According to the traditional definition of lying, somebody lies if he or she makes a believed-false statement with the intention to deceive. The traditional definition has recently been challenged by non-deceptionists who use bald-faced lies to underpin their view that the intention to deceive is no necessary condition for lying. We conducted two experiments to test whether their assertions are true. First, we presented one of five scenarios that consisted of three different kinds of (...) lies. Then we asked participants to judge whether the scenario at hand was a lie, whether the speaker intended to deceive somebody, and how they would judge the behavior in terms of morality. As expected, our results indicate that the intention to deceive is not a necessary condition for lying. Participants rated indifferent lies to be lies and judged that no intention to deceive was involved in these cases. In addition, all bald-faced lies were evaluated as lies. However, participants widely ascribed an intention to deceive to bald-faced lies, which thus might not apply as counterexamples against the traditional definition of lying. Besides, lies are judged as morally wrong regardless of an intention to deceive. (shrink)

This paper aims to question the traditional definition of lying. I do not present my definition of this phenomenon. Instead, I try to show that the traditional definition – to lie one must utter a false claim – is inadequate. To do that, in the first part of the paper, I present Herbert Paul Grice’s theory of conversational implicatures, which are explicitly excluded from the traditional definition. Next, relying on the theory of (...) default meanings, I reject the widespread idea that the speaker can always distance themselves from a pragmatically conveyed message. Then I present the traditional definition of lying and the role that the intention of the speaker and the responsibility of the hearer play in it. In the second part, I apply the insights gathered by that point to Shakespeare’s tragedy Othello. After a brief presentation of the relation between Othello and Iago, I present three examples of dialogues from the play that I consider to be the cases of lying accomplished with conversational implicatures. This kind of analysis has a dual role. The first one is to show the inadequacy of the traditional definition of lying. Even though Iago does not utter a single false claim, he is lying. The second one to point to the limited scope of the possibility of denying a pragmatically conveyed message. Iago’s pragmatic messages are so strong that he cannot distance himself from them, even when he tries to. (shrink)

The traditional and prevailing definition of lying is that lying is some variation or combination of: “an untruth told with intent to deceive.” I establish that this is the case, and that, as a result, contradictions and injustices arise. An alternative definition is proposed which is shown to avoid these difficulties. It is also shown that and how on the new definition the alleged “Liar paradox” is easily dissolved.

Among Catholic philosophers, Saint Augustine was the first boldly to propose and defend the absolute view that all lies are wrong. Under no circumstances can a lie be licit. This absolute view held sway among Catholics until the sixteenth century with the introduction of the doctrine of mental reservation. In the seventeenth century, Hugo Grotius introduced another way to uphold the absolute view by changing the definition of lying: If the right of another is not violated, then there (...) is no lie. One could thus tell the murderer at the door “Nobody is home” without lying, as he has no right to know the whereabouts of his potential victim. By the late nineteenth century, Grotius’s definition of lying began gaining a following among Catholic philosophers and theologians, and continues to be held today by some Catholic philosophers. This article argues that adopting the Grotian definition of lying is a mistake. (shrink)

Deceptive implicatures are a subtle communicative device for leading someone into a false belief. However, it is widely accepted that deceiving by means of deceptive implicature does not amount to lying. In this paper, we put this claim to the empirical test and present evidence that the traditional definition of lying might be too narrow to capture the folk concept of lying. Four hundred participants were presented with fourteen vignettes containing utterances that communicate conversational implicatures (...) which the speaker believes to be false. We further collected several potential proxy measures of lying, to get a better understanding of when a deceptive implicature is considered a case of lying. The results indicate that most implicatures (ten out of fourteen) were evaluated as lies and that lie ratings were closely tracked by the degree to which speakers were considered to have committed themselves to the truth of the content conveyed by their deceptive implicatures. (shrink)

There are many philosophical questions surrounding the notion of lying. Is it ever morally acceptable to lie? Can we acquire knowledge from people who might be lying to us? More fundamental, however, is the question of what, exactly, constitutes the concept of lying. According to one traditional definition, lying requires intending to deceive (Augustine. (1952). Lying (M. Muldowney, Trans.). In R. Deferrari (Ed.), Treatises on various subjects (pp. 53?120). New York, NY: Catholic University (...) of America). More recently, Thomas Carson (2006. The definition of lying. Nous, 40, 284?306) has suggested that lying requires warranting the truth of what you do not believe. This paper examines these two prominent definitions and some cases that seem to pose problems for them. Importantly, theorists working on this topic fundamentally disagree about whether these problem cases are genuine instances of lying and, thus, serve as counterexamples to the definitions on offer. To settle these disputes, we elicited judgments about the proposed counterexamples from ordinary language users unfettered by theoretical bias. The data suggest that everyday speakers of English count bald-faced lies and proviso lies as lies. Thus, we claim that a new definition is needed to capture common usage. Finally, we offer some suggestions for further research on this topic and about the moral implications of our investigation into the concept of lying. (shrink)

Traditional definitions of lying require that a speaker believe that what she asserts is false. Sam Fox Krauss seeks to jettison the traditional belief requirement in favour of a necessary condition given in a credence-accuracy framework, on which the liar expects to impose the risk of increased inaccuracy on the hearer. He argues that this necessary condition importantly captures nearby cases as lies which the traditional view neglects. I argue, however, that Krauss's own account suffers from (...) an identical drawback of being unable to explain nearby cases; and even worse, that account fails to distinguish cases of telling lies from cases of telling the truth. (shrink)

It is widely held that all lies are assertions: the traditional definition of lying entails that, in order to lie, speakers have to assert something they believe to be false. It is also widely held that assertion contrasts with presupposition and, in particular, that one cannot assert something by presupposing it. Together, these views imply that speakers cannot lie with presuppositions—a view that Andreas Stokke has recently explicitly defended. The aim of this paper is to argue that (...) speakers can lie with presuppositions, and to discuss some of the implications this outcome has for current research on lying, assertion and presupposition. (shrink)

This paper is divided into two parts. In the first part, I extend the traditional definition of lying to illocutionary acts executed by means of explicit performatives, focusing on promising. This is achieved in two steps. First, I discuss how the utterance of a sentence containing an explicit performative such as “I promise that Φ ” can count as an assertion of its content Φ . Second, I develop a general account of insincerity meant to explain under (...) which conditions a given illocutionary act can be insincere, and show how this applies to promises. I conclude that a promise to Φ is insincere (and consequently a lie) only if the speaker intends not to Φ , or believes that he will not Φ , or both. In the second part, I test the proposed definition of lying by promising against the intuitions of ordinary language speakers. The results show that, unlike alternative accounts, the proposed definition makes the correct predictions in the cases tested. Furthermore, these results challenge the following necessary conditions for telling a lie with content p: that you have to assert p directly; that you have to believe that p be false; that p must be false; that you must aim to deceive the addressee into believing that p. (shrink)

