This article discusses immediate premises in Aristotle’s epistemology. The traditional interpretation identifies immediacy with indemonstrability: immediate truths are the indemonstrable principles of science from which the theorems are derived by demonstration. Against this common reading, I argue that Aristotle’s recognition of two kinds of epistemic priority (priority by nature and priority to us) commits him to the existence of two types of immediacy, only one of which is equivalent to indemonstrability. As a result, my interpretation offers a better (...) understanding of a puzzling passage (APo. 1.13, 78a22–b4) that seems to contradict the standard view. (shrink)

This volume presents a collection of refereed papers reflecting the state of the art in the area of over-constrained systems. Besides 11 revised full papers, selected from the 24 submissions to the OCS workshop held in conjunction with the First International Conference on Principles and Practice of Constraint Programming, CP '95, held in Marseilles in September 1995, the book includes three comprehensive background papers of central importance for the workshop papers and the whole field. Also included is an introduction by (...) one of the volume editors together with a bibliography listing 243 entries. All in all this is a very useful reference book relevant for all researchers and practitioners interested in hierarchical, partial, and over-constrained systems. (shrink)

In this paper we present a semantic analysis of the imperfective paradox based on the Event Calculus, a planning formalism characterizing a class of models which can be computed by connectionist networks. We report the results of a questionnaire that support the semantic theory and suggest that different aspectual classes of VPs in the progressive give rise to different entailment patterns. Further, a processing model is outlined, combining the semantic analysis with the psycholinguistic principle of immediacy in the (...) framework of recurrent networks. The model is used to derive predictions concerning the electrophysiological correlates of the computations described by the Event Calculus. (shrink)

This is the first English translation for forty years of a medieval classic, offering vivid and unique insight into the life of a great monastery in late twelfth-century England. The translation brilliantly communicates the interest and immediacy of Jocelin's narrative, and the annotation is particularly clear and helpful. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the (...) most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

The philosophical line of inquiry opened by Edmund Husserl remains one of the most inspiring ones for contemporary thinking, insofar as it places the experiential dimension at its center. Yet its initial disposition rests upon a fundamental misunderstanding. While phenomenology scolded the traditional representationalist accounts, for which we never have the things themselves, but ever only internal representations of it, its major advanced consisted in stressing that in experience, we have the things in themselves and not just emissaries or representatives. (...) However, this advance, which we will qualify as the " principle of selfhood " led to imprudently make another assumption, that is that in experience, we do not only have the things themselves (principle of selfhood) but that we also have them immediately (principle of immediacy). A deconstructive analysis of experience provides such a postulation to be problematic: what appears (phainestai) is never given right off the bat, but appears through something else (dia phainestai). The paper indicates where a deconstruction of Husserl's theoretical framework is necessary, and sketches the transformations of phenomenology into a kind of thinking that makes space for the intermediaries of experiences. Diaphenomenology starts off with the assumption that whatever appears appears through something. Experience has to be conceived of as transphenomenality. A diaphenomenological perspective moves away from both a foundationalist account of subjectivity (where the ego is the ground for all appearances) and a merely accusative account of it (where the ego is nothing but a pole of affections). It describes the modes in which the subject is actor, albeit not author of her experiences. (shrink)

Over the course of its first seven editions, Principles of Biomedical Ethics has proved to be, globally, the most widely used, authored work in biomedical ethics. It is unique in being a book in bioethics used in numerous disciplines for purposes of instruction in bioethics. Its framework of moral principles is authoritative for many professional associations and biomedical institutions-for instruction in both clinical ethics and research ethics. It has been widely used in several disciplines for purposes of teaching in the (...) classroom, during conferences, etc. (shrink)

In this paper we present a semantic analysis of the imperfective paradox based on the Event Calculus, a planning formalism characterizing a class of models which can be computed by connectionist networks. We report the results of a questionnaire that support the semantic theory and suggest that different aspectual classes of VPs in the progressive give rise to different entailment patterns. Further, a processing model is outlined, combining the semantic analysis with the psycholinguistic principle of immediacy in the (...) framework of recurrent networks. The model is used to derive predictions concerning the electrophysiological correlates of the computations described by the Event Calculus. (shrink)

