_Contributes a black Atlantic perspective to postmodernism, theology, and metaphysics._.

For deliberations on the ethical and meta-ethical implications of Alfred North Whitehead's process philosophy, here are abstracts and papers from the Ethics Section of the 6th International Whitehead Conference held at the University of Salzburg in Salzburg, Austria in July 2006. In accordance with the conference schedule, there are three subsections. The subsection on "Metaphysics of Morals and Moral Theory" includes contributions from Franklin I. Gamwell (Does Morality Presuppose God?), John W. Lango (abstract only), Duane Voskuil ("Ethics' Dipolar Necessities and (...) Theistic Implications), and Theodore Walker Jr. ("Neoclassical Cosmology and Matthew 22:36-40). The subsection on "Evaluating Moral Practices" includes contributions from Frederick Ferrè (abstract only), Seung Gap Lee (Hope for the Earth: A Process Eschatological Eco-ethics for South Korea), Mary Elizabeth Mullino Moore (Compassion, Creativity, and Form: The Ethics of Institutions), and George W. Shields (Ruse, Altruism, and Process Philosophy). The subsection on "Ethics and Aesthetic Values" includes contributions from Stephen T. Franklin (abstract only), Brian G. Henning (Is There an Ethics of Creativity?), Mihàly Tòth (Art of Life and the Ethics of Life Forming), and Guorong Yang (Problems and Perspectives in the Emerging of Global Society). (shrink)

Some believe that evidence for the big bang is evidence for the existence of god. Who else, they ask, could have caused such a thing? In this paper, I evaluate the big bang argument, compare it with the traditional first-cause argument, and consider the relative plausibility of various natural explanations of the big bang.

Contributes a black Atlantic perspective to postmodernism, theology, and metaphysics.

In Kant’s Transcendental Idealism, Henry Allison argues that Kant’s theoretical treatment of the self presents both an incoherent “official view” and a coherent “alternative view.” In this paper, I argue that Kant’s genuine position on the self can be reconstructed as a coherent unity by examining the flaws in Allison’s analysis. It is shown that Allison’s objections to Kant’s official view are based on unwarranted metaphysical assumptions and unjustified conceptual identifications. Allison’s own dual-aspect view of the transcendental distinction between phenomena (...) and noumena is used to correct these misconceptions. Thus, the official view as described by Allison is not Kant’s genuine position. Rather, it is shown that Kant treats the noumenal self as the ground or support of the activity of thinking and the subject of apperception, and that this grounding function is essential to Kant’s view but overlooked by Allison’s analysis. (shrink)

The relation between the concepts of the subject of apperception, the phenomenal self, and the noumenal self has long puzzled commentators on Kant’s theoretical account of the self. This paper argues that many of the puzzles surrounding Kant’s account can be resolved by treating the subject of apperception and other transcendental predicates of thinking as a dimension of the noumenal self. Yet this interpretation requires a clarification of how the transcendental predicates of thinking can be attributed to the noumenal self (...) without violating the thesis of noumenal ignorance. The clarification is achieved through a careful analysis of the meaning of the latter thesis. The paper’s interpretation is then shown to be consistent with Kant’s rejection of traditional ontology and with the dual-aspect view. The paper’s final section argues that transcendental predicates are properly construed as logical predicates but must be distinguished from ordinary examples of the latter. (shrink)

Rousseau argued forcefully for the superiority of a life lived in accordance with "the simplest impulses of nature," but his complex (some would say contradictory) understanding of the relationship between humans and "nature" is rarely cited as a source of inspiration by those seeking to reform the human relationship with the natural world. We argue that the complexities of Rousseau's political thought illuminate important connections between his works and the programs put forth by deep ecology. In Part One, we explore (...) the theoretical connections between Rousseau's account of the human fall from nature and major works of radical environmentalism. In Part Two, we offer suggestions for a reconsideration of Rousseau's work that may illuminate the paradoxical political requirements of deep ecology's recommendations for a more ecological human life. We hope to illustrate how a careful reading of Rousseau's work may serve as the basis for fruitful questioning of environmentalist thought. (shrink)

This essay, in the form of a letter written to director László Nemes in the immediate aftermath of viewing Son of Saul, is at once a critical reading of the film within a larger theoretical framework and a subjective emotional response to seeing on the screen something of the author’s own “most harrowing nightmares.” While bringing Nemes’s film into conversation with Maurice Blanchot, Theodor Adorno, Walter Benjamin, the Hassidic tale and ancient myths, Georges Didi-Huberman returns to his reflections in Images (...) in Spite of All (2008) on the four photographs taken clandestinely of the gas chambers in Auschwitz by one of the Sonderkommando. Son of Saul presents the allegory of Saul whose job as a Sonderkommando is to drag countless corpses to the crematorium where they will be reduced to ashes but who sets out on a mad, single-minded quest to give a proper burial, complete with the recitation of kaddish, to the body of one boy. According to the author, the film marks the invention of the “documentary tale” genre, combining Benjamin’s notions of montage based on the document, as manifested in the work of Marcel Proust, James Joyce, and Alfred Döblin, and that of the dying art of storytelling, intimately bound up as it is with the authority of the dying. Thus, the dead child drowning at the end of the film stands as an inversion of the story of Moses, a living child saved from drowning, just as the real historic death of the Jewish people reverses the mythical Biblical birth of the Jewish people. (shrink)

In this collection of seven essays, Raymond Geuss brings his distinctive philosophical perspective to bear on the interrelations among the three issues announced in his title. At one point calling his approach an “excursion into conceptual history”, Geuss manages to keep his potentially intractable topic under control by integrating very broad thematic elements with extended moments of textual analysis, focusing on such thinkers as Kant, Hegel, Nietzsche, Theodor Adorno, and Ernst Tugendhat. Although the essays range fairly widely, it becomes evident (...) that the two central figures in Geuss’s loosely connected concerns are, in the end, Nietzsche and Adorno, signaling the volume’s chief preoccupation with the interrelations between art and morality in modern culture. In the pursuit of these and other complexities, the author’s deep learning is coupled with a style that is virtually crystalline. (shrink)