Lying is an important moral phenomenon that most people are affected by on a daily basis—be it in personal relationships, in political debates, or in the form of fake news. Nevertheless, surprisingly little is known about what actually constitutes a lie. According to the traditional definition of lying, a person lies if they explicitly express something they believe to be false. Consequently, it is often assumed that people cannot lie by more indirectly communicating believed‐false claims, for (...) instance by merely conversationally implicating them. In this paper, we subject this claim to an empirical test. In a preregistered study of 300 participants, we investigate how people judge cases of implicit deceptions that would usually be excluded by the traditional definition of lying (i.e., conversational implicatures, presuppositions, and nonverbal actions). Our results show that people do in fact consider it possible to lie by indirect means, suggesting that people have a broader concept of lying than is usually assumed. Moreover, our findings indicate that lie judgments are closely tied to the extent to which agents are perceived as having committed themselves to the believed‐false claims they have communicated. We discuss the implications of our results for the traditional definition of lying and propose a new commitment‐based definition of lying that can account for the findings of our experiment. (shrink)

The traditional conception of lying, according to which to lie is to make an assertion with an intention to deceive the hearer, has recently been put under pressure by the phenomenon of bald-faced lies i.e. utterances that _prima facie_ look like lies but because of their blatancy allegedly lack the accompanying intention to deceive. In this paper we propose an intuitive way of reconciling the phenomenon of bald-faced lies with the traditional conception by suggesting that the existing (...) analyses of the phenomenon overlook a non-obvious category of hearers whom the speakers of bald-faced lies intend to deceive. Those hearers are institutions represented by the people involved, such as courts or secret police. We also criticize two recent rival accounts (Jessica Keiser’s and Daniel Harris’s) that attempt to save the traditional conception by saying that some bald-faced lies are not assertions, because they are conventional—rather than illocutionary—speech acts. (shrink)

According to the traditional philosophical definition, you lie if and only if you assert what you believe to be false with the intent to deceive. However, several philosophers (e.g., Carson 2006, Sorensen 2007, Fallis 2009) have pointed out that there are lies that are not intended to deceive and, thus, that the traditional definition fails. In 2009, I suggested an alternative definition: you lie if and only if you say what you believe to be false (...) when you believe that one of Paul Grice's conversational norms (“Do not say what you believe to be false”) is in effect. Faulkner (forthcoming), Stokke (forthcoming), and Pruss (2012) have subsequently argued that my 2009 definition fails as well because it counts some statements that are clearly not lies as being lies. In this paper, I identify some additional counter-examples of this sort. But I argue that my 2009 definition can easily be revised to deal with such counter-examples once we clarify that the relevant norm is really against communicating something false rather than against merely saying it. Nevertheless, I show that even this revised version of my 2009 definition fails because it counts some statements that are lies as not being lies. Lies told by young children – which uncontroversially count as lies on the traditional philosophical definition – suggest that lying (as well as asserting in general) does not require believing that such a norm is in effect. Even so, I claim that, since all liars intend to do something that would violate this norm if it were in effect, there is a successful definition of lying that is at least in the spirit of my 2009 definition. (shrink)

Survey of different definitions of lying and deceiving, with an emphasis on the contemporary debate between Thomas Carson, Roy Sorensen, Don Fallis, Jennifer Saul, Paul Faulkner, Jennifer Lackey, David Simpson, Andreas Stokke, Jorg Meibauer, Seana Shiffrin, and James Mahon, among others, over whether lies always aim to deceive. Related questions include whether lies must be assertions, whether lies always breach trust, whether it is possible to lie without using spoken or written language, whether lies must always be false, whether (...) lies that are unsuccessful are still lies, and whether deception must aim at creating false beliefs as opposed to preventing people from acquiring true beliefs. (shrink)

If you read this abstract, then you will understand what my essay is about. Under what conditions would the preceding assertion be a lie? Traditional definitions of lying are always applied to straight declaratives such as ‘The dog ate my homework’. This one sided diet of examples leaves us unprepared for sentences in which conditional probability governs assertibility. The truth-value of conditionals does not play a significant role in the sincere assertion of conditionals. Lying is insincere assertion. (...) So the connection between lying and falsehood is broken when lying with conditionals. Drawing on Frank Jackson's account of indicative conditionals. I argue that it is possible to lie with true conditionals by virtue of their false conventional implicatures. False conversational implicatures only guarantee misleading assertions, not lies. Lying remains a semantic rather than a pragmatic affair. (shrink)

According to the traditional philosophical definition, you lie if and only if you say something that you believe to be false and you intend to deceive someone into believing what you say. However, philosophers have recently noted the existence of bald-faced lies, lies which are not intended to deceive anyone into believing what is said. As a result, many philosophers have removed deception from their definitions of lying. According to Jennifer Lackey, this is ‘an unhappy divorce’ because (...) it precludes an obvious explanation of the prima facie wrongness of lying. Moreover, Lackey claims that there is a sense of deception in which all lies are deceptive. In this paper, I argue that bald-faced lies are not deceptive on any plausible notion of deception. In addition, I argue that divorcing deception from lying may not be as unhappy a result as Lackey suggests. (shrink)

This article first examines a number of different definitions of lying, from Aldert Vrij, Warren Shibles, Sissela Bok, the Oxford English Dictionary, Linda Coleman and Paul Kay, and Joseph Kupfer. It considers objections to all of them, and then defends Kupfer’s definition, as well as a modified version of his definition, as the best of those so far considered. Next, it examines five other definitions of lying, from Harry G. Frankfurt, Roderick M. Chisholm and Thomas D. (...) Feehan, David Simpson, Thomas Carson, and Don Fallis. It finds reason to reject these definitions, in favor of the two definitions of lying previously defended, namely:(i) To lie (to another person) = df. to make a believed-false statement (to another person) with the intention that that statement be believed to be true (by the other person).(ii) To lie (to another person) = df. to make a believed-false statement (to another person), either with the intention that that statement be believed to be true (by the other person), or with the intention that it be believed (by the other person) that that statement is believed to be true (by the person making the statement), or with both intentions. (shrink)

This article deals with the question of which kinds of deceptions vitiate consent to sexual relations. More specifically, it addresses the question of which characteristics of the perpetrator (e.g. their identity, wealth, or marital status), of their relations with the victim (e.g. marriage, long-term intentions), or of the sexual act itself (e.g. protected) vitiate consent when deception is involved. In this proposal, we offer our view on how this question should be answered: the criminalisation of deceptive sex should be cautiously (...) extended to include deception regarding any characteristic of the deceiver or the relationship on which the deceived’s consent was conditional, where the deceiver was aware of this conditionality. To support our proposal, we examine the different definitions of “deceptive sex” and diverse legal approaches taken to its criminalisation in the United Kingdom, Germany, and Israel, and discuss their respective merits and shortcomings. Surprisingly, different jurisdictions take strikingly different stances on these matters. This diversity ranges from the narrow definition of traditional English law (and its more opaque contemporary version in England, Canada, and Israel) to the minimalist approach of the German system. To counter the risk of over-criminalisation inherent in our proposal, we also propose using an offence lighter than rape and criminalising only those deceivers who actively lied and whose actual knowledge of the victim’s hypothetical refusal can be proven beyond reasonable doubt. Overall, while our proposal would cautiously extend the criminalisation of deceptive sex to some types of cases that are currently not criminalised, it would also significantly limit the criminalisation of deceptive sex by enhancing the requirements regarding both the accused’s actus reus and their mens rea. (shrink)

