and that the analysis of history provides new resources for understanding and resolving it. Paul Livingston traces the development of the characteristic practices of analytic philosophy to problems about the relationship of experience (...) to linguistic meaning, focusing on the theories of such philosophers as Carnap, Schlick, Neurath, Husserl, Ryle, Putnam, Fodor and Wittgenstein. Clearly written and avoiding technicalities, this book will be eagerly sought out by professionals and graduate students in philosophy and cognitive science. (shrink)

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

The article explores the link between motion pictures and philosophy, citing film's contribution to philosophy, and the illustrative and heuristic roles of films. The philosophical contributions of films may be examined in the films "Vredens Dag," or "Day of Wrath," where filmmaker, Carl Theodor Dreyer used various specifically cinematic means to express ideas pertaining to ethical and epistemic issues, while "The Seventh Seal," provides some ideas about religion.

Response to Gover (2015) on Trogdon and Livingston (2015) on artwork completion.

Mohandas Gandhi is civil disobedience’s most original theorist and most influential mythmaker. As a newspaper editor in South Africa, he chronicled his experiments with satyagraha by drawing parallels to ennobling historical precedents. Most enduring of these were Socrates and Henry David Thoreau. The genealogy Gandhi invented in these years has become a cornerstone of contemporary liberal narratives of civil disobedience as a continuous tradition of conscientious appeal ranging from Socrates to King to Rawls. One consequence of this contemporary canonization of (...) Gandhi’s narrative, however, has been to obscure the radical critique of violence that originally motivated it. This essay draws on Edward Said’s account of travelling theory to unsettle the myth of doctrine that has formed around civil disobedience. By placing Gandhi’s genealogy in the context of his critique of modern civilization, as well as his formative but often-overlooked encounter with the British women’s suffrage movement, it reconstructs Gandhi’s paradoxical notion that sacrificial political action is the fullest expression of self-rule. For Gandhi, Socrates and Thoreau exemplify civil disobedience as a fearless practice of fidelity to truth profoundly at odds with liberal conceptions of disobedience as fidelity to law. (shrink)

Over a period of several decades spanning the origin of the Vienna Circle, Schlick repeatedly attacked Husserl''s phenomenological method for its reliance on the ability to intuitively grasp or see essences. Aside from its significance for phenomenologists, the attack illuminates significant and little-explored tensions in the history of analytic philosophy as well. For after coming under the influence of Wittgenstein, Schlick proposed to replace Husserl''s account of the epistemology of propositions describing the overall structure of experience with his own account (...) based on the structure of language rather than on the intuition of essences. I discuss both philosophers'' accounts of the epistemology of propositions describing the structure of experience. For both philosophers, this epistemology was closely related to the general epistemology of logic; nevertheless, neither philosopher had a completely coherent account of it. Comparison of the two approaches shows that perennial and severe theoretical obstacles stand in the way of giving an epistemology of the structure of experience, a central requirement for both philosophers'' theories. Consideration of these obstacles sheds a new light on the reasons for the historically decisive split between the continental and the analytic traditions, as well as on the subsequent development of the analytic tradition away from the structural description of experience. (shrink)

We present an analysis of work completion couched in terms of an effective completion decision identified by its characteristic contents and functions. In our proposal, the artist's completion decision can take a number of distinct forms, including a procedural variety referred to as an ‘extended completion decision’. In the second part of this essay, we address ourselves to the question of whether collaborative art-making projects stand as counterexamples to the proposed analysis of work completion.