The Meditations of Marcus Aurelius are treasured today--as they have been over the centuries--as an inexhaustible source of wisdom. And as one of the three most important expressions of Stoicism, this is an essential text for everyone interested in ancient religion and philosophy. Yet the clarity and ease of the work's style are deceptive. Pierre Hadot, eminent historian of ancient thought, uncovers new levels of meaning and expands our understanding of its underlying philosophy. Written by the Roman emperor for his (...) own private guidance and self-admonition, the Meditations set forth principles for living a good and just life. Hadot probes Marcus Aurelius's guidelines and convictions and discerns the hitherto unperceived conceptual system that grounds them. Abundantly quoting the Meditations to illustrate his analysis, the author allows Marcus Aurelius to speak directly to the reader. And Hadot unfolds for us the philosophical context of the Meditations, commenting on the philosophers Marcus Aurelius read and giving special attention to the teachings of Epictetus, whose disciple he was. The soul, the guiding principle within us, is in Marcus Aurelius's Stoic philosophy an inviolable stronghold of freedom, the "inner citadel." This spirited and engaging study of his thought offers a fresh picture of the fascinating philosopher-emperor, a fuller understanding of the tradition and doctrines of Stoicism, and rich insight on the culture of the Roman empire in the second century. Pierre Hadot has been working on Marcus Aurelius for more than twenty years; in this book he distills his analysis and conclusions with extraordinary lucidity for the general reader. (shrink)

This volume offers an English translation of John of St. Thomas's Cursus theologicus I, question I, disputation 2. In this particular text, the Dominican master raises questions concerning the scientific status and nature of theology. At issue, here, are a number of factors: namely, Christianity's continual coming to terms with the "Third Entry" of Aristotelian thought into Western Christian intellectual culture - specifically the Aristotelian notion of 'science' and sacra doctrina's satisfaction of those requirements - the Thomistic-commentary tradition, and the (...) larger backdrop of the Iberian Peninsula's flourishing "Second Scholasticism." In this latter context, John of St. Thomas applies the theological principles of Thomas Aquinas to the Scholastic disputes preoccupying Thomist, Franciscan, and Jesuit theologians, such as Cajetan, Bañez, Luis de Molina, Vazquez, Suárez - to name only a few - in a tour de force of theological thinking throughout the entire period of Scholasticism. In the process - and not insignificantly - the status quaestionis of theology's scientific character is clearly framed and answered according to John's satisfaction. Key to John of St. Thomas's resolution of the question is his understanding of the continuity of the power of human reason with the super-intelligibility of divine revelation spelled out in terms of what he calls "virtual revelation." This text presented in this volume is a quintessential example of the deep and abiding harmony that flourished between faith and reason as well as grace and nature within the golden era of Baroque Scholasticism. (shrink)

Since its publication at the beginning of the eighteenth century, the Earl of Clarendon's history of the English Civil War has remained one of the most important sources for our understanding of the events which changed the course of British history. Clarendon held the offices of Lord High Chancellor of England and Chancellor of the University of Oxford; he began his great work after the Restoration of Charles II at the behest of the King himself.This classic work, long unavailable, has (...) now been reissued by the Oxford University Press in a facsimile of the much-admired 1888 edition. The History of the Rebellion and Civil Wars in England chronicles in absorbing detail the intrigues and upheavals, the alliances and confrontations, the triumphs and the tragedies, of the 1640s and 1650s. In elegant and vital prose it brings to life the personalities who shaped the era, and the principles for which a nation was divided. (shrink)

Since its publication at the beginning of the eighteenth century, the Earl of Clarendon's history of the English Civil War has remained one of the most important sources for our understanding of the events which changed the course of British history. Clarendon held the offices of Lord High Chancellor of England and Chancellor of the University of Oxford; he began his great work after the Restoration of Charles II at the behest of the King himself.This classic work, long unavailable, has (...) now been reissued by the Oxford University Press in a facsimile of the much-admired 1888 edition. The History of the Rebellion and Civil Wars in England chronicles in absorbing detail the intrigues and upheavals, the alliances and confrontations, the triumphs and the tragedies, of the 1640s and 1650s. In elegant and vital prose it brings to life the personalities who shaped the era, and the principles for which a nation was divided. (shrink)

A revised version of Nathaniel Chipman's Sketches of the Principles of Government (1793), this early treatise on the underlying principles of American government addresses civil laws and obligations, the social state, rights of property, sovereignty and political power. An important early contribution to American constitutional law, it is also interesting for its Federalist perspective on the evolutions of political institutions from Washington to Jackson.Nathaniel Chipman [1752-1843] was a leading Vermont Federalist who was instrumental in that state's admission to the Union. (...) He became Vermont's chief Justice and went on to represent Vermont in the U.S. Senate. He was also one of America's first significant legal writers.One of his books, the Reports and Dissertations (1793) is included in Warren's list of "the four general works on the Common Law... [of] permanent value in American Legal Literature.": Warren, A History of the American Bar 335-336. See Cohen, Bibliography of Early American Law 5752, Sabin, A Dictionary of Books Relating to America 12824, Dictionary of American Biography II:73-74. (shrink)

