Many philosophers believe that the extensions of evaluative terms and concepts aren’t unified under non-evaluative similarity relations and that this “shapelessness thesis” (ST) has significant metaethical implications regarding non-cognitivism, ethical naturalism, moral particularism, thick concepts and more. ST is typically offered as an explanation of why evaluative classifications appear to “outrun” classifications specifiable in independently intelligible non-evaluative terms. This paper argues that both ST and the outrunning point used to motivate it can be explained on the basis of more (...) general factors that have nothing in particular to do with being evaluative. If so, there is no reason to expect ST to carry the sorts of metaethical implications that get attributed to it. I also show that my main argument is robust across certain complications that are raised by the context-sensitivity of many evaluative terms but have so far been ignored in discussions of ST and related matters. (shrink)

This article aims to clarify the view that thick concepts are irreducibly thick. I do this by putting the disentangling argument in its place and then setting out what nonreductivists about the thick are committed to. To distinguish the view from possible reductive accounts, defenders of irreducible thickness are, I argue, committed to the claim that evaluative concepts and properties are nonevaluatively shapeless. This in turn requires a commitment to (radical) holism and particularism. Nonreductivists are also committed to the claim (...) that a thick concept is in itself evaluative, and not evaluative because of any link to thin evaluation. (shrink)

In this paper I discuss the shapelessnesss hypothesis, which is often referred to and relied on by certain sorts of ethical and evaluative cognitivist, and which they use primarily in arguing against a certain, influential form of noncognitivism. I aim to (i) set out exactly what the hypothesis is; (ii) show that its original and traditional use is left wanting; and (iii) show that there is some rehabilitation on offer that might have a chance of convincing neutrals.

Moral particularism, on some interpretations, is committed to a shapeless thesis: the moral is shapeless with respect to the natural. (Call this version of moral particularism ‘shapeless moral particularism’). In more detail, the shapeless thesis is that the actions a moral concept or predicate can be correctly applied to have no natural commonality (or shape) amongst them. Jackson et al. (Ethical particularism and patterns, Oxford University Press, Oxford, 2000) argue, however, that the shapeless thesis violates the platitude ‘predication supervenes on (...) nature’—predicates or concepts apply because of how things are, and therefore ought to be rejected. I defend shapeless moral particularism by arguing that Jackson et al’s contention is less compelling than it firstly appears. My defense is limited in the sense that it does not prove shapeless moral particularism to be right and it leaves open the possibility that shapeless moral particularism might attract criticisms different from the ones advanced by Jackson et al. But at the very least, I hope to say enough to undermine Jackson et al’s powerful attack against it. The plan of this paper is as follows. Section 1 glosses the view of moral particularism and why it is taken to be essentially committed to the shapeless thesis. Section 2 examines a Wittgensteinian argument for the shapeless thesis. I shall argue that the Canberrans’ counter-arguments against it on grounds of disjunctive commonality and conceptual competence do not succeed. Section 3 explicates Canberrans’ predication supervenience argument against the shapeless thesis. Section 4 offers my criticisms of the Canberrans’ predication supervenience argument. In view of the above discussions, in Sect. 5, I conclude that there is no compelling argument (from the Canberrans) to believe that the shapeless thesis fails (as I have argued in Sect. 4). In fact, there is some good reason for us to believe it (as I have argued in Sect. 2). If so, I contend that moral particularism, when construed as essentially committed to the shapeless thesis, still remains as a live option. (shrink)

As the last College Meeting drew to its weary close, the Warden was moved to address the empty pews on the wickedness of not making attendance at meetings of the Governing Body a first call on one's time. Of course, it was waste of words to address them to absent auditors, but the sentiment was apposite. But it is inevitable with a Governing Body of fifty that each fellow feels on average only a 2% say in, and responsibility for, the (...) affairs of the College. Large bodies are ineffective, and as the Fellowship has grown, papers have proliferated, committees have encroached on every available hour, and college life has degenerated into administration. (shrink)

