Introduction: the use and abuse of Thomas Paine in the transatlantic world / Sam Edwards and Marcus Morris -- Part I. The image and idea(s) of Paine: origins, use and reuse -- The image of Tom: Paine in print and portraiture / W.A. Speck -- "I am made to say what I never wrote": deism, spiritualism and ventriloquizing Paine, c.1790s-1850s / Patrick W. Hughes -- All Paine: the American mind and the creation of the League of Nations and the (...) U.N. / Michael Holm -- The distortion of Thomas Paine's philosophy of government / Gary Berton -- Part II. Discovering and using Paine's radicalism -- "Revolutions are the order of the day": Atlantic fragments of Thomas Paine, c.1819-1832 / Matteo Battistini -- Posthumous Paine in the United Kingdom, 1809-1832: Jacobin or loyalist cult? / Matthew Roberts -- "The neglect of Paine seems particularly strange at the present political juncture": explaining British socialists' relationship to Paine, c. 1884-1914 / Marcus Morris -- Citizens of the world: Paine and the political prisoners transported to Australia / Tony Moore -- Part III. Remembering and remaking Paine -- Common sense on the Lower East Side: Thomas Paine and the era of immigration, c.1900-1950 / Louis Mazzari -- "A monument in every city?": Thomas Paine in memoriam / Theodore Marotta -- "He came from America didn't he?": the Thetford Statue controversy and the problem of Paine in transatlantic memory, c.1909-1970 / Sam Edwards -- Afterword: the struggle for Paine's memory and the making of American democracy / Harvey J. Kaye. (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides (...) a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

“Respirators, not furnished” is a phrase that appears in Muriel Rukeyser’s poetic sequence The Book of the Dead, addressed to the catastrophic silicosis epidemic that afflicted miners of the Hawk’s Nest Tunnel. Using the example of Rukeyser’s text, which I taught as part of a course on extractionism during the early months of the pandemic and again in its aftermath, the essay asks what it means to read on the precipice of disaster and what disasters of reading are threatened by (...) our current moment. (shrink)

Some sensory modalities, such as sight, touch and audition, are arguably spatial, and one way to understand these spatial senses is to investigate spatial representations in them. Here I focus on a specific element in this area— the interplay between perspectival variation and spatial constancy—and discuss recent interdisciplinary works on this topic. With these relevant experimental works, we will see clearly how traditional controversies in philosophy, for example, whether we perceive perspectival shapes as well as objective shapes, and whether any (...) sensory field should be postulated in senses other than vision, can benefit from considerations in empirical sciences. (shrink)

In this paper, we introduce and defend the recurrent model for understanding bodily spatial phenomenology. While Longo, Azañón and Haggard (2010) propose a bottom-up model, Bermúdez (2017) emphasizes the top-down aspect of the information processing loop. We argue that both are only half of the story. Section 1 intro- duces what the issues are. Section 2 starts by explaining why the top- down, descending direction is necessary with the illustration from the ‘body-based tactile rescaling’ paradigm (de Vignemont, Ehrsson and Haggard, (...) 2005). It then argues that the bottom-up, ascending direction is also necessary, and substantiates this view with recent research on skin space and tactile field (Haggard et al., 2017). Section 3 discusses the model’s application to body ownership and bodily self-representation. Implications also extend to topics such as sense modality individuation (Macpherson, 2011), the constancy- based view of perception (Burge, 2010), and the perception/cognition divide (Firestone and Scholl, 2016). (shrink)

Conceived through collaboration by activist academics from Israel and Northern Ireland, this book draws from experience to offer practical and theoretical insights and programs for promoting activist pedagogy for shared learning and shared life in divided societies.

Aristotle and Natural Law lays out a new theoretical approach which distinguishes between the notions of 'interpretation,' 'appropriation,' 'negotiation' and 'reconstruction' of the meaning of texts and their component concepts. These categories are then deployed in an examination of the role which the concept of natural law is used by Aristotle in a number of key texts. The book argues that Aristotle appropriated the concept of natural law, first formulated by the defenders of naturalism in the 'nature versus convention debate' (...) in classical Athens. Thereby he contributed to the emergence and historical evolution of the meaning of one of the most important concept in the lexicon of Western political thought. Aristotle and Natural Law argues that Aristotle's ethics is best seen as a certain type of natural law theory which does not allow for the possibility that individuals might appeal to natural law in order to criticize existing laws and institutions. Rather its function is to provide them with a philosophical justification from the standpoint of Aristotle's metaphysics. (shrink)

Street art is an art form that entails creating public works incorporating the street physically and in their meaning. That physical property is employed as an artistic resource in street art raises two questions. Are street artworks necessarily illegal? Does being illegal change the nature of production and aesthetic appreciation? First, I argue street artworks must be in the street. On my view, both the physical and sociocultural senses of the street can be constitutive of meaning. Second, I argue that (...) illegality is a prototypical and paradigmatic feature of street art. While illegality alone does not make works better than sanctioned street art, it affects the production process and changes what is available to appreciate. (shrink)