According to the Principle of Sufficient Reason (henceforth ‘PSR’), everything has an explanation or sufficient reason. This paper addresses three questions. First, how continuous is the contemporary notion of grounding with the notion of sufficient reason endorsed by Spinoza, Leibniz, and other rationalists? In particular, does a PSR formulated in terms of ground retain the intuitive pull and power of the PSR endorsed by the rationalists? Second, to what extent can the PSR avoid the formidable traditional objections levelled against (...) it if it is formulated in terms of ground? And finally, how might historical discussion of the PSR shed light on the contemporary notion of grounding? (shrink)

Background:Moral courage is defined as courage to act according to one’s own ethical values and principles even at the risk of negative consequences for the individual. In a complex nursing practice, ethical considerations are integral. Moral courage is needed throughout nurses’ career.Aim:To analyse graduating nursing students’ moral courage and the factors associated with it in six European countries.Research design:A cross-sectional design, using a structured questionnaire, as part of a larger international ProCompNurse study. In the questionnaire, moral courage was assessed with (...) a single question (visual analogue scale 0–100), the questionnaire also covered several background variables.Participants and research context:The sample comprised graduating nursing students (n = 1796) from all participating countries. To get a comprehensive view about graduating nursing students’ moral courage, the views of nurse managers (n = 538) and patients (n = 1327) from the same units in which the graduating nursing students practised were also explored, with parallel questionnaires.Ethical considerations:Ethical approvals and research permissions were obtained according to national standards in every country and all participants gave their informed consent.Results:The mean of graduating nursing students’ self-assessed moral courage was 77.8 (standard deviation 17.0; on a 0–100 scale), with statistically significant differences between countries. Higher moral courage was associated with many factors, especially the level of professional competence. The managers assessed the graduating nursing students’ moral courage lower (66.5; standard deviation 18.4) and the patients slightly higher (80.6; standard deviation 19.4) than the graduating nursing students themselves.Discussion and conclusions:In all countries, the graduating nursing students’ moral courage was assessed as rather high, with differences between countries and populations. These differences and associations between moral courage and ethics education require further research. (shrink)

Most donated organs in the United States come from brain dead donors, while a small percentage come from patients who die in “controlled,” or expected, circumstances, typically after the family or surrogate makes a decision to withdraw life support. The number of organs available for transplant could be substantially if donations were permitted in “uncontrolled” circumstances–that is, from people who die unexpectedly, often outside the hospital. According to projections from the Institute of Medicine, establishing programs permitting “uncontrolled donation after circulatory (...) determination of death,” or uDCDD, throughout the United States has the potential to provide 22,000 more donation opportunities annually. In contrast, U.S. controlled donation after circulatory determination of death, or cDCDD, cases have increased progressively over the past decade from 87 to 848 donors, but currently account for only 10.6 percent of all deceased donors. Following the IOM recommendations, several projects exploring the feasibility of uDCDD were funded by the federal government, including a grant from the Health Resources and Services Administration that supported a pilot project in New York City in which the authors of this article participated.A key feature of our protocol, and indeed of many uDCDD protocols, is the initiation of preservation methods such as chest compressions and extracorporeal membrane oxygenation shortly after death in order to perfuse and preserve the donor's organs. Critics of uDCDD argue that the means of determining death deviates from generally ascribed principles. They assert that reinstituting circulation in order to preserve organs has the effect of “undoing” the prior determination of death. The result is that cDCDD is widely accepted and practiced routinely even though it only marginally increases the number of organs available for transplantation, and uDCDD is widely considered unacceptable despite being ethically embraced and proven to significantly increase organ donation opportunities in other countries. This article explores the evolution of this counterintuitive state of affairs and calls for a policy that, in line with the IOM report, allows for both cDCDD and uDCDD protocols. (shrink)