Industries of production and scientific research rely on the use of nonhuman animals and plants, remaking environments, populations, and even genetic information to suit human designs. This issue of _Social Text_ considers the radical implications of questioning the exceptional status of humans among the planet’s species. Responding to growing interest in animal studies and posthumanism, the contributors draw on racial, feminist, queer, postcolonial, and disability theories to probe the diversity of human relationships with other forms of biosocial life. “Interspecies” queries (...) the politics of traditional species taxonomy and examines the ways humans use the material characteristics of other species to pursue their economic, political, and social aims. This collection goes beyond companionate species to examine less charismatic life forms: viruses, vermin, transgenic pigs, and commodified plants. Bringing together prominent scholars and artists from a range of fields, the issue examines the histories of species collection and display. In the context of current public health challenges, including the swine flu epidemic and the scarcity of donor organs, the contributors explore the limits of transgressing species boundaries that arise when human bodies contain other species, such as viruses or transplanted organs from genetically customized pigs. “Interspecies” analyzes the use of nonhuman species in the biopolitics of warfare and torture and examines how interspecies relationships shape conditions of colonialism, imprisonment, and violence. The issue also complicates romanticized narratives of human/nonhuman animal dynamics without resorting to oversimplified portrayals of human exploitation of animal and plant life. _Julie Livingston _is Associate Professor of History at Rutgers University. _Jasbir Puar _is Associate Professor of Women’s and Gender Studies at Rutgers University. She is the author of _Terrorist Assemblages: Homonationalism in Queer Times_. _Contributors: _Neel Ahuja, Suzanne Anker, Ed Cohen, James Delbourgo, Sarah Franklin, Carla Freccero, Alphonso Lingis, Julie Livingston, Chakanetsa Clapperton Mavhunga, Jasbir Puar, Kingsley Rothwell, Lesley Sharp. (shrink)

Philosophical discussion of emotional responses to fiction has been dominated by work on the paradox of fiction, which is often construed as asking whether and how we can experience genuine emotions in reaction to fiction. One may also ask more generally how we ought to respond to fictional works, a question that has to do both with what we should do when reacting to fiction and with what we should and should not let happen to us. It is possible to (...) delineate any principles regarding the rationality, and more generally, the appropriateness of emotional responses to fiction? (shrink)

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding of the (...) special contribution that literary knowledge may make within the human sciences. (shrink)

Some contemporary discussion about the explanation of consciousness substantially recapitulates a decisive debate about reference, knowledge and justification from an earlier stage of the analytic tradition. In particular, I argue that proponents of a recently popular strategy for accounting for an explanatory gap between physical and phenomenal facts – the so-called “phenomenal concept strategy” – face a problem that was originally fiercely debated by Schlick, Carnap, and Neurath. The question that is common to both the older and the contemporary discussion (...) is that of how the presence or presentation of phenomenal experiences can play a role in justifying beliefs or judgments about them. This problem is, moreover, the same as what was classically discussed as the problem of acquaintance. Interestingly, both physicalist and non-physicalist proponents of the phenomenal concept strategy today face this problem. I consider briefly some recent attempts to solve it and conclude that, although it is prima facie very plausible that acquaintance exists, we have, as yet, no good account of it. (shrink)

Damn Great Empires! offers a new perspective on the works of William James by placing his encounter with American imperialism at the center of his philosophical vision. This book reconstructs James's overlooked political thought by treating his anti-imperialist Nachlass -- his speeches, essays, notes, and correspondence on the United States' annexation of the Philippines -- as the key to unlocking the political significance of his celebrated writings on psychology, religion, and philosophy. It shows how James located a craving for authority (...) at the heart of empire as a way of life, a craving he diagnosed and unsettled through his insistence on a modern world without ultimate foundations. Livingston explores the persistence of political questions in James's major works, from his writings on the self in The Principles of Psychology to the method of Pragmatism, the study of faith and conversion in The Varieties of Religious Experience, and the metaphysical inquiries in A Pluralistic Universe. Against the conventional view of James as a thinker who remained silent on questions of politics, this book places him in dialogue with a transatlantic critique of modernity, as well as with champions and critics of American imperialism, from Theodore Roosevelt to W. E. B. Du Bois, in order to excavate James's anarchistic political vision. Bringing the history of political thought into conversation with contemporary debates in political theory, Damn Great Empires! offers a fresh and original reexamination of the political consequences of pragmatism as a public philosophy. (shrink)

_The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. (...) Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including _Memento_. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. _The Routledge Companion to Philosophy and Film_ is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding of the (...) special contribution that literary knowledge may make within the human sciences. (shrink)

It is quite common to draw a distinction between complete and unfinished works of art. For example, it is uncontroversial to think that Vermeer had actually completed View of Delft before inept restorers added layers of coloured varnish to give the picture an antique quality, and there is very good evidence to support the related claim that the artist had not finished the work before he effected several pentimenti, including the painting over of a figure in the foreground on the (...) right. Such beliefs oriented a costly and elaborate restoration that was begun in 1994 and terminated two years later. (shrink)