Few moral questions have greater bearing on the conduct of our everyday lives than questions about the morality of lying. These questions are also important for ethical theory. An important test of any theory of right and wrong is whether it gives an adequate account of the morality of lying. Conceptual questions about the nature of lying are prior to questions about the moral status of lying. Any theory about the moral status of lying presupposes (...) an account of what lying is. (shrink)

Standard definitions of lying imply that intending to deceive others is a necessary condition of one's telling a lie. In an earlier paper, which appeared in this journal, Wokutch, Murrmann and I argued that intending to deceive others is not a necessary condition of one's telling a lie and proposed an alternative definition. In a reply which also appeared in this journal, Gary Jones argues that our arguments fail to establish the claim that it is possible to lie (...) without intending to deceive others, and that the objections which we raise for standard definitions apply equally to our own. The present paper argues that one can lie without intending to deceive others. I concede Jones' second criticism and propose a new alternative definition. (shrink)

Donald Davidson once suggested that a liar ?must intend to represent himself as believing what he does not?. In this paper I argue that, while Davidson was mistaken about lying in a few important respects, his main insight yields a very attractive definition of lying. Namely, you lie if and only if you say something that you do not believe and you intend to represent yourself as believing what you say. Moreover, I show that this Davidsonian (...) class='Hi'>definition can handle counter-examples that undercut four prominent definitions of lying: viz., the traditional intend-to-deceive definition, Thomas Carson's definition, Don Fallis's definition, and Andreas Stokke's definition. (shrink)

In a recent article (2017), Alan Vincelette attempts to defend the Grotian definition of lying. In much of the article he argues when it is licit to tell a formal falsehood. This focus, however, is a mistake. In particular, Vincelette conflates two distinct questions: a) is lying ever morally permissible?, and b) is the Grotian definition of lying an adequate definition? Much of Vincelette‘s response to my earlier criticisms (Skalko 2015) of the Grotian (...) class='Hi'>definition focuses on (a), but neglects (b). But (a) is really beside the point. The current debate is over the definition of a lie, not over whether lying is ever permissible. In this latter respect, I argue that Vincelette‘s revised definition of a lie still fails as an adequate definition of lying. (shrink)

I shall discuss the problem of the definition of lying and the formulation of the duty of truthtelling. I shall argue that the morality of assertion is a special case of the morality of endorsement, and that a criterion of adequacy for an account of lying is that it handles certain cases of dishonest endorsement as well. Standardviews of lying fail to do so. I shall offer an account of the duty of honest endorsement in terms (...) of the intention to avoid falsehood. But, in the end, we may simplyhave reason to go back to the naïve view that lying is saying falsehoods. (shrink)

I shall discuss the problem of the definition of lying and the formulation of the duty of truthtelling. I shall argue that the morality of assertion is a special case of the morality of endorsement, and that a criterion of adequacy for an account of lying is that it handles certain cases of dishonest endorsement as well. Standardviews of lying fail to do so. I shall offer an account of the duty of honest endorsement in terms (...) of the intention to avoid falsehood. But, in the end, we may simplyhave reason to go back to the naïve view that lying is saying falsehoods. (shrink)

This paper argues that the existing definition of pandemics is not nuanced enough, because it is predicated solely on the criterion of spread, rather than on the criteria of spread and severity. This definitional challenge is what I call ‘the conflation problem’: there is a conflation of two different realities of global health, namely global health emergencies (i.e., severe communicable diseases that spread across borders) and nonemergencies (i.e., communicable or noncommunicable diseases that spread across borders and that may be (...) severe). To put this argument forth, this paper begins by discussing the existing and internationally accepted definition of pandemics, its requirements, as well as its strengths (section 1). Section 2 then considers the problem with the standard definition of pandemics (i.e., the conflation problem) and some examples of it. Finally, section 3 evaluates some practical implications of the conflation problem to then explore conceptual clarity as the adequate solution. (shrink)

As an empirical inquiry into the nature of meaning, semantics must rely on data. Unfortunately, the primary data to which philosophers and linguists have traditionally appealed—judgments on the truth and falsity of sentences—have long been known to vary widely between competent speakers in a number of interesting cases. The present article constitutes an experiment in how to obtain some more consistent data for the enterprise of semantics. Specifically, it argues from some widely accepted Gricean premises to the conclusion that judgments (...) on lying are semantically relevant. It then endeavors to show how, assuming the relevance of such judgments, we can use them to generate a useful, widely acceptable test for semantic content. (shrink)

Although Kant is one of the very few classical writers referred to in the current literature on lying, hardly any attention is paid to how his views relate to the contemporary discussion on the definition of lying. I argue that, in Kant’s account, deception is not the defining feature of lying. Furthermore, his view is able to acknowledge non-deceptive lies. Kant thus holds, I suggest, a version of what is currently labelled Intrinsic Anti-Deceptionism. In his specific (...) version of such a view, furthermore, dishonesty is the distinctive feature of lying. Finally, I highlight the important methodological differences between Kant’s normatively minded account and the primarily descriptive contemporary discussion, with regard to the role of intuitions and definitions in building a moral theory: In contrast to the current debate, Kant does not rely on intuitions, but defines lying in terms of the obligation it violates. (shrink)

In the sixth chapter of his Theory of Knowledge Roderick Chisholm refers to an example suggested by Alexius Meinong in order to show that the traditional definition of knowledge is in need of some modification. In this paper I should like to show that Chisholm's argument rests on a mistaken assumption as to what an individual's doxastic responsibilities are.