It should be clear that Lyell's scientific contemporaries would hardly have agreed with Robert Munro's remark that Antiquity of Man created a full-fledged discipline. Only later historians have judged the work a synthesis; those closer to the discoveries and events saw it as a compilation — perhaps a “capital compilation,”95 but a compilation none the less. Its heterogeneity made it difficult to judge as a unity, and most reviewers, like Forbes, concentrated on the first part of Lyell's trilogy. The chapters (...) on glaciation were admired by Lyell's friends but had relatively little appeal to more general readers. His discussion of the species question hedged far too much to please those who accepted the cogency of Darwin's evidence and arguments. This last section of the book blatantly lacks originality or commitment and certainly has no claim to classical status in anthropology.We are left, then, with the first twelve chapters, for it was this portion that dictated the book's title and that amassed the available evidence favoring the antiquity of the human species. Did it do anything more than marshall the evidence that others had discovered? I think not. Lyell could write with style and verve. Principles of Geology is a remarkably readable book. But Antiquity is the work of a geologist, not of a systematic student of man. Despite its occasional touches of power, it never captures the freshness and immediacy of Lubbock's Pre-historic Times nor the theoretical brilliance of E. B. Tylor's Researches into the Early History of Mankind (1865).96 Antiquity utilizes little of the comparative method whereby Lyell's contemporaries used data from modern “savagery” to elaborate the possible social functions of the prehistoric remains being uncovered. It contains little social theory and has virtually no integrated framework. Even the first twelve chapters do not really hang together. As Hooker, commenting to Darwin on Lubbock's review, sadly wrote: “Lubbock in [the] N[atural] H[istory] Review, had in a note called attention to Lyell's ... ‘doing injustice’ to Prestwich & Falconer. I modified this expression ‘injustice’ in Lubbock's paper (which was friendly and apologetic). I am deeply sorry for it, but what can one do? I do think Lyell's first XII chapters a complete mess.”97 In another letter to Darwin, Hooker described this first portion of Antiquity as “confused and confusing.”98Part of the problem, of course, lay in the subject's novelty for Lyell and for most of his contemporaries. At a deeper level, however, I believe that the book accurately reflects Lyell's uncertainties about Darwin's work and its implications for man.99 Leonard Wilson's edition of Lyell's Scientific Journals provides a unique insight into Lyell's mind during the years just before he began to write Antiquity.100 Preoccupied with the human implications of evolutionary biology, Lyell was not clear how many of those implications were compatible with his deep convictions about the dignity of man's place in the cosmos. With a certain naiveté, Lyell complained in 1873 that many of his readers had failed to see the “natural connections” among the three portions of Antiquity.101 Connections could indeed be drawn between man's antiquity and his evolutionary origins; Lyell's private Scientific Journals movingly demonstrate that he was well aware of this fact. But he never fully made the connections in his published writings. Antiquity of Man is more appropriately seen as the last gasp of the heroic period in British geology than as the opening salvo in a new, post-Darwinian anthropological synthesis. Between the founding of the Geological Society of London in 1807 and the middle of the nineteenth century, geology was recognized as one of the most exciting and innovative scientific fields in Britain.102 Lyell himself had contributed much to that drama, and by the 1860's he was a public figure of venerable proportions. More then any other man he represented a geology that had extended the boundaries of process, time, and life. The fundamental achievements of Lyell and his colleagues had been assimilated into the wider Victorian consciousness, yet the earlier public debates about “genesis and geology” had left untouched in its essentials the concept of Man as a moral, responsible, created being.103Lyell never abandoned this view of his own species, and in 1863 it was a completely responsible creature which, under the weight of empirical evidence, Lyell admitted had lived on earth far longer than had previously been thought. Certainly this more generous allowance for human existence was constitutive to what Burrow calls the evolutionary social theory of midcentury Britain.104 Unlike Lyell, the younger representatives of this anthropology quietly accepted both man's antiquity and his aboriginal animality. Herbert Spencer's Principles of Psychology (1855), as well as the other volumes of his grand Synthetic Philosophy, presented as part of the cosmic process the development of human from prehuman beings.105 Tylor's discussion of what in his Researches (1865) he called the “gesture-language” presupposed the gradual and de novo origin of language in early human populations.106 Lubbock's young and polished mind was untroubled by the human implications of Darwin's work, and he cast his Prehistoric Times into such a perfect mold that it and its companionpiece (On the Origin of Civilization, 1870) went through seven editions each between 1865 and World War I, with their original theoretical structures intact. In a way that Lyell could not grasp, Lubbock was intrigued by questions concerning the origins of moral and religious beliefs and did not flinch at the thought of an amoral, atheistic creature as an ancestor.107 Indeed, as the German naturalist Carl Vogt pointed out in his Lectures on Man, translated into English the year after Antiquity, both Darwin's theories and the primitive flint knives of the Stone Age bore witness to a time beyond that imaginable from the condition of the lowest present-day “savage”:From such a low condition [little better than anthropomorphous apes], compared to which that of the so-called savages of the old and new world is a refined civilisation, has the human species gradually extricated itself, in a bitter struggle for existence, which it was well able to maintain, by being gifted with a larger amount of brain and intelligence than that possessed by the surrounding animal world.108The easy integration of biological and social themes was perhaps the distinguishing hallmark of Victorian anthropology of the 1850's and 1860's. After his fashion, Lyell got both themes into Antiquity, but he carefully separated them with a seven-chapter wall of glacial ice. Lyell's anthropology was not that of a thoroughgoing evolutionist like Lubbock, Tylor, or Spencer. For Lyell prehistoric man was not a product of biological evolution. Rude and superstitious he may have been, but he possessed ritual and a belief in a future state, and thus deserved “the epithet of ‘noble,’ which Dryden gave to what he seems to have pictured to himself as the primitive condition of our race: as Nature first made man/when wild in woods the noble savage ran.”109As a systematic argument, Lyell's book was at best a significant failure. As a popularization, it was a success — largely because of the personal stature of its author and the particular moment of its appearance. It helped establish the fact of man's antiquity with a wider Victorian audience, in itself no mean achievement. But Lyell was unable to exploit the fuller implications of his material in the service of a secular science of man. Ironically, he exploited only his colleagues' discoveries. Though the aging Lyell, with failing eyesight but unfailing mental powers, can still be seen as a man of considerable importance, his Antiquity belongs to the carefully circumscribed world of British geology rather than to the less disciplined world of Victorian anthropology. (shrink)

The essays in this volume represent Lon Fuller's 'exercises in eunomics', a term for 'the study of good order and workable social arrangements.'.