Love is a key concept in the theory and history of civil disobedience yet it has been purposefully neglected in recent debates in political theory. Through an examination of Martin Luther King, Jr.’s paradoxical notion of “aggressive love,” I offer a critical interpretation of love as a key concept in a vernacular black political theology, and the consequences of love’s displacement by law in liberal theories of civil disobedience. The first section locates the origins of aggressive love in an earlier (...) generation of black theologians who looked to India’s anticolonial struggle to reimagine the dignity of the oppressed as “creative survival.” The second contextualizes King’s early sermons on moral injury and self-respect within this tradition to reinterpret Stride toward Freedom’s account of the dignity-enhancing effects of nonviolent resistance as the triumph of love over fear. The third considers the implications of these arguments for conceptualizing the moral psychology of the white citizen and its consequences for contemporary debates over the ideological uses of Civil Rights history. The call to respond to oppression with aggressive love illustrates the paradoxical character of civil disobedience obscured by legal accounts as well as by criticisms of the very idea of “civil” disobedience. This is the paradox of affirming civility while enacting disobedience in order to bind political confrontation with political pedagogy. (shrink)

Beginning with the prevalent idea that creativity is the ability to make or do things having valuable novelty, the paper explores a variety of axiological and novelty conditions and defends an instrumental success condition. I discuss Robert K. Merton's distinction between 'originality' and 'priority', and Margaret Boden's similar distinction between historical and psychological creativity, as well as Thomas Reid's and Bruce Vermazen's remarks on relations between novelty and value.

Intentionalism in aesthetics is, quite generally, the thesis that the artist's or artists' intentions have a decisive role in the creation of a work of art, and that knowledge of such intentions is a necessary component of at least some adequate interpretive and evaluative claims. In this paper I develop and defend this thesis. I begin with a discussion of some anti-intentionalist arguments. Surveying a range of intentionalist responses to them, I briefly introduce and criticize a fictionalist version of intentionalism (...) before moving on to an approach I call moderate intentionalism. I consider a salient alternative known as hypothetical intentionalism and try to show why moderate intentionalism should be preferred to it. (shrink)

Early analytic philosophy -- Radical translation and intersubjective practice -- Critical outcome.

Pragmatism and the Political Economy of Cultural Evolution.

Núñez and colleagues (2019) question whether cognitive science still exists “as a coherent academic field with a well‐defined and cohesive interdisciplinary research program.” This worry may be premature on two grounds. First, we are not convinced that the Lakatosian criterion of coalescence around a core framework is the best standard for judging whether a field is well‐defined and productive. Second, although we acknowledge that cognitive science is not as visible as we would like, we doubt that this low profile accurately (...) reflects the state of actual research and teaching programs based on the cognitive science approach. (shrink)

Núñez and colleagues (2019) question whether cognitive science still exists “as a coherent academic field with a well‐defined and cohesive interdisciplinary research program.” This worry may be premature on two grounds. First, we are not convinced that the Lakatosian criterion of coalescence around a core framework is the best standard for judging whether a field is well‐defined and productive. Second, although we acknowledge that cognitive science is not as visible as we would like, we doubt that this low profile accurately (...) reflects the state of actual research and teaching programs based on the cognitive science approach. (shrink)

It is quite common to draw a distinction between complete and unfinished works of art. For example, it is uncontroversial to think that Vermeer had actually completed View of Delft before inept restorers added layers of coloured varnish to give the picture an antique quality, and there is very good evidence to support the related claim that the artist had not finished the work before he effected several pentimenti, including the painting over of a figure in the foreground on the (...) right. Such beliefs oriented a costly and elaborate restoration that was begun in 1994 and terminated two years later. (shrink)