Frank Jackson, Michael Smith, and Philip Pettit contend in their 2000 paper that an argument from supervenience deals a fatal blow to shapeless moral particularism, the view that the moral is shapeless with respect to the natural. A decade has passed since the Canberrans advanced their highly influential supervenience argument. Yet, there has not been any compelling counter-argument against it, as far as I can see. My aim in this paper is to fill in this void and defend SMP against (...) the Canberrans’ supervenience argument. Such being the case, I will firstly re-construct the Canberrans’ supervenience argument in detail and push it as far as it can go. In fact, I will defend it against a number of existing objections respectively from Garfield, Dancy, and McDowell. Next, I will argue, however, that the supervenience argument, despite its initial plausibility, has one major pitfall: it hinges on an overly permissive conception of ‘shape’ such that it does not generate the right kind of moral principles the shapeless moral particularists are concerned to refute. I thus conclude that the seemingly scathing supervenience argument turns out to be toothless against SMP. Although this would not prove SMP to be right, for it might attract criticisms from other fronts, yet, until they come up, SMP, contrary to prevalent conceptions, remains alive and kicking. (shrink)

In a series of influential papers, John McDowell has argued that the rule‐following considerations explored in Wittgenstein’s later work provide support for a particularist form of moral objectivity. The article distinguishes three such arguments in McDowell’s writings, labelled the Anthropocentricism Argument, the Shapelessness Argument, and the Anti‐Humean Argument, respectively, and the author disputes the effectiveness of each of them. As far as these metaethical debates are concerned, the article concludes that the rule‐following considerations leave everything in their place.

Name der Zeitschrift: Nietzsche-Studien Jahrgang: 44 Heft: 1 Seiten: 267-290 In this paper, I examine the possibility of constructing an ontological phenomenology of love by tracing Nietzsche’s questioning about science. I examine how the evolution of Nietzsche’s thinking about science and his increasing suspicion towards it coincide with his interest for the question of love. Although the texts from the early and middle period praise science as an antidote to asceticism, the later texts associate the scientifi c spirit with asceticism. (...) I argue that this shift is motivated by Nietzsche’s realization that asceticism and science share the same fetish of facts. It is now for Nietzsche no longer a matter of proving the so-called facts of the backworlds to be wrong (something science is very capable of doing), but a matter of rejecting the very structure of thought that reduces a shapeless reality into a series of facts, subjects and objects. It is this second attitude that Nietzsche regards as the common core of science and asceticism. From this critique of science and its correlative critique of facts, Nietzsche begins searching for a counter-attitude able to perform the reduction of the factual attitude. This is the attitude he calls love. Although Nietzsche’s concept of love has oft en been elucidated in terms of its object or its subject, I argue that such interpretations precisely defeat Nietzsche’s point, which is to recover a ground that precedes the division of the world into subjects and objects. Love becomes the name of this intra-relationship of being, opening up to new perspectives on Nietzsche’s ontology of the will to power. (shrink)

[First published 09/2016; substantive revision 02/2021.] Evaluative terms and concepts are often divided into “thin” and “thick”. We don’t evaluate actions and persons merely as good or bad, or right or wrong, but also as kind, courageous, tactful, selfish, boorish, and cruel. The latter evaluative concepts are "descriptively thick": their application somehow involves both evaluation and a substantial amount of non-evaluative description. This article surveys various attempts to answer four fundamental questions about thick terms and concepts. (1) A “combination question”: (...) how exactly do thick terms and concepts relate evaluation and non-evaluative description? (2) A “location question”: is evaluation somehow inherent to thick terms and concepts, such as perhaps an aspect of their meaning, or merely a feature of their use? (3) A “delineation question”: how do thick terms differ from the thin and from other kinds of evaluative terms? (4) Given answers to these questions, what broader philosophical significance and applications might thick concepts have? (shrink)

As James Caesar highlights in Reconstructing America, the word “globalization” seems sometimes to be synonymous with “Americanization” or “Americanism,” evoking negative images. Globalization may bring indigenous cultures to their death and cause national individualism to disappear into a shapeless muddle. On Americanism, Heidegger declared that it was “the future monstrosity of modern times.” This would be homogenization, the rubbing out of cultural specificity, life in one universe, one dimension. Extremists like Alexandre Kohève take it further still. It would be the (...) end of history. Third world nations, particularly the Caribbean countries, would be predesignated victims of such an order, without power in political or economic realms, only making the front page of newspapers during cataclysm and natural catastrophes like Hugo, George, and Mitch. The tiny island of Montserrat, never before known to the West, rose to international fame when its volcano La Soufrière began to erupt. Rwanda would be known for genocide, and the Congo for a civil war and the assassination of its leader. (shrink)