One of the recent trends in dealing with the concept of lying has been to argue that the idea that one needs to deceive someone in order to lie has been accepted too hastily. In Lying and Insincerity Stokke shares this opinion and proposes a definition of lying based on the notion of common ground that includes bald-faced lies. Additionally, he rejects the idea that lying can be accomplished with pragmatic means such as conversational implicatures (...) and proposes a formal distinction between lying and misleading. In this review, I present the content of Stokke’s book and critically discuss the two points mentioned above. (shrink)

What is life? Is it just the biologically familiar--birds, trees, snails, people--or is it an infinitely complex set of patterns that a computer could simulate? What role does intelligence play in separating the organic from the inorganic, the living from the inert? Does life evolve along a predestined path, or does it suddenly emerge from what appeared lifeless and programmatic? In this easily accessible and wide-ranging survey, Claus Emmeche outlines many of the challenges and controversies involved in the dynamic and (...) curious science of artificial life. Emmeche describes the work being done by an international network of biologists, computer scientists, and physicists who are using computers to study life as it could be, or as it might evolve under conditions different from those on earth. Many artificial-life researchers believe that they can create new life in the computer by simulating the processes observed in traditional, biological life-forms. The flight of a flock of birds, for example, can be reproduced faithfully and in all its complexity by a relatively simple computer program that is designed to generate electronic "boids." Are these "boids" then alive? The central problem, Emmeche notes, lies in defining the salient differences between biological life and computer simulations of its processes. And yet, if we can breathe life into a computer, what might this mean for our other assumptions about what it means to be alive? The Garden in the Machine touches on every aspect of this complex and rapidly developing discipline, including its connections to artificial intelligence, chaos theory, computational theory, and studies of emergence. Drawing on the most current work in the field, this book is a major overview of artificial life. Professionals and nonscientists alike will find it an invaluable guide to concepts and technologies that may forever change our definition of life. (shrink)

Usually, people think that Gettier counter-examples challenged the traditional tripartite definition of knowledge and fundamentally changed the characteristic of the contemporary epistemology. This paper argues that regard for Gettier counter-examples is exaggerated, because (i) the JTB definition is neither an important nor a comprehensive one that covers all knowledge. Moreover, the significance of Gettier counter-examples is limited. (ii) The source of Gettier counter-examples lies in one arbitrary judgment, two mix-ups, three false assumptions, and a misunderstanding about the (...) JTB definition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cogito, Ergo Sum: The Life of René DescartesDennis Des CheneRichard Watson. Cogito, Ergo Sum: The Life of René Descartes. Boston: David R. Godine, 2002. pp. viii + 375. Cloth, $35.00.Somewhere between hagiography and debunking lies truth. Or so we may think: the biographer's sources are almost always tipped one way or the other, and it is his or her job to establish, or divine, the way of authentic (...) fact and, if facts fall short, then of sturdy sober hypothesis. In general the debunker has more fun, especially when the weight of tradition favors the ennobling, if not the beatification, of its subject.Descartes is a case in point. Until a few years ago, there was in English no satisfactory biography. Now there are three: an "intellectual biography" by Stephen Gaukroger, the Descartes of Geneviève Rodis-Lewis, and Watson's. Gaukroger dwells on Descartes's natural philosophy, especially in the early years. Only after 300 pages does he reach the period of the Discourse, Descartes's first published work. Rodis-Lewis offers a more even-handed treatment, the fruits of a lifetime of study. Her Descartes resembles, not the modern scientist or professional philosopher, but the ancient sage for whom metaphysics is a once-in-a-lifetime affair, and even natural philosophy subordinate to wisdom. Watson's Descartes is an altogether more worldly type, born into a family of lawyers, well-connected, touchy [End Page 113] about his place in social and scientific circles, and not all that interested in what we think of now as philosophy. Nor, for that matter, is Watson: you will look in vain for an analysis of the Meditations, a discussion of method, or a definition of générosité. (Watson does conclude, I should note, with a discussion of Descartes's doctrine on the soul, whose title might well have been "The future of an illusion" if Freud had not used it already.)If you like your philosophy uncluttered by context, if you find it worthwhile to read or write about "Cartesian skepticism" or "Cartesian dualism" without troubling yourself to understand who the historical Descartes was, or what might have moved him to confront the skeptics and save the soul, then Watson is not for you. It is emphatically a Life, not a Life and Works. It is, moreover, a life in the manner of many modern biographers, in which the biographer, rather than conceal himself behind the curtains of scholarly convention, figures into the narrative, retracing the steps of Descartes's passage to Italy, examining the baptismal certificate of Descartes's illegitimate daughter Francine, and eating lunch at the Queen Kristina restaurant "next door to the house in which Descartes died" (303). The quality of a biography thus written depends in part on the personality of its author (and in the case of Cogito Ergo Sum, the author's wife, who intervenes more than once on the side of common sense during their peregrinations). Watson is, to my mind, an agreeable companion, dedicated to the search for biographical truth, impatient with hagiographic fog and time-hallowed error, down-to-earth in his assessment of Descartes's motives and circumstances.One example to show the differences among the three biographies. In November 1618 Descartes met the future Latin schoolmaster Isaac Beeckman in Breda. Beeckman records with enthusiasm their joint endeavors in physico-mathematics over the next few months (Gaukroger has the details). It seems clear that the impetus for studying the various problems mentioned in Beeckman's Journal came from Beeckman, who had been pondering physical questions since 1613 or before. Descartes's contribution, at least at first, was his immense mathematical skill. Their interests lay largely within the "mixed mathematics" of the period, especially hydrostatics and mechanics. They also discussed music, an aspect of the "new science" now often neglected (but see H. F. Cohen, Quantifying Music [Dordrecht, 1984]). On New Year's day 1619 Descartes presented Beeckman with his Compendium musicæ (Gaukroger 74, Rodis-Lewis 51/29). A decade later, Descartes, having heard that Beeckman had appropriated the Compendium to himself, became angry and eventually, late in 1630, dismissed Beeckman with a masterpiece of de haut... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cogito, Ergo Sum: The Life of René DescartesDennis Des CheneRichard Watson. Cogito, Ergo Sum: The Life of René Descartes. Boston: David R. Godine, 2002. pp. viii + 375. Cloth, $35.00.Somewhere between hagiography and debunking lies truth. Or so we may think: the biographer's sources are almost always tipped one way or the other, and it is his or her job to establish, or divine, the way of authentic (...) fact and, if facts fall short, then of sturdy sober hypothesis. In general the debunker has more fun, especially when the weight of tradition favors the ennobling, if not the beatification, of its subject.Descartes is a case in point. Until a few years ago, there was in English no satisfactory biography. Now there are three: an "intellectual biography" by Stephen Gaukroger, the Descartes of Geneviève Rodis-Lewis, and Watson's. Gaukroger dwells on Descartes's natural philosophy, especially in the early years. Only after 300 pages does he reach the period of the Discourse, Descartes's first published work. Rodis-Lewis offers a more even-handed treatment, the fruits of a lifetime of study. Her Descartes resembles, not the modern scientist or professional philosopher, but the ancient sage for whom metaphysics is a once-in-a-lifetime affair, and even natural philosophy subordinate to wisdom. Watson's Descartes is an altogether more worldly type, born into a family of lawyers, well-connected, touchy [End Page 113] about his place in social and scientific circles, and not all that interested in what we think of now as philosophy. Nor, for that matter, is Watson: you will look in vain for an analysis of the Meditations, a discussion of method, or a definition of générosité. (Watson does conclude, I should note, with a discussion of Descartes's doctrine on the soul, whose title might well have been "The future of an illusion" if Freud had not used it already.)If you like your philosophy uncluttered by context, if you find it worthwhile to read or write about "Cartesian skepticism" or "Cartesian dualism" without troubling yourself to understand who the historical Descartes was, or what might have moved him to confront the skeptics and save the soul, then Watson is not for you. It is emphatically a Life, not a Life and Works. It is, moreover, a life in the manner of many modern biographers, in which the biographer, rather than conceal himself behind the curtains of scholarly convention, figures into the narrative, retracing the steps of Descartes's passage to Italy, examining the baptismal certificate of Descartes's illegitimate daughter Francine, and eating lunch at the Queen Kristina restaurant "next door to the house in which Descartes died" (303). The quality of a biography thus written depends in part on the personality of its author (and in the case of Cogito Ergo Sum, the author's wife, who intervenes more than once on the side of common sense during their peregrinations). Watson is, to my mind, an agreeable companion, dedicated to the search for biographical truth, impatient with hagiographic fog and time-hallowed error, down-to-earth in his assessment of Descartes's motives and circumstances.One example to show the differences among the three biographies. In November 1618 Descartes met the future Latin schoolmaster Isaac Beeckman in Breda. Beeckman records with enthusiasm their joint endeavors in physico-mathematics over the next few months (Gaukroger has the details). It seems clear that the impetus for studying the various problems mentioned in Beeckman's Journal came from Beeckman, who had been pondering physical questions since 1613 or before. Descartes's contribution, at least at first, was his immense mathematical skill. Their interests lay largely within the "mixed mathematics" of the period, especially hydrostatics and mechanics. They also discussed music, an aspect of the "new science" now often neglected (but see H. F. Cohen, Quantifying Music [Dordrecht, 1984]). On New Year's day 1619 Descartes presented Beeckman with his Compendium musicæ (Gaukroger 74, Rodis-Lewis 51/29). A decade later, Descartes, having heard that Beeckman had appropriated the Compendium to himself, became angry and eventually, late in 1630, dismissed Beeckman with a masterpiece of de haut... (shrink)

