Adrian M. S. Piper

The aim of this discussion is twofold.* First, I shall scrutinize certain prevailing rationales for enlisting for military service and show that these justifications are inadequate to meet the military’s recruiting needs. Larger numbers of enlistees who are fully equipped, both in technical skills and morale, for combat readiness are in great demand, but the arguments used to recruit potential enlistees are self-defeating. I shall show how and why they attract volunteers who are rendered singularly unfit to meet these demands by those very arguments themselves.

Both European and Anglo-American philosophical traditions of Kant scholarship draw a sharp distinction between Kant’s theoretical and practical philosophies. They cite KrV, A 14.23 –28; KrV, A 15.01– 09; KrV, B 28.22 – 28; KrV, B 29.01 –12 as evidence that the analyses of intuition, understanding and reason proffered in the first Critique apply to cognition only, and therefore do not significantly illuminate his analyses of inclination, desire, or respect for the moral law in the Groundwork, second Critique, Metaphysics of Morals, or Religion. This paper is part of a larger project that takes issue with this near-universal consensus, and with the canonical interpretation of KrV, A 14.23– 28; KrV, A 15.01 –09; KrV,B 28.22 –28; KrV, B 29.01 – 12. Many of the most important terms in Kant’s mature moral philosophy – such as “action,” “reason,” “freedom,” “will,” “categorical,” “imperative,” “ought,” “maxim,” “duty,” “inclination,” “end,” and “idea” – are introduced, and sometimes elaborated at length, in the first Critique; and often appear in the Groundwork with little or no further elaboration. This suggests that Kant intended the analysis of self and rationality in the first Critique to serve as a formal foundation for his subsequent analysis of practical deliberation and moral motivation in the Groundwork. Here I argue specifically that Kant’s use of the first-/third-person asymmetry in his analysis of action in the first Critique’s Resolution of the Third Antinomy is necessary to his account of moral motivation and moral intention in the Groundwork; and that the structure of pure apperception he offers in the Transcendental Deduction resolves this asymmetry.

Indian and Classical Greek philosophical traditions both recommend that we structure our lives around the performance of certain kinds of actions as daily and regular habits. Under some circumstances and for some individuals, this means merely doing what comes naturally. For others, it requires varying degrees of self-control. For yet others, adhering to these practices is impossible or unimportant, beyond the scope of their interests or abilities. I want to take issue with one familiar answer to the question of why this is, and to suggest a different one.

Seit kurzem wird des öfteren in Deutschland die Ansicht geäußert, Deutschland solle nun seine fremdenfeindliche Vergangenheit im Zweiten Weltkrieg endlich hinter sich lassen und von nun ab als >>normalisiertes<< Land der Zukunft gegenübertreten. Diese Meinung entsteht aus der Voraussetzung, daß Deutschland durch seine Geschichte von Xenophobie und Genozid im Zweiten Weltkrieg als abnormal, als ungewöhnlich gekennzeichnet ist. Aber das ist nicht wahr. Deutschlands blutige Geschichte ist mit derjenigen der Vereinigten Staaten, Großbritanniens, der Niederlande, Rußlands, Chinas, Japans, der Türkei, Vietnams, Kambodschas, Somalias, Ruandas, des Irak, des Kosovo, Bosniens, und anderer Länder vergleichbar. Zu vergleichen bedeutet weder zu relativieren, noch zu entschuldigen, sondern bloß anzuerkennen, daß die Verbrechen gegen die Menschlichkeit, die in verschiedenen Ländern stattfinden, einige gemeinsame Eigenschaften haben.

My intellectual journey in philosophy proceeded along two mountainous paths that coincided at their base, but forked less than halfway up the incline. The first is that of my philosophical development, a steep but steady and continuous ascent. It began in my family, and accelerated in high school, art school, college, and graduate school. Those foundations propelled my philosophical research into the nature of rationality and its relation to the structure of the self, a long-term project focused on the Kantian and Humean metaethical traditions in Anglo-American analytic philosophy. It would have been impossible to bring this project to completion without the anchor, compass, and conceptual mapping provided by my prior, longstanding involvement in the practice and theory of Vedic philosophy. The second path is that of my professional route through the field of academic philosophy, which branched onto a rocky detour in graduate school, followed by a short but steep ascent, followed next by a much steeper, sustained descent off that road, into the ravine, down in flames, and out of the profession. In order to reach the summit of the first path, I had to reach the nadir of the second. It was the right decision. My yoga practice cushioned my landing.

Editor's note: Adrian Piper is a conceptual artist whose work from the past twenty-five years has included performances, graphic art, and installation pieces. Always provocative, Piper seeks to challenge viewers' assumptions about the nature of art, aesthetic response, and modes of evaluating by creating art that involves issues of gender and race. Piper uses political art to confront viewers with emotionally charged environments that preclude our maintaining a safe, aesthetically distanced stance toward the subject matter. being forced to confront our own prejudices, both emotionally and aesthetic ally, we undergo a process of change that is both cognitive (evidenced by how our interpretations of the work change and evolve) and affective (resulting in a higher level of social awareness and sensitivity). Thus, according to Piper, political art has "the potential for furnishing a forceful antidote to racism." The following two statements consist of text written by Piper and recorded on audiotapes for two installation pieces, "Four Intruders Plus Alarm Systems" (1980) and "Safe" (1990).

Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, Out of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context.