Uno de los motivos recurrentes del pensamiento contemporáneo, es la indagación sobre el concepto, la representación y la valoración de la comunidad como una dimensión de la experiencia, en particular en su incidencia política/impolítica. Pero "comunidad" se ha manifestado como un "semantema" elusivo, es decir, una familia de nociones y asociaciones significativas, que abren y complejizan más y más la búsqueda de un concepto preciso, hasta empujarnos hacia las típicas "vías negativas" para la caracterización o definición del mismo. A modo (...) de hipótesis, sin pretender con ello construir un esquema abarcador, sostendré que hay un núcleo estético en ese semantema, aludiendo con "estética" a la presencia, en el punto pivote de la constelación que delimita "lo comunitario", de términos como sonido/silencio, diferencia, doble, forma, identidad, imagen y semejanza. Se trata mayormente, como es evidente, de significaciones construidas sobre los planos auditivo y visual de lo sensorio. Como una especificación de dicha hipótesis, ensayaré la elaboración de una noción de comunidad a partir de la pregunta acerca de cuándo hay comunidad. La respuesta a articular, es que hay comunidad cuando hay imagen, esto es, corporización de una semejanza y de un sentido, capaces de conjurar tanto la amenaza de lo informe como la de la forma sin semejanza. El fundamento último de esta hipótesis, es que nuestro ser-en-común originario toma consistencia en el plano de lo sensible porque se vincula a la insuficiencia de toda representación para subordinarlo a un concepto, pues se presenta aquí, entre comunidad y concepto, la misma distancia infranqueable que hay entre la existencia y su teorización. One of the recurrent motifs of contemporary thought is the inquiry about the concept, representation and valuation of community as a dimension of experience, particularly in its political/impolitic influence. But "community" has proved to be an elusive semanteme, i.e., a family of notions and significant associations that make the search for a precise concept very complex, pushing us to the typical "negative ways" for its characterization or definition. As a hypothesis, and with no intention of building an all-encompassing frame, I will hold that there is an aesthetic nucleus to this semanteme, understanding "aesthetic" as the presence of terms such as sound/silence, difference, double, shape, identity, image and likeness, occurring at the very pivot point of the constellation that defines "the communitarian". It refers mostly to significances related to the hearing and seeing senses. Following this hypothesis, I will try to define a notion of community answering the question of when a community occurs. The answer to this being that there is a community when there is an image; that is, the embodiment of a likeness and a sense that can thwart the threat of what is shapeless or of a shape with no likeness. The ultimate foundation of this hypothesis is that our original being-in-common becomes consistent to the senses because of its inability to subordinate to a concept, as happens with any representation, being the unbridgeable distance between community and its concept the same there is between existence and its theorization. (shrink)

Proposing to examine syntheses of manifold experiences of the contemporary philosophical panorama, Michel Foucault’s “critical ontology of actuality” culminates in the elaboration of an epistemology of the human sciences starting from their irreversible modern twist. Among the various possible ways of characterizing this epistemology—equipped with its own modus operandi: the archaeological-genealogical method—is to see it as the result of a reflection on the topic of temporality. In particular, it is a reflection on historical temporality as «knowledge of time», that is (...) organized into two different yet complementary modalities, two historical heterochronies that can be defined as evenemential time and epistemic time. The first, acephalous and atelic, proves discontinuous, traced back to pure becoming. The second corresponds to the necessary disciplining of this original shapeless material by means of the solidification of structures that each time produce an equilibrium among the instances of knowledge and power. Yet these structures, too, remain subjected to that historic-temporal change to which they have attributed an order. Such an interpretation of time implies a metamorphosis of the notion of subject that, within an overall anti-humanistic perspective, goes from its death as the cogito to its rebirth in the form of an ethical-aesthetic subject: no longer the atemporal guarantor of the order of the real, but rather something committed to a risky exercise of its own freedom as care of the Self. (shrink)