The ever-expanding literature on narrative reveals a striking divergence of claims about the epistemic valence of narrative. One such claim is the oftstated idea that narratives or stories generate both “hot” and “cold” epistemic irrationality. A familiar, rival claim is that narrative has an exclusive capacity to embody or convey important types of knowledge. Such contrasting contentions are not typically presented as statements about the accidents or effects of particular narratives; the ambition, rather, has been to identify a strong link (...) between a single, positive or negative epistemic valence and narrativity, or the traits in virtue of which some discourse, utterance, or series of thoughts is aptly classified as a narrative or story. In this essay I contend that arguments in this vein are dubious.Not only are contentions about the specificity of narrative tenuous and controversial, but even if they were not, there are serious problems with the postulated connections between narrativity and the epistemic merits or demerits of narratives. These difficulties are identified in a critical discussion of prominent examples from the literature. My conclusion is not that there is nothing worth saying about relations between narratives and various epistemic desiderata, but that one prevalent theoretical ambition in this area ought to be renounced in favor of more viable avenues of inquiry. (shrink)

Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to any one basic ontological category? Do all or only some works have multiple instances? Do works have parts or constituents, and if so, what is their relation to the work as a whole? How are particular works of art individuated? Are they created or discovered? Can they be destroyed? Explicit and extensive treatments of these topics (...) written prior to the 19th century have yet to be found. This does not mean, however, that there is nothing relevant to these ontological questions in early writings on beauty, the arts, and related matters. For example, Aristotle's claims about the functions and elements of tragedy can be mined for ideas about the nature of literary works more generally. And what can be made of the hint, in Metaphysics Eta, 6, that the unity of The Iliad is a matter of a set of words made “one” by being connected together? Rather than attempting to make conjectures about such difficult exegetical topics, this entry focuses primarily on contributions made by authors who explicitly address themselves at length to some of the aforementioned questions pertaining to the ontology of works of art, either in general or with reference to such major art forms as music, literature, painting, architecture, and sculpture. One further note about the scope of this entry is in order. Instructive surveys of the subfield of aesthetics known as the ontology of art are fairly plentiful; see Nicholas Wolterstorff, Gregory Currie, Joseph Margolis, Stephen Davies, Amie Thomasson, Guy Rohrbaugh, Theodore Gracyk, Robert Stecker, and Carl Matheson and Ben Caplan. Surveys of the history of the field have not, however, been forthcoming, and the comments on this topic that crop up in the literature are sketchy and sometimes quite misleading. One shortcoming has been a marked tendency to focus on contributions from the last two decades of the 20th century, the one salient exception being due attention paid to works by Roman Ingarden. The present entry has been designed with this shortcoming in mind. A schematic mapping of questions and positions is provided and reference is made to neglected, earlier contributions to the ontology of art. (shrink)

Frege ridiculed the formalist conception of mathematics by saying that the formalists confused the unimportant thing, the sign, with the important, the meaning. Surely, one wishes to say, mathematics does not treat of dashes on a bit of paper. Frege’s idea could be expressed thus: the propositions of mathematics, if they were just complexes of dashes, would be dead and utterly uninteresting, whereas they obviously have a kind of life. And the same, of course, could be said of any proposition: (...) Without a sense, or without the thought, a proposition would be an utterly dead and trivial thing. And further it seems clear that no adding of inorganic signs can make the proposition live. And the conclusion which one draws from this is that what must be added to the dead signs in order to make a live proposition is something immaterial, with properties different from all mere signs. But if we had to name anything which is the life of the sign, we should have to say that it was its use. (Blue Book, p. (shrink)

Martin Luther King, Jr.’s “Letter from a Birmingham Jail” has been canonized as an essential statement of the political theory of civil disobedience. This article examines the early reception of King’s essay and the development of the liberal idea of civil disobedience it has become synonymous with to argue that its canonization coincided with, and displaced, the radicalization of King’s developing thinking about disobedience. It examines published and archival writings from 1965 through 1968 to reconstruct King’s power-oriented theory of “mass” (...) civil disobedience as it developed in response to the dual challenges of white backlash and Black Power. The basic challenge of mass civil disobedience is how to mobilize liberating acts of taking power without undercutting the possibility of transformative integration through sharing power. To articulate this dilemma, this article draws on an undertheorized category from John Rawls’s A Theory of Justice to conceptualize disobedience as a practice of militant love. (shrink)

[Discussion article, no abstract is available].

First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.