The foundations of systematics lie in ontology, not in subjective epistemology. Systems and their elements should be distinguished from classes; only the latter are constructed from similarities. The term classification should be restricted to ordering into classes; ordering according to systematic relations may be called systematization.The theory of organization levels portrays the real world as a hierarchy of open systems, from energy quanta to ecosystems; followingHartmann these systems as extended in time are considered the primary units of reality. Organization levels (...) should be distinguished from levels of differentiation within each organization level.Certain biological systems, such as species, continue to be misinterpreted as classes, particularly by logicians unfamiliar with modern biological theory. Replacement of Aristotelian definitions of species by “polytypic” definitions achieves nothing, because species are individual systems which can be defined from an ontological viewpoint only as wholes. The dispute whether classes are real per se or only in individuals is of no scientific importance; irrespective of which view is taken, any ordering of physical objects into classes constitutes an hypothesis about the structure of the real world.The distinction between essential and contingent characters is relevant only to classification. There are no universal rules for evaluating characters for purposes of systematization. Character statements do not form separate linear sequences. The search for “unit characters” in an absolute sense is futile. All real characters are reducible to relations and are in principle measurable, although there are limitations on the extent to which this can be presently achieved.The concept of the sexual species is fundamental to theories of biosystematics. Sexual species may be defined as lineages consisting at any given time of series of populations between which genetic exchange can occur and delimited in time by two successive processes of speciation. Linnaean nomenclature needs modification; in its traditional form it is appropriate only to non-truncated hierarchies, whereas real phylogenies form truncated hierarchies. In consequence of the distinction between systematization and classification it is concluded that, while taxa may be classified into age classes or evolutionary grades, their limits as taxa can be no different in either case. Classification into evolutionary grades remains an imprecise endeavour, since no general measure of evolutionary differentiation has been devised.The spatial and temporal extent of ecosystems, the postulated basic units of ecosystematics, remains unclarified. Nevertheless there are grounds for expecting progress in this field as the energetic relations between organisms become better understood. Biotic communities are not “abstract” classes, but systematic units. Physiognomic classification should not be confused with systematization of plant communities; both approaches contribute to an understanding of vegetational structure. (shrink)

One of the most pressing points in the philosophy of sport is the question of a definition of sport. Approaches towards sport vary based on a paradigm and position of a particular author. This article attempts to analyse and critically evaluates a recent definition of sport presented by Jim Parry in the context of argument that e-sports are not sports. Despite some innovations, his conclusions are in many ways traditional and build on the previous positions. His research, (...) rooted in the conceptual analysis, starts with a stipulation that sport is paradigmatically Olympic sport. He defines it then as an ‘institutionalised, rule-governed contest of human physical skill’ i.e., identifies six necessary elements of sport: human (not animals), physical (not chess), skill (not jogging), contest (not mountaineering), rule-governed (not ‘field sports’), institutionalized (not hula-hooping). Our claim is that this definition, despite its methodological clarity, is not accurate and does not sufficiently represent sport outside the Olympic context. First, to say for something to be a sport it is necessary to be a contest leads to a narrow concept of sport. Secondly, Parry’s account lacks the emphasis on game and play-like structures that are inherently present in sport (even in the Olympic sport), namely non-necessity, non-ordinariness, arbitrariness and gratuitousness. We try to direct the attention precisely on these structures and offer an alternative account of sport understood as a modern ‘hard core’ sport that nevertheless reaches important congruences with Parry’s definition. The originality of this contribution lies in presenting the essential qualities of modern ‘hard core’ sports, which, although sometimes hidden in the modern emphasis on high level performances, competition, and results, play an important role in the question how sport ought to be played and approached. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional (...) art, the relational properties of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

Definition of the problem: The rapid pace of medical progress has drawn renewed attention to the various possible ways of treating dead or brain-dead pregnant women since the 1980's. The discussion today revolves around medical, social, legal and economic aspects. The historical areas of conflict which surrounded deliveries carried out on dead mothers (usually by means of a Sectio in mortua, nowadays known as a perimortem Caesarean section) and their significance in today's debate are, for the most part, regarded (...) as being of little relevance.Arguments: The history of the Sectio in mortua was, for a long time, influenced by the difficulty in establishing whether the mother and foetus were actually dead, by the degree of autonomy of the foetus in the womb, by religious issues, by the lack of acceptance among the people because of their irrational fears concerning the operation and by legal regulations and constraints especially in relation to operations carried out on the dying. Each of these areas shows remarkable parallels to the present-day medical and ethical discussion.Conclusion: The value of such considerations does not lie in the uncritical application of experience gained in the past, but rather in a growing awareness of the wide spectrum of parameters and in a deeper understanding of the various possible approaches to a given situation. The tradition in the Western world of carrying out a delivery on a dead mother, in spite of the conflict of interests between the mother and the foetus, is of particular importance. In practice, the many non-medical factors should be taken more into consideration, with special emphasis being placed on the informed consent of the relatives. (shrink)