In early modern European natural philosophy and medicine, scholars encountered the problem of the “formless birth” in their studies into generation, alongside “monstrous” and “perfect” births. Such formless births included the hen’s egg, the unformed bear cub, and the human false conception – said to be shapeless lumps of moving flesh – and these types of conceptions influenced how natural philosophers, like William Harvey and Jan Baptiste van Lamzweerde, approached experiments on, or explanations of, generation. This article suggests that the (...) history of these unformed births provides fresh insights into how early modern scholars “thought” with formlessness. That is, early modern scholars drew on a longstanding discourse of shapeless conceptions to address the mechanisms of formless generation, “true” generation, as well as to understand other unformed or interstitial creatures in nature. The article argues that this history of thinking with formless births contributes to our picture of the significant role that unnatural births, such as “monsters”, played in early modern natural philosophy. (shrink)

This paper deals with the statue without female forms of Our Lady of Maidens, kept in the parish church of Civitella Roveto in the Abruzzo region, in Italy. After describing the religious rituals involving the statue of this Virgin in order to shed light on her title, the study goes on to analyze vernacular discourses about her and explore the prohibition regarding the touching of her body. The symbolic aspects of the shapeless body of the statue are then investigated and (...) discussed in the light of Marian, anthropological, sociological, and feminist literature, considering them a specific device for expelling female sexual desire from the domain of fertility. The article, focused on the body of the Madonna, hopes to contribute to studies in religious materiality as well as to studies in the social construction of gender inequality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Bataille: The Invention of the FootLucette Finas (bio)Translated by Nelly Furman (bio)§ 1. Certainly, I wrote Le mort before the spring of 1944. This text must have been composed probably in 1943, not before. I do not know where I wrote it, in Normandy (end of 1942), in Paris in December 1942, or during the first three months of 1943; at Vézelay, from March to October 1943? Or (...) in Paris from November ‘43 to the spring of ‘44? Perhaps even at Samois from April to June. Or even perhaps in Paris on Cour de Rohan during the winter of ‘43–‘44. I can no longer remember. I am certain only of having recopied Le mort so as to sell a small number of manuscripts before June 1944 (as I am certain that I wrote this text after the spring of 1942, a time at which I fell ill; and even at the earliest during my stay in Normandy from September to November ‘42).§ 2. In any case, there is the closest relationship between Le mort and the stay in Normandy of the tubercular patient that I was; in Normandy, not far from the village of Tilly (which I name Quilly in Le mort). The inn of Quilly is in fact the inn of Tilly; 1 the woman innkeeper, the one from Tilly. I invented the other details, with the exception of the rain that wouldn’t stop in October or November ‘42. With the exception also of the very dark night when Julie knocked at the door of the inn? I can no longer even remember if I slept in this inn? It seems to me that yes. I believe furthermore that in the room there were two or three farmhands in gummed rubber boots and even a player piano. Whatever it was, it was sinister, and beyond measure. Finally, it is certain that the atmosphere of Tilly’s inn suggested to me the one of the inn of Le mort. I am also almost certain—in the end—that I slept—alone—in this place that terrified me.§ 3. The rest is linked to the frenzied sexual arousal in which I was during November’s extravagance; in my almost total solitude, I lived then not far from Tilly, but we lived apart, a kilometer from one another, a beautiful girl, my mistress, and I; I was ill, in an obscure state of depression, of horror, and of arousal. It is difficult to imagine the mud of the rough small roads where I traveled, without the right footwear, on a bicycle. Then, I ate most of my meals, but alone, with farmers.§ 4. I remember in particular having heard one day a plane whose engine sputtered [avait des ratés]. The noise of the engine was followed by a violent shock. I took my bicycle. I ended up finding the place where this German plane had fallen. It was burning in the middle of an immense orchard (apple trees); several trees were calcinated, and three or four dead, thrown around the plane, were spread out on the grass. At some distance, in the valley of the Seine, an Englishman had probably just shot down this enemy plane that could only crash at some distance. The foot of one of the Germans was bared [dénudé], the sole of the shoe having been torn away. The heads of the dead, it seems to me, were shapeless. The flames must have touched them; this foot alone was intact. It was [End Page 97] the only human thing belonging to a body, and its nakedness, having become earthen, was inhuman: the heat of the blaze had transfigured it; this thing was neither baked nor calcinated: in the upper [l’empeigne] with no sole of the shoe, it was diabolical: but no, it was unreal, stripped naked [dénudée], indecent to the highest degree. I remained motionless for a long time that day, for this naked foot was looking at me.