In this essay I discuss several questions related to the manner in which concepts generally, and religious concepts in particular, are formed. Are some concepts necessary in the sense that, considering the physical makeup of the natural world and our own bio-chemical, perceptual, and cognitive nature, these concepts had to emerge by necessity? If we put considerations of divine revelations aside, I ask regarding religious concepts, what would be the proper way of looking at how they came to be formed? (...) What role does causality play in the formation of empirical and religious concepts, if at all? One of my aims in discussing these and other related questions is to revisit Hilary Putnam’s justificatory basis for rejecting the intelligibility of speaking of absolute conceptions of the world. Although I support his position on this issue, I show some of the hermeneutical problems in his reliance on Wittgenstein’s views concerning language games and worldviews. I also revisit Wittgenstein’s own views about concept formation to discuss the similarities and differences between how religious concepts and empirical concepts are formed. My aim here is to show that the idea of an absolute conception of the world rests on confusing the regulative role that concepts play in our lives for a causative role. (shrink)

Raimond Gaita's Good and Evil is one of the most important, original and provocative books on the nature of morality to have been published in recent years. It is essential reading for anyone interested in what it means to talk about good and evil. Gaita argues that questions about morality are inseparable from the preciousness of each human being, an issue we can only address if we place the idea of remorse at the centre of moral life. Drawing on an (...) astonishing range of thinkers and writers, including Plato, Wittgenstein, George Orwell and Primo Levi, Gaita also reflects on the place of reason and truth in morality and ultimately how questions about good and evil are connected to the meaning of our lives. This revised edition of Good and Evil includes a substantial new preface and afterword by the author. (shrink)

Raimond Gaita's _Good and Evil_ is one of the most important, original and provocative books on the nature of morality to have been published in recent years. It is essential reading for anyone interested in what it means to talk about good and evil. Gaita argues that questions about morality are inseparable from the preciousness of each human being, an issue we can only address if we place the idea of remorse at the centre of moral life. Drawing on an (...) astonishing range of thinkers and writers, including Plato, Wittgenstein, George Orwell and Primo Levi, Gaita also reflects on the place of reason and truth in morality and ultimately how questions about good and evil are connected to the meaning of our lives. This revised edition of _Good and Evil_ includes a substantial new preface and afterword by the author. (shrink)

Raimond Gaita draws moral philosophy away from the academic study of ethics and considers instead how real people actually think, talk and feel about morality. He explores our ideas of good and evil, and their link to our respect for human beings and the'preciousness' of each individual.

As a response to what I see as the challenge posed by constructivist and narrative pedagogies, this paper seeks to sympathetically reconstruct Bernard Williams’ Absolute Conception from the scattered texts in which he briefly sketched it While ultimately defending the Absolute Conception or something close enough to it, the paper criticizes and distances itself from some aspects of Williams’ version, notably his conception of philosophy as insurmountably perspectival. Williams’ understanding of perspectival knowledge as contrasted to (...) absolute knowledge is illustrated with the concrete, if fictional case of the Dr Manhattan character from Zack Snyder’s Watchmen (2009). Adrian Moore’s reading, and Hilary Putnam’s criticisms of Williams’ Absolute Conception are amongst the positions engaged with. (shrink)

My thesis is that ‘rational’ is an absolute concept like ‘flat’ and ‘clean’. Absolute concepts are best defined as absences. In the case of flatness, the absence of bumps, curves, and irregularities. In the case of cleanliness, the absence of dirt. Rationality, then, is the absence of irrationalities such as bias, circularity, dogmatism, and inconsistency.

The purpose of this paper is to examine some contentions advanced by B. A. O. Williams in his books Descartes: The Project of Pure Enquiry and Ethics and the Limits of Philosophy . In particular I shall be concerned with the claims he makes about the nature of ethics—namely that it cannot be ‘objective’ or ‘realistic’ and that we may not hope for rational convergence in ethical judgments. My claims will be that Williams's case on these matters is importantly unclear (...) and incomplete and that we lack cogent reasons to accept the conclusions he offers us. But a good deal of scene-setting is necessary before we can pose the questions I wish to address. (shrink)