If we consider Wittgenstein's career as a whole, it appears that he wrote more on the philosophy of logic and mathematics than any other subject. Yet his writings on these subjects have exerted little influence. Indeed, the tide of response to Remarks on the Foundations of Mathematics, which contains the bulk of his latest views of mathematics, has been for the most part overwhelmingly negative. Given his later emphasis on the context-bound character of language, mathematics and logic--where language apparently operates (...) in an maximally precise, clear and general way--represent two of the most difficult cases for Wittgenstein to confront. My thesis aims to defend Wittgenstein from the charges of benighted arrogance traditionally levelled against him. I argue that Wittgenstein's later discussions of mathematics form a central part of a larger philosophical project, internally related to Philosophical Investigations and shaping in specific ways Wittgenstein's reaction to both scepticism and accounts of the nature of logical and mathematical truth. I see Wittgenstein criticizing the unreflective use of mathematical tools in philosophy, not offering a competing philosophy of mathematics. ;Too few of Wittgenstein's readers have been willing to offer detailed exegesis of his writing . This has made it difficult to understand how the aphoristic style of his late writing bears on the philosophical problems being discussed. On my view, the quality of Wittgenstein's writing is intrinsic to his later conception of the nature of logic, mathematics and philosophy. Line by line engagement with his texts is thus imperative in order to achieve an understanding of his philosophical objectives and criticisms. My dissertation offers as a paradigm of such reading a detailed exegesis and criticism of the opening five sections of Remarks on the Foundations of Mathematics. ;I briefly explore in some detail the origin and genesis of Wittgenstein's interest in rule-following, from its roots in the Tractatus's conception of logical syntax. This background illuminates Wittgenstein's later conception of logical truth and his criticisms of Frege's and Russell's arguments for logicism. To explore these criticisms, I focus on Wittgenstein' s discussions of the Frege-Russell definition of "Number" in "logical" terms. Placed in their appropriate philosophical and historical context, Wittgenstein's seemingly outrageous remarks about the nature of proof, mathematical logic and the foundations of mathematics do not simply betray his ignorance. Nor do they commit him to a revisionist attitude toward mathematical practice. Rather, they raise fundamental questions about the philosophical presuppositions lying behind attempts to bring particular mathematical results to bear in philosophy. (shrink)

The dialectical connection of law and culture is the relevant subject of research in philosophy, theory, and sociology of law, first and foremost due to the fact that insufficient theoretical substantiation lawmaking activity of politicians currently generates serious issues. Those of one cultural-legal traditions are unable to understand their partners belonging to another legal culture. Any modern legal theory should take into account the definition of culture the backbone factor for modern civilization. The novelty this research consists in examination (...) of the fundamental aspects of “law-culture” system alongside on the analysis of views of Western researchers previously unfamiliar to the Russian science. The goal of this work lies in revealing the key aspects of dialectical connection of law and culture and their correlation in modern era. The philosophy of law features ambivalent interpretation of the phenomenon of law: 1) as one of the forms of collective consciousness – along with culture, morality, philosophy, science,or religion; 2) in broad view of culture as a synonym of civilization, law would manifests as the crucial element of culture that generates multiple realities of sociocultural life of the people, society and the state. The research of dialectical connection of law and culture developed in the modern era, may contribute to resolution of complex problems that emerge in the contradictory “law-culture” system, which is of vital importance for the existence of separate national communities, as well as for survival of all the entire humanity. (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)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.4 (2002) 381-382 [Access article in PDF] The Borderlands of Psychiatry and Theology Stephen Sykes Keywords: psychiatry, theology, spirituality. THE DISCUSSION OF THE TERMS we use to speak of experiences on the boundaries between spirituality and mental disorder is very important. Jackson and Fulford (1997) have gone a long way to avoid flattening the concepts into a single conceptual scheme, too far for some of (...) their critics like Littlewood (1997) and Storr (1997), but not far enough for Bratton and Marzanski (2002), who eventually accuse them of "anthropocentric psychologism." They want to preserve theological categories intact, mainly because this is how the subjects themselves see their experiences, but also because there is, they hold, additional explanatory value in such a language schema. As evidence they point to unremarkable attitudes and practices, which are nonetheless demonstrably part of the Christian way of life.The borderlands between theology and psychiatry are not alone in witnessing this dispute. A similar conflict has arisen in the discussion of public policy. In politics, people of religious conviction or representatives of faith communities have sometimes been told either to hold their tongues (because "not many people believe these things nowadays" or because "it's wrong to impose your beliefs on other people") or to formulate their proposals in nonreligious language. It is far from obvious that this is not a sophisticated form of discrimination, nonetheless objectionable for its being practiced by nonreligious people. The creation of genuine equality of access to the space for public discussion of political proposals is not at all easy.I have personal experience of the analogous difficulty in psychiatric practice. In a discussion of the overinvolvement of carers for a person with mental health problems self-sacrificing behavior was used with a negative connotation. But, as in the case of Carol, how were these actions to be construed—were they normal for a Christian or psychopathological? My personal response is that it is correct to say that a boundary exists between ordinary Christian spiritual experience (the kind that religious believers would immediately recognize as part of their religious lives) and disturbed or distorted perceptions that are the result of mental illness and can be mitigated by appropriate treatment. But the fact that a boundary exists in principle does not necessarily imply that it is always easy to draw the distinction in practice. Typically the cases that cause the most difficulty lie on the borderlands. Although on the face of it, it looks attractive to demonstrate the security of the criteria by making discriminations in precisely this area (and the point of the cases in Jackson and Fulford is precisely that they raise these complexities), in [End Page 381] fact it may be that such instances require both languages. In this case, Bratton and Marzanski are correct to argue for the retention of a theological frame of reference. The strength of their argument lies precisely in the support that fellow members of the respective faith communities are able to give to the people who, despite their manifest illnesses, persist in religiously justifiable courses of action.The paper raises one very important matter that bedevils a lot of the current literature, namely how spirituality is to be understood. In my view, there is a lot of purely arbitrary definition of this term, whose meaning has developed rapidly under specific social conditions (Sykes 2000a). In medicine, it functions best when it is taken to be a reminder that a patient may have had contact with a specific religious tradition that has contributed or still contributes to her worldview. In modern Western society, account has to be taken both of residual religiosities or fallback positions, and of new religions, as well as of traditional religious groupings. In the case of mental illness, it may be very important for a medical practitioner to be aware of the impact of these religious promptings on the formulation of the narrative identity of an individual—no easy task (Sykes 2000b).The generality of spirituality ought not to deflect the professional from attending to the particular tradition or traditions which have... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Values of Beauty: Historical Essays in AestheticsDabney TownsendValues of Beauty: Historical Essays in Aesthetics, by Paul Guyer; 359 pp. Cambridge: Cambridge University Press, 2005, $75.00, $27.99 paper.This volume collects thirteen essays that range over topics from the eighteenth century to the twentieth century. The earliest was published in 1986, the last in 2004, and three appear here for the first time. They are grouped topically by period—"I. Mostly (...) before Kant; II. Mostly Kant; III. Mostly After Kant"—rather than chronologically. While this order is useful, it introduces some dislocation if one approaches the book as a whole since the last essay in the book is the first chronologically, and part of the interest of the book lies in the changes in Paul Guyer's positions over time that are reflected in his careful reconsideration of topics that he has dealt with more extensively in his volumes on Kant's [End Page 422] philosophy. As one of the most important contemporary interpreters of Kant's aesthetics, those reconsiderations are well worth attending to.The focus of all of the essays is clearly on Kant's aesthetics. That perspective is clear even when Guyer is discussing the history of aesthetics prior to Kant. As he notes, "this history of the first decades of modern aesthetics has obviously been written with an eye to Kant" ("Origins of Modern Aesthetics: 1711–1735," pp. 32–33). It continues in the discussions of recent aesthetics. For example, Guyer concludes that "the effect that is intended on the revised Beardsleyan definition [of art] is in the tradition of the Kantian concept of the free play of imagination and understanding" ("From Jupiter's Eagle to Warhol's Boxes," p. 313). Danto and Mothersill are also, it is argued, in the Kantian tradition.There are, of course, some problems with this perspective, especially with regard to the pre-Kantian history of aesthetics. For example, Guyer finds Kant's distinction between pure beauty and apprehended beauty reflected in an earlier distinction between beauty of form and beauty of interest or utility. He writes: "The foundation of this theory [Hume's theory of beauty in the Treatise and An Enquiry Concerning the Principles of Morals] is the division of beauty into two classes, the first that of pleasurable sentiment caused by an immediate response—that is, a response not mediated by the intervention of imagination or judgment—to the form or other perceptual qualities of an object, and the second that of pleasurable sentiment, which arises only when the perception of the form of an object is supplemented by a concept or concepts brought to bear on it by imagination or judgment." ("The Standard of Taste and the 'Most ardent Desire of Society,'" p. 46). What Guyer identifies as a distinction between kinds of beauty is for Hume a distinction between sources of ideas, however. The second kind of beauty requires reflection and the combination of other ideas. For Hume, there are not two kinds of beauty but two ways that the ideas of beauty, which is just a form of pleasure, are sorted. Reservations about Guyer's perspective on the earlier history of aesthetics do not detract from the interest of his analysis, however, which is always careful and detailed.The central eight essays labeled "Mostly Kant" trace themes that Guyer has treated in much greater detail in his earlier books. Two central themes are especially prominent throughout these essays. First, Guyer views Kant's theory of beauty as the harmony of the imagination and the understanding: "The concept of the free yet harmonious play between the cognitive powers of imagination and understanding is the central concept in Kant's explanation of the experience of beauty and the analysis of the judgment of taste" ("The Harmony of the Faculties Revisited," p. 77). He refers back to essentially this formulation throughout the subsequent essays. Much of the interest of these essays lies in the way Guyer explicates and defends this central thesis against alternative readings of Kant and objections that it is inconsistent with the freedom from concepts and the purity of beauty that Kant claims.Second, Guyer reads Kant's aesthetics as... (shrink)