There have recently been various empirical attempts to answer Molyneux’s question, for example, the experiments undertaken by the Held group. These studies, though intricate, have encountered some objections, for instance, from Schwenkler, who proposes two ways of improving the experiments. One is “to re-run [the] experiment with the stimulus objects made to move, and/or the subjects moved or permitted to move with respect to them” (p. 94), which would promote three dimensional or otherwise viewpoint-invariant representations. The other is “to use (...) geometrically simpler shapes, such as the cube and sphere in Molyneux’s original proposal, or planar figures instead of three-dimensional solids” (p. 188). Connolly argues against the first modification but agrees with the second. In this article, I argue that the second modification is also problematic (though still surmountable), and that both Schwenkler and Connolly are too optimistic about the prospect of addressing Molyneux’s question empirically. (shrink)

This paper discusses the significance of the concept of a social formation for historical materialism. It argues that the concept is wrongly thought to be associated uniquely with the writings of Louis Althusser and with structuralist Marxism. It can be found in the writings of Marx himself, as well as those of Lenin, and is central to an adequate understanding of classical Marxism. To illustrate its importance the paper shows how the concept may be used to shed new light on (...) the debate around the transition from feudalism to capitalism. (shrink)

In 1925, David Katz published an influential monograph on touch, Der Aufbau der Tastwelt, which was translated into English in 1989. Although it is called “the world of touch,” it also discusses the thermal and the nociceptive senses, albeit briefly. In this chapter, we will follow this approach, but we will speak about “somatosensory senses” in general in order to remind ourselves that perceptions of temperatures and pains should also be considered together in this context.

Is there a duty to prosecute grave international crimes? Many have thought so, even if they recognize the obligation to be defeasible. However, the theoretical literature frequently leaves the grounds for such a duty inadequately specified, or unsystematically amalgamated, leaving it unclear which considerations should drive and shape processes of criminal accountability. Further, the circumstance leaves calls to end impunity vulnerable to skeptical worries concerning the risks and costs of punishing perpetrators. I argue that a qualified duty to prosecute can (...) be substantiated on the basis of a single class of reasons, though also that standard justifications of international criminal law (as currently conceived) are not up to the task. The account exploits the expressive dimension of punishment, but locates the central good of criminal accountability in its capacity to appropriately enable an agential stance on the part of subjects in transitional circumstances. It can legitimate, in a way to be specified, hope. The approach also displays the cynicism of an anti‐impunity ethos in the absence of a robust commitment to securing basic human rights in transitional circumstances. (shrink)

The article investigates the sociocultural implications of the changing modern workplace and of pharmacological cognitive enhancement as a potential adaptive tool from the viewpoint of social niche construction. We will attempt to elucidate some of the sociocultural and technological trends that drive and influence the characteristics of this specific niche, and especially to identify the kind of capabilities and adaptations that are being promoted, and to ascertain the capabilities and potentialities that might become diminished as a result. In this context, (...) we will examine what PCE is, and how and why it might be desirable as a tool for adaptation within the workplace. As human beings are, or at least should be allowed to be, more than merely productive, able-bodied and able-minded workers, we will further examine how adaptation to the workplace niche could result in problems in other domains of modern societal life that require the same or other cognitive capabilities. In this context we will also focus on the concept of responsibility and how it pertains to PCE and the modern workplace niche. This will shed some light on the kind of trends related to workplace niche construction, PCE and capability promotion that we can expect in the future, and on the contexts in which this might be either beneficial or detrimental to the individual as a well-rounded human being, and to other members of society. (shrink)

In a step-by-step progression through Marx's three volume work, discovers a systematic theory of socio-economic categories ordered according to the dialectical logic derived from Hegel.

Performance philosophy commences with an impertinent gesture when it describes itself as inaugurating a ‘new field’ of study. Accompanying that claim is a radical proposition that ‘performance thinks’; that it should be counted as a form of philosophising in its own right. But in what sense can performance be construed as ‘genuinely’ philosophical thought? Taking my cue from Laura Cull’s alignment of performance philosophy with Laruelle’s practice of ‘non philosophy’ – and specifically, with its introduction of ‘democracy’ into the dispositives (...) of ‘standard’ philosophy in order to challenge its transcendental authority over the Real – I argue that performance philosophy might be seen to enact a similar disruption of the ‘dispositives’ of performance theory. This, however, is only partly what is at stake in the fundamental proposition of performance philosophy, and I conclude by suggesting that a more radical proposal lies behind its assertion of a new ‘field’ – one that does not reduce it to an empirical fact, but grasps it as a radical ‘utopian’ hypothesis designed to ‘open up’ the philosophical dimension of performance itself; utopian because what performance offers – seen in this way - is not simply another system of representation but a possible democratic thought of the Real itself. (shrink)