§ 5. [The truth, I believe, has only one face: that of a violent denial. Truth has nothing in common with allegorical figures, with figures of naked women: but... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Madness of the Philosophers, Madness of the ClinicJames Phillips (bio)KeywordsPhilosophy, insanity, moral, natural, Hegel, KierkegaardDaniel Berthold's "Talking Cures: A Lacanian Reading of Hegel and Kierkegaard on Language and Madness" is an eloquent discussion of speech, silence, and the 'talking cure' in the three figures highlighted in the title. There is much to admire in this paper. The treatment of speech and silence in the thought of Hegel and Kierkegaard, (...) with many well-chosen quotations, offers much for reflection, both with respect to these philosophers and more generally with respect to the human condition. This is a paper that deserves more than one reading. I find nothing to criticize here and intend the following as further discussion of the themes Berthold has brought to us. Taking his cue from Lacan and reading back into the nineteenth-century figures from the perspective of Lacan's emphasis on language and what he (Lacan) terms the Symbolic, Berthold explores the question of madness in Hegel and Kierkegaard. In my remarks, I connect Berthold's analysis with older traditions of madness, distinguishing what I call the madness of the philosophers and the madness of the clinic.With the phrase, madness of the philosophers, I refer to a longstanding philosophic tradition that opposes reason and passion and attributes madness to an excess of the latter. In Berthold's paper, Hegel is the representative of this position, with his description of madness as a regression into the primitive "life of feeling." As Berthold puts it:For Hegel, madness is a "reversion" or "withdrawal" or "sinking back" of the rational consciousness into the primitive world of instincts and drives, or what Hegel calls "the life of feeling" (Gufühlsleben), which he locates in "the soul," where the "mind is still in the grip of nature"... The soul is "the form of the dull stirring, the inarticulate breathing of the spirit through its unconscious individuality" (in seiner besusstlosen Individualität)... The mind becomes "mastered" by the archaic, unconscious drives of the soul: "the natural self... gains mastery over the... rational consciousness."(2009, 301)Taking off from Lacan in his interpretation of Hegel, Berthold associates reason with language—or, in Lacan's terminology—the register of the Symbolic. Hegel's "life of feeling"—or of passion—is inarticulate, primitive, and vulnerable to madness.Berthold analyzes Kierkegaard in these categories. On the one hand, Kierkegaard is driven to silence, subjectivity, and inwardness as the native [End Page 313] ground of faith. On the other hand, he recognizes something maddening in his extreme solitude, and acknowledges his need to write as a form of self-therapy: "If I stop [writing] for a few days, right away I become ill.... So powerful an urge, so ample, so inexhaustible [is my need to write], subsist[ing] day after day for... years." Kierkegaard's compromise is his "indirect communication." By Berthold's account, Kierkegaard's silence does not rate very high for Hegel and Lacan. For Hegel it represents a regression into the primitive "life of feeling." For Lacan, Kierkegaard's silent inner self is "a myth—a 'shapeless vapor,' 'absolutely nothing.'" As we shall see, Kierkegaard's ambivalence toward silence and speech (or writing) does not fit neatly into the equation of silence and madness.What, however, in contrast to this madness of the philosophers, is the madness of the clinic?1 It is madness caused by disease, whether the latter be understood in ancient terminology of humors, or more modern terminology of brain disease. For a quick review of how clinical madness has played off against the madness of the philosophers, we can turn to the philosophers themselves, invoking Plato as our first guide, because he speaks of both kinds of madness. On the one hand, with his tripartite division of the soul, he is one of the inaugurators of the philosophic vision of madness as an overcoming of the rational part of the soul by the appetitive side. On the other hand, he implicitly endorses the Hippocratic, medical view of madness with a statement like this: "A man who commits one of these crimes might be suffering from insanity, or be as good as insane either because... (shrink)