The paper begins from a working definition of caste as a contentious form of social belonging and a consideration of casteism as a form of inferiorization. It takes anti-casteism as an ideological critique aimed at unmasking the unethical operations of caste, drawing upon B. R. Ambedkar’s notion of caste as ‘graded inequality’. The politico-legal context of the unfinished trajectory of instituting protection against caste discrimination in Britain provides the backdrop for thinking through the philosophical foundations of anti-casteism. The peculiar (...) religio-discursive aspect of ‘emergent vulnerability’ is noted, which explains the recent introduction of the trope of ‘institutional casteism’ used as a shield by deniers of caste against accusations of casteism. The language of protest historically introduced by anti-racists is thus usurped and inverted in a simulated language of anti-colonialism. It is suggested that the stymieing of the UK legislation on caste is an effect of collective hypocrisies, the refusal to acknowledge caste privilege, and the continuity of an agonistic intellectual inheritance, exemplified in the deep differences between Ambedkar and Gandhi in the Indian nationalist discourse on caste. The paper argues that for a modern anti-casteism to develop, at stake is the possibility of an ethical social solidarity. Following Ambedkar, this expansive solidarity can only be found through our willingness to subject received opinions and traditions to critical scrutiny. Since opposed groups ‘make sense’ of their worlds in ways that might generate collective hypocrisies of denial of caste effects, anti-casteism must be geared to expose the lie that caste as the system of graded inequality is benign and seamlessly self-perpetuating, when it is everywhere enforced through penalties for transgression of local caste norms with the complicity of the privileged castes. The ideal for modern anti-casteism is Maitri formed through praxis, eschewing birth-ascribed caste status and loyalties. (shrink)

Beginning from Plato, there exists a philosophical tradition, which interprets philosophy as preparation for death. However, for Plato the death of a philosopher does not necessarily imply death in its ordinary meaning, but rather a spiritual way of life maximally free from corporeal affections. This kind of relationship between philosophy and death was intensively discussed in late antique philosophy, Patristics, medieval Byzantine philosophy, and also in medieval Georgian literature. Based on Plato’s and Plotinus’ philosophy, Porphyry presented definitions of three kinds (...) of death in his Sententiae : ‘death’ of a philosopher, natural death, ‘death’ of a soul. The aim of this paper is to provide a philosophical analysis of three concepts of death in the post-Porphyrian tradition, mainly in Byzantine and Georgian texts. The paper is based on the analysis of the above mentioned issues in the texts of Porphyry, Macrobius, Michael Psellos, as well as in the old Georgian versions of the works of Ammonios Hermiae, John of Damascus and John Sinaites. We also take into consideration the views on the relation between philosophy and death in the thought of the philosophers of Humanism and Renaissance, such as Georgios Gemistos Plethon, Marsilio Ficino, Giovanni Pico della Mirandola, and Michel de Montaigne, whether or not and to what extent their views on the relation between philosophy and death are different from the theories of ancient and medieval Platonists. (shrink)