The aesthetic exception theorises anew the relation between art and politics. It challenges critical trends that discount the role of aesthetic autonomy, to impulsively reassert art as an effective form of social engagement. But it equally challenges those on the flipside of the efficacy debate, who insist that art's politics is limited to a recondite space of 'autonomous resistance'. The book shows how each side of the efficacy debate overlooks art's exceptional status and its social mediations. Mobilising philosophy and cultural (...) theory, and employing examples from visual art, performance, and theatre, it proposes four alternative tests to 'effect' to offer a nuanced account of art's political character. Those tests examine how art relates to politics as a practice that articulates its historical conjuncture, and how it prefigures the 'new' through simulations capable of activating the political life of the spectator. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This chapter offers an analysis of the speech conditions constitutive for the staging of political disagreement. Rather than seeking to offer an explanation for various situations of protest, however, it aims to identify what, if anything, is unique or peculiar to such modes of address. Drawing on the resources of speech act theory, the chapter suggests a reading of ‘dissensual speech’ as a form of ‘unauthorised’ speech through which the ‘people’ appear, however, evanescently. It analyses the peculiarities of dissensual speech (...) in the following ways: first, in terms of specifying its modes of utterance, which are identified with phatic and agonic modes of address and, second, in terms of its performative attitudes. In analysing the latter, I turn to Foucault’s notion of parrēsiastic speech in order to confront a paradox that arises with my reading of dissensual speech viewed in terms of ‘performatives’, since parrēsia—‘speaking truth to power’—is radically opposed to two fundamental rules that govern performatives and illocutionary forces: that they are conventional and that their enunciator must be authorised to use them. The chapter proposes a resolution to this contradiction by showing that an affinity exists between parrēsiastic speech and dissensual speech insofar as both entail ‘risk’ to the speaker in uttering a truth. The question then is whether it is possible to collectivise that risk, or whether parrēsia necessarily remains the speech of the individual martyr. (shrink)

This chapter offers an analysis of the speech conditions constitutive for the staging of political disagreement. Rather than seeking to offer an explanation for various situations of protest, however, it aims to identify what, if anything, is unique or peculiar to such modes of address. Drawing on the resources of speech act theory, the chapter suggests a reading of ‘dissensual speech’ as a form of ‘unauthorised’ speech through which the ‘people’ appear, however, evanescently. It analyses the peculiarities of dissensual speech (...) in the following ways: first, in terms of specifying its modes of utterance, which are identified with phatic and agonic modes of address and, second, in terms of its performative attitudes. In analysing the latter, I turn to Foucault’s notion of parrēsiastic speech in order to confront a paradox that arises with my reading of dissensual speech viewed in terms of ‘performatives’, since parrēsia—‘speaking truth to power’—is radically opposed to two fundamental rules that govern performatives and illocutionary forces: that they are conventional and that their enunciator must be authorised to use them. The chapter proposes a resolution to this contradiction by showing that an affinity exists between parrēsiastic speech and dissensual speech insofar as both entail ‘risk’ to the speaker in uttering a truth. The question then is whether it is possible to collectivise that risk, or whether parrēsia necessarily remains the speech of the individual martyr. (shrink)

This book combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street. Our times are pre-eminently political times and have drawn radical responses from many theatre and performance practitioners. However, a decade of conflict in the Middle East and Afghanistan, the eruption of new social movements around the world, the growth of anti-capitalist and anti-globalisation struggles, the upsurge of protests against the blockades of neoliberalism, and (...) the rising tide of dissent and anger against corporate power, with its exorbitant social costs, have left theatre and performance scholarship confronting something of a dilemma: how to theorize the political antagonisms of our day? Drawing on the resources of ‘post-Marxist’ political thinkers such as Chantal Mouffe and Jacques Rancière, the book explores how new theoretical horizons have been made available for performance analysis. (shrink)

This essay explores the discursive invocation of ‘civil war’ to describe the polarization of the political terrain in post-Referendum Britain in order to contextualize the National Theatre’s production of Carol Ann Duffy and Rufus Norris’s ‘verbatim’ play My Country and its representation of Brexit. It shows how the political reality of Brexit, understood as a crisis of ‘general enculturation’, undermined the NT’s attempt to transcend the impasse of the political context. It argues that in identifying the NT with the play’s (...) central figure of Britannia, an image of reconciliation, the theatre failed to account for its own implication in the wider crisis of enculturation. (shrink)