This paper presents the first results of an ongoing semiotic research over TV series targeted to early childhood in Italy. In particular, it focuses on discussing and explaining the great success of the animated series Peppa Pig aired in Italy on the thematic channel Rai YoYo, by comparing it with other series available in the same channel, in the period of its first launch. Most of the programs taken into account refers to animals with the purpose of using them as (...) a mean to speak about manhood, in a simplified and appealing way. Nothing new. Fairy tales have always been filled with animals to mean vices and virtues of the humans. Aim of the paper is to reveal the complexity of such reference to animals in Peppa Pig’s stories. This goal will be achieved by comparing it to another series which references to pigs aired simultaneously in the same Italian network. Moreover, this paper will consider other animals embodying the bouquet of meaning proposals offered by Rai YoYo: a dog and some shapeless creatures known as Barbapapas. As a conclusion of such enquire a synthetic model which positions each of the series analyzed will be presented. (shrink)

After concluding in the introduction that different things are beautiful in different ways, the first section of the treatise focuses on sensory beauty or beauty of bodies. Rejecting symmetry as a sufficient criterion for beauty, Plotinus explains that things in this world are beautiful to the extent that they participate in form and to the extent that shapeless matter is dominated by shape and the formative principle. Sensory beauty stirs the soul and helps it to recognise and remember transcendental beauty.

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This paper proposes a new Separabilist account of thick concepts, called the Expansion View (or EV). According to EV, thick concepts are expanded contents of thin terms. An expanded content is, roughly, the semantic content of a predicate along with modifiers. Although EV is a form of Separabilism, it is distinct from the only kind of Separabilism discussed in the literature, and it has many features that Inseparabilists want from an account of thick concepts. EV can also give non-cognitivists a (...) novel escape from the Anti-Disentangling Argument. §I explains the approach of all previous Separabilists, and argues that there’s no reason for Separabilists to take this approach. §II explains EV. §III fends off objections. And §IV explains how non-cognitivist proponents of EV can escape the Anti-Disentangling Argument. (shrink)

A fundamental concept of a philosophy of music is that of sound. Any investigation of this concept has to be ontologically as well as epistemically adequate. The main proposition of the article is that sounds can only be understood ontologically if we take into consideration their main characteristic of being strictly shapeless and lacking content, an insight that we can learn from Kant. In contradiction to Kant, sounds can be epistemologically characterized as objects that can only be re-presented if the (...) hearer co-presents their temporal extension. The argument is developed through a discussion of the work of P. F. Strawson, G. Evans, R. Scruton, and H. Riemann. (shrink)

Departing from hypothetical dilemmas and drawing on examples from law, this paper offers a pragmatist account of normative induction that characterizes moral particularism and generalism as stages of inquiry into ethical problems, rather than rival accounts of moral knowledge and motivation. Pragmatism’s response to analytical moral theory lies in understanding the transformative nature of John Dewey’s social continuum of inquiry. The continuum is unrecognized in the analysis of hypothetical dilemmas, like the trolley problem, but can clearly be seen in studies (...) of law. Real moral dilemmas represent actual conflicts, of which the dimensions emerge through experience and the solution cannot be addressed through the analysis of cleverly balanced moral puzzles. Repeated over time, real problems drive the consensual formation and revision of social practices and the predication of general moral rules and principles. Ethical particularism holds that the evaluative cannot be “cashed out” propositionally, and that it is descriptively “shapeless.” It fails to recognize that real moral problems occur in a continuum, and at first encounter a shapeless particularist context of seemingly unlimited non-moral properties. Normativity is driven by repetition of similar situations toward shared practices and descriptive predication. Rather than a Dancian retention of epistemic status by defeated reasons, this illustrates retirement of relevant properties and accompanying reasons, transformation of the reasons environment, and a pluralist normative ontology. (shrink)

Both liturgy and morality are "formed references" to Divine events to which faith also testifies. So there is parity among the orandi, the bene operandi, and the credendi of the Christian church, and multi-directional, shaping influences among them. An ethicist's understanding of morality is diminished without the context of liturgy and the rule of faith. An impoverished or distorted, shapeless liturgy influences the morality we credit. If today the church struggled for itself against itself over a proper understanding of the (...) Christian moral life, this would be both reflected in and aided by certain liturgical innovations. (shrink)

During the autumn of 1949, Hannah Arendt completed the manuscript of The Origins of Totalitarianism. On 1 October of the same year, the People’s Republic of China was founded under the leadership of Mao Zedong. This article documents Arendt’s claim in 1949 that the prospects of totalitarianism in China were ‘frighteningly good’, and yet her ambivalent judgment, on the eve of the Cultural Revolution, about the totalitarian character of the Maoist regime. Despite being the premier theorist of totalitarian formations, Arendt’s (...) interest in China was half-hearted and her analysis often wildly inaccurate. The concern of this paper, however, is less with the veracity of her remarks, than with a counterfactual question. If Arendt had known what we know now, would she have considered Maoist China to be a totalitarian regime? Put another way: to what extent is our modern picture of Mao’s regime consistent with Arendt’s depiction of the Soviet Union under Stalin or Germany under Hitler? While Arendt got many of her facts wrong, her theory of totalitarianism — as shapeless, febrile, voracious of human flesh, and endlessly turbulent — was in good measure applicable to Mao’s regime, even though she failed to recognize it. (shrink)

