Randall E. Auxier

This is a performative piece of writing in the presence of and inspired by Richard Shusterman'sPhilosophy and the Art of Writing. It tries to show that the relationship between the act of writing and the formation of our human consciousness (philosophical and, more deeply, poietic) is a developing and growing process through history, and before it. The dominance of an image consciousness was slowly challenged and then replaced by a linguistic consciousness with the advent of writing, and accelerated by the invention of printing and mass literacy. Shusterman teaches us an embodied kind of philosophizing that uses the word but isn't limited by it. This paper suggests that a return to image consciousness has already occurred and that the old book consciousness is disappearing. Lessons from the book consciousness are offered.

Aleksandr Dugin is sometimes called “Putin’s brain,” and there can be no question that Putin’s global strategy for expanding Russian power has followed quite precisely a strategic plan created, published, and advocated by Dugin beginning in 1996. This aggressive plan of political destabilization, economic hostage-taking, and ultimately militaristic invasions has been defended with a philosophical patchwork called “the Fourth Political Theory.” Dugin claims his “National Bolshevism” can stand alongside communism, fascism, and liberalism as a genuine contender in ontology, the philosophy of history, and political philosophy; and that it is the only theory that stands in genuine opposition to neo-liberalism and corporate capitalism. I show that this view, built from a distortion of Heidegger’s idea of “human-being” as Dasein, is not a coherent philosophy or worldview. I contrast it with personalism, which has always opposed the very aspects of communism, fascism, and liberalism that Dugin opposes, and does so quite effectively and without militarism, expansionism, or the need to take the nation state as some final end of human political development.

The ideas of process philosophy in general, and Alfred North Whitehead in particular, will soon come into greater use and wider familiarity. This emergence of his ideas into wider use will be a great aid to education and to the reforming of our institutions and practices around the very different educational requirements of the sort of world that sits just beyond the horizon of our present vision. There will be discontinuities in the world to come, but there will also be continuities. Whitehead’s ideas about time and possibility, and their practical applications, place us in a position to do better than guess and conjecture about what is coming.

Arthur Danto is the Johnsonian Professor Emeritus of Philosophy at Columbia University and the most influential philosopher of art in the last half century. As an art critic for The Nation for 25 years and frequent contributor to other widely read outlets such as the New York Review of Books, Danto also has become one of the most respected public intellectuals of his generation. He is the author of some two dozen important books, along with hundreds of articles and reviews which have been the center of both controversy and discussion. In this volume Danto offers his intellectual autobiography and responds to essays by 27 of the keenest critics of his thought from the worlds of philosophy and the arts. The book includes 16 pages of color art reproductions. Danto is the author dozens of books on art, philosophy, the philosophy of art, and art criticism. He is a rare philosopher who is also a public intellectual.

Josiah Royce (1855?-1916) has had a major influence on American intellectual life, both popular movements and cutting-edge thought, but his name often went unmentioned while his ideas marched forward. The leading American proponent of absolute idealism, Royce has come back into fashion in recent years. With several important new books appearing, the formation of a Josiah Royce Society, and the re-organization of the Royce papers at Harvard, the time is ripe for Time, Will, and Purpose. Randall Auxier delves into the primary texts written by Royce.

The Philosophy of Umberto Eco stands out in the Library of Living Philosophers series as the volume on the most interdisciplinary scholar hitherto and probably the most widely translated. The Italian philosopher's name and works are well known in the humanities, both his philosophical and literary works being translated into fifteen or more languages. Eco is a founder of modern semiotics and widely known for his work in the philosophy of language and aesthetics. He is also a leading figure in the emergence of postmodern literature, and is associated with cultural and mass communication studies. His writings cover topics such as advertising, television, and children's literature as well as philosophical questions bearing on truth, reality, cognition, language, and literature. The critical essays in this volume cover the full range of this output. This book has wide appeal not only because of its interdisciplinary nature but also because of Eco's famous "high and low" approach, which is deeply scholarly in conception and very accessible in outcome. The short essay "Why Philosophy?" included in the volume is exemplary in this regard: it will appeal to scholars for its wit and to high school students for its intelligibility.