This essay describes a performance by the Greek theatre collective, Blitz Theatre – Late Night – as constituting a theatrical response to current political crises in Europe. What I call a ‘theatre of the impasse’ seeks to bear witness to the experience of impasse, where impasse and crisis must be fundamentally distinguished. Impasse is revealed where crisis admits of no decision adequate to the situation; and, correspondingly, where theatre loses faith in the power of decision to resolve its conflicts. I (...) situate these claims with reference to Carl Schmitt’s and Walter Benjamin’s dispute over political theology, arguing that a theatre of the impasse might be thought as an ‘allegorical’ theatre in Benjamin’s terms. Blitz Theatre’s Late Night reveals, thereby, the concealed truth of the impasse: a founding human sociality experienced as world immanence. In doing so doing, I argue, this theatre frustrates every hope for the kind of political theology of the stage envisaged by Schmitt. I read the performance, instead, as an elegy to Nancy’s inoperative community, at the centre of which are the figure of lovers, bound to, yet unable to take possession of, one another. Staging impasse, Late Night allegorises the fragile human community, exposed in its fundamental precarity. (shrink)

Performance philosophy commences with an impertinent gesture when it describes itself as inaugurating a ‘new field’ of study. Accompanying that claim is a radical proposition that ‘performance thinks’; that it should be counted as a form of philosophising in its own right. But in what sense can performance be construed as ‘genuinely’ philosophical thought? Taking my cue from Laura Cull’s alignment of performance philosophy with Laruelle’s practice of ‘non philosophy’ – and specifically, with its introduction of ‘democracy’ into the dispositives (...) of ‘standard’ philosophy in order to challenge its transcendental authority over the Real – I argue that performance philosophy might be seen to enact a similar disruption of the ‘dispositives’ of performance theory. This, however, is only partly what is at stake in the fundamental proposition of performance philosophy, and I conclude by suggesting that a more radical proposal lies behind its assertion of a new ‘field’ – one that does not reduce it to an empirical fact, but grasps it as a radical ‘utopian’ hypothesis designed to ‘open up’ the philosophical dimension of performance itself; utopian because what performance offers – seen in this way - is not simply another system of representation but a possible democratic thought of the Real itself. (shrink)

ABSTRACTThis paper examines in detail the quality of the relationship the Catholic Church in its Sydney Archdiocese had with its lawyers in the John Ellis matter as revealed in the Royal Commission into Institutional Responses to Child Sexual Abuse inquiry. It identifies the particular moral perspective embedded in its lawyers' adversarial approach and asks whether a different approach involving explicit moral conversations might have better served the Church's avowed pastoral ethos.

The topic of this paper is the complex interaction between attention, fixation, and one species of change blindness. The two main interpretations of the target phenomenon are the ‘blindness’ interpretation and the ‘inaccessibility’ interpretation. These correspond to the sparse view (Dennett 1991; Tye, 2007) and the rich view (Dretske 2007; Block, 2007a, 2007b) of visual consciousness respectively. Here I focus on the debate between Fred Dretske and Michael Tye. Section 1 describes the target phenomenon and the dialectics it entails. Section (...) 2 explains how attention and fixation weigh in these debates, and argues that Dretske’s hyper-rich view fails precisely because he overlooks certain effects of attention and fixation. Section 3 explains why Tye’s view is also unsatisfying, mainly because he misconceives the degree of access. Section 4 then puts forward the positive model covariance, which has it that the degree of cognitive access tracks the degree of phenomenology, and contrasts it with Block’s view on the Sperling iconic memory paradigm. The paper ends with a discussion of levels of seeing, which involve crowding, indexing, and other visual phenomena. Change ‘blindness’ is a set of phenomena that was discovered about two decades ago, yet an entirely satisfying understanding is still lacking. To move forward, a more detailed understanding of attention and fixation is called for. (shrink)

Joseph Dietzgen (1828-1888) had an important role in the history of Marxism. One reason for this is that he coined the phrase "dialectical materialism" — the hallmark of "orthodox" Marxism. Another reason is that at the beginning of the 20th century, in the absence of Marx's early writings, humanist critics of "orthodox" Marxism like Anton Pannekoek appealed to Dietzgen. An understanding of Dietzgen's thought sheds new light on our understanding of "dialectical materialism" and on the debate between "orthodox" and "Hegelian" (...) Marxists. (shrink)

This second volume continues the story told in the first by focusing on the writings of a selection of seminal thinkers in the seventeenth and eighteenth centuries, in England, the German speaking world and in France, ending with the debate around the French Revolution of 1789.

The author then elaborates a systematic reconstruction of Dilthey's ontology of life. In the final section of the book, Dilthey's hermeneutic ontology is confronted with the works of Heidegger, Gadamer, and Derrida, and its relevance in current philosophical debate is evaluated."--Jacket.

The target article argues that language-of-thought hypothesis (LoTH) is applicable to various domains, including perception. However, it focusses exclusively on the visual case, which is limited in this regard. I argue for two ideas in this commentary: first, their case can be extended to other modalities such as touch; and second, the status of those six criteria needs to be further clarified.