Metaphysics

Benardete paradoxes involve infinite collections of Grim Reapers, assassins, demons, deafening peals, or even sentences. These paradoxes have recently been used in arguments for finitist metaphysical theses such as temporal finitism, causal finitism, and discrete views of time. Here we develop a new _finite_ Benardete-like paradox. We then use this paradox to defend a companions in guilt argument that challenges recent applications of patchwork principles on behalf of the aforementioned finitist arguments. Finally, we develop another problem for those applications by (...) examining the notion of exact duplication. (shrink)

The problem of the status of metaphysics -- what it is and what it is for, what use it is - has been with us for millennia, at least since Plato took issue with the Sophists, and continues to the present day. Here I attempt an intervention in this perennial dispute, with the aim of providing some kind of rapprochement between the factions. This intervention is based on how Charles Sanders Peirce (1839-1914) understood metaphysics and the position presented here is (...) thus called `Peircean realism'. The basic idea is that everyone has a metaphysics and has to have one, just to get by in everyday life, and this is no different for scientific inquirers in their professional work. The subject matter of metaphysics is thus presuppositions, whether it is what we rely on to go shopping or to discover the Higgs boson. We rely on these in our activities and expect them to have an effect on outcomes, so when our expectations are frustrated, doubt may be thrown on our presuppositions. We would thus like the ability to inquire into our presuppositions so as not to repeat mistakes, but our instinctive, evolved capacity for reasoning may not be up the job, since it is entwined with what we take for granted. Instead, Peirce develops a science of good reasoning that includes a theory of inquiry, which would allow us to scrutinise our presuppositions, to perform metaphysical inquiry. The starting point for this science of good reasoning is basic principles of combination and organisation, because these are involved in all activity, and these are Peirce's categories of Firstness, Secondness and Thirdness. This is also where I start in the exposition of and argument for Peircean realism as a scientific -- that is, truth-directed -- metaphysics that provides the best possible general presuppositions to the natural and human sciences, the special sciences that deal with matters in their particularity; that Peircean realism is a viable metaphysics for those sciences. This exposition and argument comprises the first part of this thesis. In the second part, the case for Peircean realism is further bolstered by turning a critical eye on positions that are deficient from the Peircean point of view, in that they lack one or other category and thus starve the special sciences of the resources they need, or that they try to ignore metaphysics entirely. All this is meant to demonstrate that metaphysics is unavoidable, that we need all three of Peirce's categories for a viable metaphysics for the special sciences, and that Peircean realism is just such a metaphysics. (shrink)

In a recent paper, Stefan Wintein criticizes my responses to the objections he raised to my modal-epistemic argument (MEA) for the existence of God. In this paper, I continue our debate and respond to Wintein’s criticisms of my previous responses. I argue that Wintein’s criticisms are unsuccessful. As a result, the MEA still stands.

Klein, Nguyen, & Zhang (in press) argued that the evolutionary transition from respondent to agent during the Cambrian Explosion would be a promising vantage point from which to gain insight into the evolution of organic sentience. We focused on how increased competition for resources -- in consequence of the proliferation of new, neurally sophisticated life-forms -- made awareness of the external world (in the service of agentic acts) an adaptive priority. The explanatory scope of Klein et al (in press) was (...) limited to consideration of the conscious apprehension of externally sourced content – i.e., content delivered from the sensory registration of objects occupying phenomenal space. But consciousness – at least for humans -- takes its objects from internal as well as external sources. In the present article we extend our analysis to the question of how internally sourced content (i.e., mental states) became the object of conscious apprehension. (shrink)

Conservation of the Circle is the core (and, thus, the only) dynamic in Nature.

In this paper I provide an analysis of an anonymous text which appeared at Sondershausen and Mühlhausen in 1687: Initiatio philosophi sive Dubitatio Cartesiana, ad indubiam philosophiam viam monstrans, iuxta mentem Renati des Cartes, Nobilis Galli, utraque methodo explicata, titled after Johannes Clauberg’s homonymous 1655 treatise. It consisted of (1) an abridgement of his Paraphrasis in Renati Des Cartes Meditationes (1658), and (2) a demonstration more geometrico of the necessity of methodical doubt as the beginning of philosophy, partially based on (...) Clauberg’s own 1655 Initiatio. I place the publication of the 1687 text in the context of the attacks on Cartesianism taking place in German areas especially after 1677 and the appearance of Spinoza’s texts, focusing on the ways in which Clauberg’s philosophy was adapted to the rebuking of such attacks and to the re-establishment of a Cartesian presence in Germany. (shrink)