This is the second of the essays on the existential-ontological ground of otherness, in which we see this ground as essentially entwined with our personhood and our personal identities. We analyze irony as both a “mechanism” of constituting these very identities and as an act revealing their self-altering nature. Irony in our view — informed by Kierkegaard, phenomenology, and psychoanalysis — is a subtle existential strategy by means of which subjectivity (not “the subject”) not only asserts itself, but also, and much more importantly, initiates an open-ended process of self-actualization and self-formation. Irony, as we present it, is at once a form of defensive response against the “absolute” character of reality and comparably “absolutist” aspirations of an individual. Such responses open up a space of negotiation between and among these forces, in their creative interplay. In doing so the responses can be as constitutive for subjectivity as they can be disruptive. The disruption does not only undermine the (apparently) unshakeable forms of our self-understanding. More radically, the disruption puts on the stage our “alternative identities,” those with which we have to confront ourselves, whether in the negative mode of repression, or in the acts of positive, or even playful, recognition. In this way irony reveals and articulates otherness in the very heart of subjectivity.

In the first of two essays on the ontological ground of otherness, and its phenomenological availability, we argue that what we call the “occasion” within the encounter of others are sources as well as re-sources for disclosing the results of a construction and concealment of a secret identity, one we keep from ourselves even though we have created it. Yet, individuals are capable of returning their encounters to the well of sensus communis, and that sensus communis is as natural as it is cultural. Human beings are not compelled to interpret strangeness as threat, even if we are culturally compelled to interpret strangeness itself. Narrative lives in our sensus communis, and it is open, revisable, even danceable. Immediacy is person, the person that is community, and it is sublime, is both liked and disliked.

Popular culture is a vital part of the philosophy of culture. Immersion in the world of popular culture provides an immanent understanding, and after all, some of what is merely popular culture today will be the high culture of tomorrow. The genre of science fiction is one of the more important and durable forms of cultural and social criticism. Science fiction narratives guide our imaginations into the relation between the might-be and the might-have-been. The central idea of this paper is that possibilities have an existence that is intelligible to us, independent of and indifferent to actualities, and involving a distinction between “constellated possibilities” which form a pattern dependent upon one’s perspective in some actual standpoint, and “clustered” possibilities, which actually exist entangled and inseparable from one another, as possibilities. Science fiction writers intuitively know that if one introduces a variation into the present in order to trace a plausible alternative storyline from that standpoint, certain other variations will have to accompany the chosen variation in order to maintain the unity of the plot. I use Rod Serling, the creator of the legendary series The Twilight Zone, as an example in this paper. Hence, science fiction writers do work with clusters as well as constellations of possibilities, and they experience the clusters with a stronger feeling of necessity. I call that feeling Wirkungsschicksal, of “effective destining.” I will develop this distinction and that stronger feeling of necessity into a method for the philosophy of culture.

Preview: Bergson noted that the cinematographic image does not really move. It is, then as now, a series of still photographs. The real motion in such images is produced by machinery, which imparts a kinesis, an energy of movement, to the succession of fixed images. Our perception then endows such images with their “life,” insofar as they can be said to possess life. It is an illusion, it is “virtual” both as space and time. The real duration, as generated by the machinery or as lived by the perceiver is part of a broader system of images that includes those still photographs and their succession. Images of images of images, by the time they are processed by our bodies and appear to our mind’s eye as inhibited acts we have not enacted.

Eco says that which cannot be theorized must be narrated. What about that which cannot be narrated? What must we do about the limits of interpretation, especially as narration. This review essay takes a method from Giambattista Vico and applies it to the interpretation of Laurent Binet’s portrayal of Umberto Eco in his novel The Seventh Function of Language. Comparing the character of Eco with the thought of the historical Eco we find coincidences and other angles at incidence that reveal some portion of Binet’s underlying interpretation of Eco, and it limits.

The various efforts to put the idea of humanity on a secure ethical, political, and social base have not succeeded. The various post-humanist and transhumanist programs are inadequate. Our deep-seated suspicion of our deepest selves and motives is understandable in light of the barbarity of the twentieth century, but humanism is not to blame. The thought of Ernst Cassirer holds a framework for a new humanism, once it is rid of certain colonialist, triumphalist, and Eurocentric ideas that distorted Cassirer’s understanding of the European role in creating the problems of civilization, especially its mistake of thinking that science was a progressive symbolic form of culture. I set out the basis of a new humanism based upon not the problem of knowledge, but the problem of genuine self-situating socialty, a personalist point of view.

Usually philosophers worry about the existence of mind, or consciousness, or persons, or other difficult-to-explain phenomena. Having posited matter or nature, or fields, they wonder where can person or consciousness originate? This kind of thinking is backward. Only persons ask such questions. Persons exist. I turn the tables on the traditional problem of person by asking whether anything impersonal really exists. I argue that the impersonal almost exists, using the theory of feeling of Max Scheler and supplementing it with insights from Alfred North Whitehead and Josiah Royce. Even though feeling almost succeeds in divesting itself of the pre-supposed act of the person, but its concrete actuality blocks such complete self-abstraction.