The article discusses the contribution of Moshe Idel’s vast research to the field of religious studies. The terms which best capture his overall approach are “plurality” and “complexity”. As a result, Idel rejects essentialist definitions of “Judaism”, or any other religious tradition. The ensuing question is: to what extent does his approach allow for the characterization of Judaism as a singular phenomenon which can be differentiated from other religions? The answer seems to lie in Idel’s definition of the “connectivity” (...) between the human and the divine as a relationship which “underlies the basic notion of religion as such”. Opposing Rudolph Otto’s description of the holy as remote, Idel explains holiness in terms of closeness and connection. This reading of religion is supported by that of sociologist Daniéle Hervieu-Léger, who describes religious practice as constructing a “chain of memory” - a term which echoes with Idel’s analysis of Jewish ritual as the construction of “enchanted chains” of connectivity. Hervieu-Léger’s study points towards the possibility of regarding Judaism, as a family-centered tradition, as paradigmatic for traditional religion. Indeed, in recent studies, Idel describes the construction of memory through ritual practice as the most important means of shaping identity for all forms of traditional Judaism. The model of “chains of memory” can be located in classical Jewish texts, such as a much-quoted passage by Nahmanidies - the extremely important thirteenth-century Kabbalist and legal authority. This text describes Jewish rituals as maintaining continuity across generations. We see then that the notion of connectivity moves us closer to the concerns found in central Jewish texts, rather than imposing modern agenda on them. It can also be used to determine to what extent a given idea or practice is connected to the chain of connectivity constructed by a given tradition or is rather tangential to it. In this sense, it is a corrective to the danger of “dispersion” that is implicit in Idel’s focus on plurality and complexity. (shrink)

In 1993, the American logic S. Yablo was proposed an original infinitive formulation of the classical ≪Liar≫ paradox. It questioned the traditional notion of self-reference as the basic structure for semantic paradoxes. The article considers the arguments underlying two different approaches to analysis of proposals of the ≪Infinite Liar≫ and understanding of the genuine sources for semantic paradoxes. The first approach (V. Valpola, G.-H. von Wright, T. Bolander, etc.) imposes responsibility for the emergence of semantic paradoxes on the negation (...) of the truth predicate. It deprives the ≪Infinite Liar≫ sentences of consistent truth values. The second approach is based on a modified version of anaphoric prosententialism (D. Grover, R. Brandom, etc.). The concepts of truth and falsehood are treated as special anaphoric operators. Logical constructs similar to the ≪Infinite Liar≫ do not attribute any definite truth values to sentences from which they are composed, but only state certain types of relations between the semantic content of such sentences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Impossible Sacrifice of Poetry: Bataille and the Nancian Critique of SacrificeElisabeth Arnould (bio)When, at the very center of his Inner Experience, Bataille arrives at what he calls the “uppermost extremity of non-meaning,” he stages for us one of the principal scenes of his “sacrifice of knowledge.” It depicts Rimbaud, turning his back on his works, making the ultimate and definitive sacrifice of poetry. This scene, which complements two (...) other representations of the “supplice” of the experience—the crucifixion of God and the oncoming madness of Hegel—rounds out the triple sacrificial vocation of an experience of nonknowledge, at once “a-theological,” “a-gnoseological,” and “a-poetological.” It extends to poetry and language the critical and sovereign imperative of an experience that can only be called “inner” insofar as it renounces truth, knowledge, and, ultimately, speech.What exactly, however, does this sacrificial renunciation of words represent for Bataille and why did he choose to load it with all the transgressive weight of the experience of nonknowledge (“non-savoir”)? Why place the self-sacrifice of poetry at the very center of a book that would be annulled by an immolation of speech? Indeed, why make this final “supplice”—a sacrifice of words performed and dedicated “to” “nothing”—into the core of the book’s interior rapture? Isn’t this figure of death and silence incurably equivocal? Does it not attribute the traditional traits of a “nothingness” to this “rapturous heart” of finitude that Bataille always wanted to designate as the “impossible” object of his experience? And is it not, therefore, condemned to appropriate, through this representation, the nonmeaning of a finitude that Bataille, far from conceptualizing as simple nothingness, usually prefers to designate ambiguously as “nonknowledge”?Such are the questions I shall address in reevaluating Bataille’s concept of sacrifice in light of Jean-Luc Nancy’s critique. In his article “The Unsacrificeable,” Nancy was the first to point out the problematic nature of the sacrificial model in Bataille’s conceptualization of finitude. According to Nancy, sacrifice, including the self-sacrifice of Rimbaud so important to Bataille, is the vehicle of an “ontotheological” appropriation. And it is through sacrifice that Bataille’s reflection on finitude attempts to domesticate death while claiming to abandon it to the aporetic enunciation of a “nonknowledge.”I shall thus examine the problematic figure of poetry’s self-sacrifice in order to expose, with Nancy, the equivocality of its conceptual appropriation. In light of Bataille’s multiple stagings and interpretations of this figure, however, I shall also attempt to demonstrate how his writing on and of sacrifice already contains the seeds of its own critique and attempts to exceed itself. Bataille did not simply want to reveal, in Rimbaud’s self-sacrifice, the inexpressible truth of finitude; he also wanted to denounce the comical lie of the sacrificial appropriation. And it is this double valence of the Rimbaldian self-sacrifice that I shall try to bring forth. [End Page 86]Before elucidating the meaning and function of this figure in the specific context of Inner Experience and questioning its possible duplicity, one must examine the general notion upon which it is modeled. Poetry’s self-sacrifice is the “consummate” form 1 of a sacrifice that we find in the form of stagings and commentaries in Bataille’s work. As is well known, the question of sacrifice has always occupied a central place in Bataille’s thought. He has not only studied this protean ethnological phenomenon we call “sacrifice” but has also wanted to give sacrifice, beyond traditional “ontotheological” interpretations and recent anthropological reconstructions, a meaning that far exceeds these restricted determinations. Sacrifice is not simply, for Bataille, a theoretical object. A paradigmatic manifestation of the sacred and its transgressions, it marks rather a limit to conceptualization and constitutes a stumbling block to thought. As such, it is, for Bataille—or, as he himself maintains, for all thought—the locus of an interruption. Cross-culturally, sacrifice delineates the limit thought comes up against when it faces what it cannot think.As the negation of our corporeal and intellectual limits, as the bloody excess that erupts before the fascinated eyes of a spectator, sacrifice “represents,” for... (shrink)

The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept (...) of epistemology; the world concept of art as an organ of understanding artistic works. In addition, this discussion becomes particularly relevant when they seek to reveal how much the concept of schematism allows us to advance to the explanation of the world concept of philosophy. The work reveals how Kant reproduces the definition of the world concept of philosophy according to a certain model, while posing the problem of the typical embodiment of the idea, the ideal of the philosopher as a model. In this connection, a new complication of aesthetic analysis is being carried out in order to show how the world concept of philosophy was personified and presented as if in the ideal of the philosopher as a model. Therefore, the paradox of the world concept of philosophy lies in the fact that we have to talk about a sample of what does not yet exist. The author reproduces a transcendental language that will reveal the movement of aesthetic thought into the center of the world concept of philosophy, where the traditional artistic technique of personification of the philosopher's ideal as a model is performed, where the contemplation of meaning is transferred into the universality of the concept, into the contours of metaphysics. (shrink)