The immediacy of feedback in media is emerging to enhance the interactivity of online experience for users. There is a gap in the study to explore the impacts of the immediacy of feedback on continuous intentions to use online learning from the student perspective. This study aims to fill the gap to investigate the impacts of the immediacy of feedback on students’ continuous intentions to use online learning. This study utilizes the technology acceptance model and expectation theory (...) model to conceptualize the effect of the immediacy of feedback on student continuous intentions to use online learning in terms of the mediation effect of Perceived Ease of Use, Perceived Usefulness, satisfaction, and attitude of students for continuous intentions to use online learning. An online survey of higher education students with experience in online learning is conducted to test the proposed hypothesis. The collected data are analyzed by using structural equation modeling to establish the proposed hypothesis. The findings reveal that the immediacy of feedback from the media has a strong association with PEOU, PU, students’ attitudes, students’ satisfaction, and ultimately toward the continuous intentions to use online line learning in future. The study set key theoretical and practical insights to pave the way for future research. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

"Liberty Fund presents the first modern edition of The Principles of Natural and Politic Law, based on the posthumous unified edition of 1763. The unidentified quotes and recurrent borrowings that abound in the second volume have for the first time been identified. The editor, Petter Korkman, writes that it is not an overstatement "to declare that a solid acquaintance with the Principle will provide the reader with essential...background for understanding the moral and political thought of the mature Enlightenment, whether (...) in its European settings or in the newly formed United States.""--BOOK JACKET. (shrink)

THE PRINCIPLE OF SUPERPOSITION. The need for a quantum theory Classical mechanics has been developed continuously from the time of Newton and applied to an ...

As a response to the problems of language in Chinese modern and avant-garde art from 1988 to 1998, early video art reclaimed the independence of language from social reality and political influence and established it on the basis of the time phenomenon. By comparing the category of time in the Western philosophical tradition and in Chinese traditional thought, we find that the “immediacy” of Zen provides a hermeneutical approach to the nature of language as a reflective medium, closely related (...) to the silent experience. In line with the three basic principles of transcendental Zen, video media purifies body language into the immaterial language in three ways – through disembodied video movement, the de-objectified video image, and discontinuous video narrative. (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 treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

F.H. Bradley always said that understanding his views requires understanding the importance of immediate experience, and in a recent paper in Bradley Studies, entitled, “F. H. Bradley and the Doctrine of Immediate Experience,” Dr. Sievers offers an important new study of this topic. His analysis lists eleven characteristics, each of which is, presumably, like the first on the list, an “important characteristic of feeling or immediate experience”. This list, and the title of the paper, suggest that there is a fairly (...) univocal sense of immediacy available in Bradley’s texts. On the one hand this has to be true, for an immediate experience of any type will necessarily display whatever characteristics differentiate it from experiences which are not immediate. On the other hand, Bradley’s discussions sometimes suggest that there are different types of immediate experience or feeling, that experiences can be immediate in more than one sense. If this is true, we need an analysis of these various senses of immediacy as a supplement to Dr. Sievers’ account. (shrink)

