Formerly a graduate student in philosophy, specializing in aesthetics, then international relations at SAIS Johns Hopkins. I'm at heart a generalist in the humanities, working in philosophy, history, and art history, studying Hegel, philosophy of mind, ancient philosophy, and pragmaticism, and the philosophy of history.
Currently working on the history of skepticism and analytic philosophy, placing arguments about eliminativism, externalism and reductive materialism, primary and secondary qualities, sense-impressions, and Qualia, within that context.
I study the philosophy of history as an approach to aesthetics, and am also working on Hege…
Formerly a graduate student in philosophy, specializing in aesthetics, then international relations at SAIS Johns Hopkins. I'm at heart a generalist in the humanities, working in philosophy, history, and art history, studying Hegel, philosophy of mind, ancient philosophy, and pragmaticism, and the philosophy of history.
Currently working on the history of skepticism and analytic philosophy, placing arguments about eliminativism, externalism and reductive materialism, primary and secondary qualities, sense-impressions, and Qualia, within that context.
I study the philosophy of history as an approach to aesthetics, and am also working on Hegel's philosophy of art and history. The "end of art" is found to be a recurring, cyclical pattern, from Roman Satire to Romantic irony and them, I claim, with Duchamp's inauguration of contemporary art. The themes of the "end of history" and the "end of art" are seen to be intertwined in misreadings of the original Hegelian texts.