In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does one appeal? (...) On the subjectivity thesis, aesthetic value is not predicable of objects. But this threatens judgments of taste with a sort of relativism. Can we not firmly assert the aesthetic value of any object? Have we no authority to make criticisms of taste? Following John McDowell’s “Aesthetic Value, Objectivity and the Fabric of the World”, I will hold that aesthetic value is neither objective nor subjective, but rather intersubjective. But, contra McDowell, I will argue that the validity that intersubjective aesthetic value bestows on judgments of taste must assume an indeterminate absolute conception of reality, of the world as it is in itself. Only such a conceptual resource can in turn make intelligible the notion of a shared or common sense according to which a judgment of taste can be universally valid, that is, valid for all subjects. Finally, I will consider an objection to common sense in matters of taste. (shrink)

What is absolutely unrestricted quantification? We distinguish two theoretical roles and identify two conceptions of absolute generality: maximally strong generality and maximally inclusive generality. We also distinguish two corresponding kinds of absolute domain. A maximally strong domain contains every potential counterexample to a generalisation. A maximally inclusive domain is such that no domain extends it. We argue that both conceptions of absolute generality are legitimate and investigate the relations between them. Although these conceptions coincide in standard settings, (...) we show how they diverge under more complex assumptions about the structure of meaningful predication, such as cumulative type theory. We conclude by arguing that maximally strong generality is the more theoretically valuable conception. (shrink)

It is a common wisdom that whereas consequence or entailment is a semantic concept, provability is a syntactic concept. However, what exactly does this mean? What is provability? In the traditional, intuitive sense, to prove something is to demonstrate its truth, and indeed the Latin word for proof is demonstratio. Hence in this sense, we cannot prove something unless it is true. Now in the course of his well known proof of the incompleteness of arithmetic, Gödel showed that provability within (...) the axiomatic system of Peano arithmetic (PA) can be reconstructed as a number-theoretic predicate Pr and he showed that within the system there exists a statement G so that.. (shrink)

Attention is drawn to a clear statement of the concept of an absolute zero of temperature by John Locke some time between 1698 and 1704. From the writings of Boyle and Newton it seems unlikely that either of them was responsible for providing their friend with this insight.

The article offers an analysis of the concept of the Absolute in Fichte’s philosophy. Despite the difficulty of the definition, this concept receives a rich and creative rethinking in Fichte and will further influence the philosophical systems of thought. Gradually introducing this concept into his philosophical project of Wissenschaftslehre Fichte often changes its interpretation. So, starting with a somewhat vague understanding of the concept of the "absolute I" through Schelling's criticism of the Absolute, he develops the theory (...) of the manifestation of the Absolute, each time choosing new metaphors to denote it, and sometimes filling it with religious content, when the Absolute becomes a substitute for the concept of God. On the one hand, it’s important not to reduce the Absolute to a simple object of thought because this would indicate the limitation of the Absolute. On the other hand, it would be wrong to consider the Absolute as an empty or neutral concept or something completely enclosed in itself. Then, its existence will be doubtful. Fichte is careful about a clear definition of the Absolute. He solves this dilemma through the idea of the manifestation of the Absolute. Manifestation is the exit of the Absolute beyond itself while remaining unchanged. The ability to manifest itself is a prerequisite that the Absolute can be recognized and thought. This is how the Absolute manifests itself in the form of knowledge. Fichte emphasizes that the Absolute is not a projection of our mind, it may not depend on our thinking, however with such peculiarity that truth and knowledge have their basis in it. Thereby, with the theory of the Absolute, Fichte develops the idea of the foundation that is outside of ourselves, has transcendental character, and thus allows knowledge or truth not to be trapped in subjective tenets. Analyzing step by step the process of evolution of this concept, we will be able to see how in the last years of his life, Fichte states the importance of two realities: the “I” and the “Absolute” and how he explains the connection between them. (shrink)

This work intends to demonstrate the existence of limits that hinder the absolute authority of the sovereign in Hobbes’s political theory. Particularly, I will try to identify the concept of honor as the paradigm of this limitation. The field of the manifestations of worth — it will be argued — operates within a logic that runs parallel to that of the State. Moreover, it engenders authorities with high degree of autonomy. To be sure, the sovereign power can intervene in (...) this field by means of persuasion and coercion, but it will never be able to erase the resistances and limitations imposed by signs of honor. (shrink)