During the autumn of 1949, Hannah Arendt completed the manuscript of The Origins of Totalitarianism. On 1 October of the same year, the People’s Republic of China was founded under the leadership of Mao Zedong. This article documents Arendt’s claim in 1949 that the prospects of totalitarianism in China were ‘frighteningly good’, and yet her ambivalent judgment, on the eve of the Cultural Revolution, about the totalitarian character of the Maoist regime. Despite being the premier theorist of totalitarian formations, Arendt’s (...) interest in China was half-hearted and her analysis often wildly inaccurate. The concern of this paper, however, is less with the veracity of her remarks, than with a counterfactual question. If Arendt had known what we know now, would she have considered Maoist China to be a totalitarian regime? Put another way: to what extent is our modern picture of Mao’s regime consistent with Arendt’s depiction of the Soviet Union under Stalin or Germany under Hitler? While Arendt got many of her facts wrong, her theory of totalitarianism — as shapeless, febrile, voracious of human flesh, and endlessly turbulent — was in good measure applicable to Mao’s regime, even though she failed to recognize it. (shrink)

Kant calls himself a realist, qualifying this label with the adjective ‘empirical’. It is fair to say that most critics take this qualification as somehow implying that his idealism, itself qualified as ‘transcendental’, is primary. It is often assumed that the realism is merely a concession Kant makes from within an epistemological framework that is basically and in the final analysis an idealist one. There is an interpretation of Kant’s transcendental idealism that supposes that there is a sense in which (...) it is true to say that “mind makes nature”. Typically, metaphors used to describe the relationship between the mind and the world are ones that suggest the imposition of form on a material in itself shapeless. This article pursues the question which of the rival interpretations of Kant’s realism should be adopted. (shrink)

This chapter contains sections titled: 1. 2. 3. 4. Notes References.

The theses in this book are: 1) the tension between the Leibnizian theory of the tropes and their use is resolved in a "pragmatic of discourse" that gives the metaphor a richer dimension than the theorized one, that is, that of "a mechanism capable of combining elements coming from different conceptual spaces into a new metaphorical conceptual space, 'shapeless' to which the metaphor itself provides an adequate language to describe and structure it"; 2) the role of metaphors is placed for (...) Leibniz in the context of a 'multi-method' idea that combines the inventive and the formalizing moment and allows for a multiplicity of directions; 3) the Leibniz system is organized according to a 'logic' that is not deductive but analogical; 4) the valid relations in the system are not only connections of a logical nature; on the contrary, the organization is 'reticular', and the primacy of a relation depends from time to time on the prevalence assigned to a metaphor according to the problem being faced; 5) Leibniz's central metaphors are "emerging parts of a wider submerged translation", i.e. they are both expression and conceptualizing vehicle of a cognitive strategy that wants to govern the complexity of knowledge by organizing it around themes; this strategy is alternative to the Cartesian formulation of "Method" based on the disjunction of objects and notions and instead gives philosophical expression to the Baroque sense of the constant mutability that rules the world. (shrink)

Upon first reading this work, and without knowing its author, one may doubt its philosophical significance. Whereas philosophy implies wakefulness, the Reveries denotes dreams, "a shapeless diary" of the movements of the author’s soul. Often perceived as the product of Rousseau’s disturbed last years, seldom has it been used for interpreting his better known writings. It may therefore seem not surprising that two centuries should have passed before a scholarly English translation of high quality would appear, one that is indeed (...) prepared by a translator thoroughly grounded both in the tradition of Western philosophy and in the thought of Rousseau. Yet appearances notwithstanding, Charles Butterworth appends to his excellent translation an elaborate interpretative essay to justify the view that Rousseau’s last writing represents an ordered view that is not only philosophically interesting, but also reveals the basis of his paradoxical thought. (shrink)