Now that we have looked at the characteristics of mystical experience, we are ready to discuss the assumption made in this paper that mystical experience can be translated into an understanding of “integration” or the drive for meaning which Fingarette pursues in a much more analytic fashion. Reviewing the conversion process as an “integration” process we have seen that for the sick-souled, beset with the meaninglessness or melancholy which paralyzes his will, his own awareness of wrong in his situation prevents (...) him from opening up to larger views of reality. But, as James has described, at the same time as the subject is attending so strongly to his own sense of worthlessness, “all the while the forces of mere organic ripening within him are going on towards their own prefigured result, and his conscious strainings are letting loose subconscious allies behind the scenes, which in their way work toward rearrangements.” Yet the “rearrangements” can only come about by obeying the command of Chaung-Tse: “Cease striving.” The result is self-transformation in “reconciling, unifying states.” There is achieved “a supersensuous meaning to the ordinary outward data of consciousness; facts already objectively before us fall into a new expressiveness and make a new connection with our active life.”However, James cautions us to realize that the same incursions of the subconscious which produce such “reconciling, unifying states” can also produce pathological states, “a diabolical mysticism, a sort of religious mysticism turned upside down.” In such a state the “meanings” of events become dreadful and the ruling emotion is pessimism. To this possibility James applied the pragmatic test, “By their fruits...,” and concluded that the mystical experience which brings optimism to the individual is a genuine experience and one which brings truth. In our context then, we would say that real “integration” brings the subject away from the “melancholy” and meaninglessness he felt into the “genuinely insightful resolution” of which Fingarette speaks.Conversion, then, is a process in James's analysis of religious experience analogous to the process of integration and meaning-discovery while mysticism is analogous to the state in which integration or meaning-discovery is achieved. Conversion is climaxed by self-surrender; mysticism is characterized by new determination, self-transformation: two ways of describing an indivisible event. Furthermore, the four characteristics James applies to mysticism are indeed characteristic of the experience of integration.Two other points should be added here which are much in line with James's treatment of experience. In the first place, one of the basic principles of radical empiricism is that not only objects but relations between objects are the subject of experience. Such an experience of relationships, of wholeness, is exactly what characterizes integration. At the same time, the five senses are suspended, and the “insight” is experienced with such a strong immediacy that it is almost sensed. James refers to this quality of mystical states: The records show that even though the five senses be in abeyance in them, they are absolutely sensational in their epistemological quality, if I may be pardoned the barbarous expression, - that is, they are face to face presentations of what seems immediately to exist.I am not saying that every integration is a mystical experience. Rather I have been saying that James's discussion of religious experiences such as healthy-minded, sick-souled, melancholy, conversion, and mysticism provide analogues for better understanding the phenomenological processes and characteristics of the drive for meaning and integration which Fingarette analyzes. In fact, the very notion of religion itself for James bears not just an analogous resemblance but perhaps an identification with integration. For in his personal letters James had defined religious experience as “Any moment of life that brings the reality of spiritual things more ‘home’ to one.” And in Varieties James defines religion as “a man's total reaction upon life....; his attitude towards what he felt to be the primal truth.”If we look upon this outlook of James toward religion as an “exaggeration” of the reality of integration, we can follow James to what he perceives as the importance of religion upon an individual's life. The man of religious feeling possesses “the excitement of a higher kind of emotion,” an “enthusiastic temper of espousal in regions where morality strictly so called can at best but bow its head and acquiesce.” So we are brought again to the area of creativity in which an individual has experienced the widening of the area of his immediate experience and is “re-born” in the karmic pattern, a valid pattern for both James and Fingarette. As Fingarette describes it, the “converted” individual “creates” values which the dead reality he had previously faced did not possess. The result of the achieved integration is explained by James when referring to religious experience as “an excitement of the cheerful, expansive, ‘dynamogenic’ order which, like any tonic, freshens our vital powers.” This emotion “overcomes temperamental melancholy [meaninglessness] and imparts endurances to the subject, or a zest, or a meaning, or an enchantment and glory to the common objects of life.”We might sum up this discussion not by a criticism of the shortcomings of James's treatment of the religious life, such as his apparent insensitivity to the part played by institutions in the religious experience itself, but rather by underscoring the richness of the phenomenological analysis James has undertaken. James Edie acknowledges that James's studies of religious experience itself rather than of religion. ... are not only more sound phenomenologically than some of the studies which have, under the influence of Husserl, up to now explicitly invoked the phenomenological method, but they are also the first to establish any solid basis for a true phenomenology of religious experience.And John Wild has pointed out the parallel between James's concept of melancholy and Heidegger's concept of anxiety as the genesis of the process of becoming: beginning with the prospect of death and nothingness, the individual gropes toward new birth.As we have seen, then, James's analysis of the varieties of religious experience leads to a fruitful discussion of the psychological processes involved in melancholy and meaninglessness, rearrangement and integration. In all such experiences, a sense of inner unity is reached to which the following words of Fingarette would apply by analogy: The soul-racking death which leads to blissful “rebirth” is the death of the subjectively experienced, anxiety-generated “self” perception; it is the emergence into the freedom of introspective “self-forgetfulness” of the psychically unified self. (shrink)

Berkeley's idealism started a revolution in philosophy. As one of the great empiricist thinkers he not only influenced British philosophers from Hume to Russell and the logical positivists in the twentieth century, he also set the scene for the continental idealism of Hegel and even the philosophy of Marx. -/- There has never been such a radical critique of common sense and perception as that given in Berkeley's Principles of Human Knowledge (1710). His views were met with disfavour, and his (...) response to his critics was the Three Dialogues between Hylas and Philonous. -/- This edition of Berkeley's two key works has an introduction which examines and in part defends his arguments for idealism, as well as offering a detailed analytical contents list, extensive philosophical notes and an index. (shrink)