Process philosophies tend to emphasise the value of continuous creation as the core of their discourse. For Bergson, Whitehead, Deleuze, and others the real is ultimately a creative becoming. Critics have argued that there is an irreducible element of (almost religious) belief in this re-evaluation of immanent creation. While I don’t think belief is necessarily a sign of philosophical and existential weakness, in this paper I will examine the possibility for the concept of universal creation to be a political and (...) ethical axiom, the result of a global social contract rather than of a new spirituality. I argue here that a coherent way to fight against potentially totalitarian absolutes is to replace them with a virtual absolute that cannot territorialise without deterritorialising at the same time: the Creal principle. (shrink)

In Absolute Music: The History of an Idea, author Mark Evan Bonds examines how writers have struggled to isolate the essence of music in ways that account for its profound effects on the human spirit. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to twentieth-century America, Bonds provides the first comprehensive history of this pivotal concept, and provokes new thoughts on the essence of music and how this essence explains music's effect. (...) A long awaited book from one of the most respected senior scholars in the field. (shrink)

The subject of the article is the conception of the Universe quantum origin. According to this conception, the Universe was formed as an effect of the quantum fluctuation of physical vacuum and can just be considered as such fluctuation. The first suggestion of such an origin of the Universe was made by M.G. Albrow. The views of A. Vilenkin, S.W. Hawking and J.B. Hartle, who combined this conception with the inflationary Universe theory, made the basis for the (...) analysis of the contemporary version of the conception of the Universe quantum origin. Consequently, a new version of this conception was elaborated, which assumed that the Universe was formed from nothing as an effect of quantum tunneling passage. Followers of the conception of the Universe quantum origin suggest that the solution of the problem of the origin of the Universe on the basis of this conception is of absolute character. However, the philosophical analysis of the problem discussed in the article, which includes cosmological consequences of the idea of inexhaustibility of matter, proved that the solution of the problem proposedin the conception of the Universe quantum origin is not and cannot be of absolute character. In fact, the solution is a cosmological hypothesis describing one of theoretical variants of the relative origin of the Universe. At the end of the article, it was remarked that the development of the 20th century cosmology results in the necessity of modification of philosophical terminology used so far for the purpose of the analysis of the problem of the origin of the Universe. (shrink)

Since antiquity, natural philosophers have struggled to comprehend the nature of three tightly interconnected concepts: space, time, and motion. A proper understanding of motion, in particular, has been seen to be crucial for deciding questions about the natures of space and time, and their interconnections. Since the time of Newton and Leibniz, philosophers’ struggles to comprehend these concepts have often appeared to take the form of a dispute between absolute conceptions of space, time and motion, and relational conceptions. This (...) article guides the reader through some of the history of these philosophical struggles. Rather than taking sides in the (alleged) ongoing debates, or reproducing the standard dialectic recounted in most introductory texts, we have chosen to scrutinize carefully the history of the thinking of the canonical participants in these debates — principally Descartes, Newton, Leibniz, Mach and Einstein. Readers interested in following up either the historical questions or current debates about the natures of space, time and motion will find ample links and references scattered through the discussion and in the Other Internet Resources section below. (shrink)

The final chapter of Hegel’s Phenomenology of Spirit is generally considered by interpreters to inaugurate an absolute knowing that eliminates any significant opposition between subject and object. Such an understanding of Hegel, however, fails to do justice to the numerous passages in the Phenomenology in which Hegel criticizes just such a reduction of the opposed moments of spirit. In this essay, I argue for an alternative to this traditional interpretation of absolute knowing.

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Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a (...) tone in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

Although contemporary powers metaphysics largely understands itself as a metaphysical realist undertaking, recently powers have come to the surface also within an idealist context. This paper aims to characterize and motivate an absolute idealist conception of powers. I compare realist and idealist powers metaphysics in their respective responses to Humean scepticism concerning powers, thereby motivating the claim that the very idea of a power is actually best understood as an idealist idea. I continue to characterize the absolute (...) idealist’s understanding of power, for which it is necessary to see that the content of her power notion is inseparable from the way in which she arrives at that notion. I close with a brief reflection on the absolute idealist’s understanding of the power of thought, which is where idealist and realist powers metaphysics diverge most radically. (shrink)