Anne Conway was an extraordinary figure in a remarkable age. Her mastery of the intricate doctrines of the Lurianic Kabbalah, her authorship of a treatise criticising the philosophy of Descartes, Hobbes, and Spinoza, and her scandalous conversion to the despised sect of Quakers indicate a strength of character and independence of mind wholly unexpected (and unwanted) in a woman at the time. Translated for the first time into modern English, her Principles of the Most Ancient and Modern Philosophy is the (...) most interesting and original philosophical work written by a woman in the seventeenth century. Her radical and unorthodox ideas are important not only because they anticipated the more tolerant, ecumenical, and optimistic philosophy of the Enlightenment, but also because of their influence on Leibniz. This fully annotated edition includes an introduction which places Conway in her historical and philosophical contexts, together with a chronology of her life and a bibliography. (shrink)

Principles of Philosophy. Author’s Letter to the Translator (Preface).

The Principle of Sufficient Reason says that all contingent facts must have explanation. In this 2006 volume, which was the first on the topic in the English language in nearly half a century, Alexander Pruss examines the substantive philosophical issues raised by the Principle Reason. Discussing various forms of the PSR and selected historical episodes, from Parmenides, Leibnez, and Hume, Pruss defends the claim that every true contingent proposition must have an explanation against major objections, including Hume's imaginability (...) argument and Peter van Inwagen's argument that the PSR entails modal fatalism. Pruss also provides a number of positive arguments for the PSR, based on considerations as different as the metaphysics of existence, counterfactuals and modality, negative explanations, and the everyday applicability of the PSR. Moreover, Pruss shows how the PSR would advance the discussion in a number of disparate fields, including meta-ethics and the philosophy of mathematics. (shrink)

Edited by four leading members of the new generation of medical and healthcare ethicists working in the UK, respected worldwide for their work in medical ethics, Principles of Health Care Ethics, Second Edition_is a standard resource for students, professionals, and academics wishing to understand current and future issues in healthcare ethics. With a distinguished international panel of contributors working at the leading edge of academia, this volume presents a comprehensive guide to the field, with state of the art introductions to (...) the wide range of topics in modern healthcare ethics, from consent to human rights, from utilitarianism to feminism, from the doctor-patient relationship to xenotransplantation. This volume is the Second Edition of the highly successful work edited by Professor Raanan Gillon, Emeritus Professor of Medical Ethics at Imperial College London and former editor of the Journal of Medical Ethics, the leading journal in this field. Developments from the First Edition include:_ The focus on ‘Four Principles Method’ is relaxed to cover more different methods in health care ethics. More material on new medical technologies is included, the coverage of issues on the doctor/patient relationship is expanded, and material on ethics and public health is brought together into a new section. (shrink)

The Principle of Sufficient Reason is very seldom, if ever, referred to in the works of whom we might think of as the eminent Asian metaphysicians. In spite of this, the big picture metaphysical views available in the thought of philosophers such as Nāgārjuna, Fazang and Nishida appear to share certain structural features with views more familiar to us from our own tradition; views that explicitly accept or reject the Principle of Sufficient Reason. Nāgārjuna looks to develop a (...) kind of metaphysical infinitism, Fazang an extreme form of coherentism, and Nishida a species of foundationalism. These three positions - infinitism, coherentism and foundationalism - are typically thought to exhaust the spread of possibilities by those working within the Western tradition. -/- In spite of their similarities to positions advanced within our own tradition, the cosmologies of many of the giants of Asian philosophy are characterised by their rather striking conclusions. Amongst such conclusions for Nāgārjuna is that everything is empty; for Fazang that everything is identical to everything else; and for Nishida that everything depends on absolute nothingness. If the Principle of Sufficient Reason is playing a role in the derivation of such striking conclusions, then it looks that there are more options regarding the metaphysical structure of the world available to us than our own tradition typically courts. If, on the other hand, these striking cosmological conclusions are arrived at without any consideration of sufficient reason, then there may well be ways of reasoning about the overarching structure of reality that are powerful but unfamiliar to Western thinking. In this contribution, I explore what, if any, role the PSR might be playing in the thought of Nāgārjuna , Fazang and Nishida, and what we might be able to learn from it. (shrink)

Berkeley's idealism started a revolution in philosophy. As one of the great empiricist thinkers he not only influenced British philosphers from Hume to Russell and the logical positivists in the twentieth-century, he also set the scene for the continental idealism of Hegel and even the philosophy of Marx. This edition of Berkeley's two key works has an introduction which examines and in part defends his arguments for idealism, as well as offering a detailed analytical contents list, extensive philosophical notes, and (...) an index. (shrink)

Volume 19, Issue 11, November 2019, Page 9-12.

In lieu of an abstract, here is a brief excerpt of the content:F. H. Bradley and the Working-out of Absolute Idealism* JOHN HERMAN RANDALL, JR. FRANCIS HERBERTBRADLEY (1846-1924) 1 agreed with the other English idealists that the real world is the experienced world. But he started with the fundamental conviction that "experience" is more than "thought," as Green had maintained. Bradley's basic drive is the refusal to abolish "feeling" in favor of knowledge and intelligibility. "Feeling" is a fundamental and ineradicable (...) aspect of "reality"m more fundamental, in fact, than thinking. In the immediately experienced world, all intelligible distinctions and relations are merged in a "whole of feeling" which is the ultimate subject-matter of philosophy. "Thought" arises out of feeling, out of "immediacy," as an interpretation of immediate experience by distinguishing relations and aspects in it. "Knowledge " is only one aspect of the experienced world; it needs blending with "feeling" and will to include all the experienced aspects. "Feeling" starts for Bradley, in his Principles of Logic (1883), in pretty much the empiricist sense, as isolated sensations, and as subjective (in flavor at least). It then becomes neutral: "feeling" is identified with "the felt"; and it grows richer, attempting to include the whole wealth of immediate experience. Thus Bradley gets very close to Dewey's conception of "direct experience," "non-reflective experience," without, however, Dewey's biological analysis. It is through this conception of experience that Bradley approaches the naturalism to which his thinking almost arrived at the end. Thought, that is, has a setting in experience " it is relational, and by its analysis it breaks up experienced and felt wholes. There is a double insistence in Bradley. On the one hand, reality is experienced, but is not adequately expressed in thought. On the other, reality/s accessible to knowledge. What has often been called Bradley's "skepticism" is really an objective relativism. Thought, logical structure, is not ultimate. In Appearance and *This study of F. It. Bradley is based on one of five chapters on post-ttegehan philosophical Ideahsm in Britain and America to be included in my forthcoming Career oJ Philosophy in Modem Times, Vol.III: The Hundred Years Since Darwin. ISee Bradley ed. of Mind, XXXIV (1925); A. E. Taylor, "F. H. Bradley"; J. H. Muirhead, "Bradley's Place in Philosophy." See also T. M. Forsyth, English Philosophy (London: 1910), chap. VII, 2rid part; Rudolf Kagey, F. H. Bradley's Logic (New York: 1931). The best philosophical analyses of Bradley are Robert D. Mack, The Appeal to Immediate Experience (New York: 1945),and Richard Wollheim,F. H. Bradley (Pelican Books, 1959). [245] 246 HISTORY OF PHILOSOPHY Reality, he insists it is really self-contradictory; then later he emphasizes rather that it is always relative to its particular subiect-matter. The real, experienced world is never identical with the intelligible world, yet it is also never "extraneous " to it. The relation of the two can be said to be, in Aristotelian terms, that of substance to form, that of what is to its intelligible aspect. The intelligible world, the system of science and knowledge, thus fundamentally needs criticism in the light of its setting in the experienced world. This is not only the entire drive of Dewey's Experience and Nature; it is the expression of that whole current of thought on the Continent which began with the criticism of Hegel's "panlogism" in the 1840's and is today called "Existentialism." Bradley is the British counterpart of all those who have criticized philosophies of logical structure like T. H. Green's, or like the other contemporary forms of Neo-Kantianism in Germany and France. The "known world" is a world of relations distingflished in the richer "real world." These distinctions are ultimately relative to their particular setting, but in that setting they are valid enough. Bradley's celebrated doctrine of the "degrees of truth and reality" means that practically knowledge is "true"; any idea which fulfills its purpose of rendering some portion or aspect of experience intelligible and significant and meaningful, and which is not ousted by a better idea, Bradley is willing to say is "so far true." It is valid, in its own sphere and purpose, despite its ultimate inconsistency; the wave-theory... (shrink)

Principles of Philosophy was written in Latin by Rene Descartes. Published in 1644, it was intended to replace Aristotle's philosophy and traditional Scholastic Philosophy. This volume contains a letter of the author to the French translator of the Principles of Philosophy serving for a Preface and a letter to the most serene princess, Elizabeth, eldest daughter of Frederick, King of Bohemia, Count Palatine, and Elector of the Sacred Roman Empire. Principes de philosophie, by Claude Picot, under the supervision of Descartes, (...) appeared in 1647 with a letter-preface to Queen Christina of Sweden. (shrink)

Jean Piaget was one of the most salient and inspirational figures in psychological and educational research this century. He was prolific, authoring or editing over eighty books and numerous journal papers which have spawned a huge and fertile continuation of his research over the decades. A major component of any course on children's psychological development and a research tradition that is expanding, scholars need access to the original texts rather than relying on secondhand accounts. Jean Piaget: Selected Works is a (...) chance to acquire key original texts, most of which have been previously unavailable for several years. (shrink)