On April 19, 2024, the New York Declaration on Animal Consciousness was announced at the “Emerging Science of Animal Consciousness” conference held at New York University. The New York Declaration is an effort to showcase a scientific consensus on the presence of conscious experiences across all vertebrates (including reptiles, amphibians, and fish) and many invertebrates (at least including cephalopods, decapod crustaceans, and insects). Scientifically, the New York Declaration marks a significant advancement for humanity. However, it also brings heightened awareness to (...) the moral challenges associated with animals that have conscious experiences (or phenomenal consciousness). This article will discuss philosophical approaches to the moral issue of killing sentient beings, thereby highlighting an existing moral dilemma in human society: In sustaining human survival, a species considered to have morality, we have to violate our own moral standards by killing other species with intrinsic value, consciousness, or sentience. This moral dilemma has long been present in human society. Various solutions have been proposed and implemented in practice to address this issue, such as the non-violence and vegetarian approach of Buddhism, the application of Islamic law and sacred rituals to animals in Islam, animal rights movements and voluntary extinction in Western countries, and the technology producing meat using animal cells. However, despite these approaches, we have not yet been able to fully resolve the dilemma, as sentient beings continue to be killed for our survival. We believe the most feasible solution is to change the current food consumption culture, build an eco-surplus culture to mitigate climate change, prevent deforestation, and promote peace. (shrink)

F. W. Schelling’s Principle of Art returns us to an ancient epic sensibility, as argued elsewhere, laying the foundations for how we might reverse the ‘modern mythology’ at the core of humanity’s ecological/existential crisis. This paper advances that argument by examining Schelling’s systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (the Principle). This suggests how Schelling’s ‘affirming principles’ determine the (...) boundary conditions of his ‘mythological categories’, and how his generalities inform a ‘scientific sequence’ for explaining the features of the Formative and Verbal arts. I examine these in detail in various artforms, and how they resolve key difficulties (eg., appearance/reality, form, intentionality, and purpose) for assessing art’s higher meaning-value directionality. My analysis reveals why phenomenology is key to understanding meaning in art, and ultimately why we arrived at the problematic modern ‘epic’ reversal of ancient universalising, focusing our attention on means over ends (‘final causes’) in art-making/admiring. By explaining the practical application of the Principle-in-action, in constructing/assessing any artforms/works ‘for all time’ in terms of meaning-value, I expand on my earlier argument that Schelling’s ‘dialectical aesthetics’ presents a radical advance on Kant’s. And, in the process, I suggest why our dominant mythological approach to Literature, Drama, and even fundamental conceptions of Tragedy and Comedy begs revision. My conclusion summarises what shifts in our attendance to the art object Schelling’s system demands, to reverse our unrealistic mythological orientation. Why his Philosophy of Art offers a suitable framework for collectively re-worlding the world, becomes clear in praxis; revealing the need to change practices, traditions, and institutions, in order to advance a New Mythology. (shrink)

The problem with how we mythologise reality is arguably at the core of humanity’s ecological/existential crisis. While others have pointed to this, F. W. Schelling produced a philosophy of art which both confirms it and lays the foundations for how it can be addressed. This involves reversing the polarities of the ‘modern mythology’, related directly to Art-and-Humanity’s joint meaning crisis which Schelling claimed originates in our alienation from Nature and the rise of ‘revealed religion’. Despite his resurgence (inspiring Complexity Science), (...) the relevance of Schelling’s aesthetics to resolving humanity’s long-standing ethical problems has been neglected. In this paper, I begin by framing Schelling’s view on religion, contextualising his ontological, cosmological approach to art. I then argue why his ‘dialectical aesthetics’, grounded in ‘process metaphysics’, presents a radical advance on Kant’s and Hegel’s ‘reflective’ standpoint featured in our dominant theoretical aesthetic paradigm (causing art’s sharpest decline via the evolving ‘modern’ suppression of metaphoric thinking by ‘symbolic idealism’, at the heart of our ‘worlding’ problems). Then, showing how Schelling’s Principle of Art leads us archetypally back to the normative sciences, I argue redirecting the self-destructive modern mythology means reorienting ‘final cause’ in our narratology. And why this firstly requires distinguishing proper metaphor from the symbolic constructions common in ‘conceptual art’. (In a subsequent paper, Schelling’s Art ‘in the Particular’ will be revealed to offer the practical application of his Principle to any artforms/works ‘for all time’ in praxis, advancing my argument here for why his system offers a suitable framework for collectively re-worlding the world). (shrink)

Diante dos embates e dilemas que vive o Brasil após o ano de 2016, fundamentalmente no que diz respeito a educação pública brasileira, o presente trabalho procurou se debruçar, refletir e verificar a posição e situação do educando brasileiro no cenário social nacional, e sobretudo escolar. Levamos em conta como base de configuração do indivíduo-sujeito e estudante sua identidade enquanto ser biopsicossocial, isso na perspectiva Aristotélica e Marxista de homem, tanto como ser dotado de razão, emoção, vontade, social, político, teleológico (...) (Aristóteles) e essencialmente ser de trabalho e histórico (Marx). (shrink)

This paper introduces and discusses three models of future: a determinist model, a stochastic model, and the model of True Prophetic Knowledge. All three models coexist in natural languages and are represented both in their grammatical systems and in the text-building discourse strategies speakers and authors apply to.

Timelines is an inquiry into the nature of time, both as an apparent feature of the external physical world and as a fundamental feature of our experience of ourselves in the world. The principal argument of Timelines is that our coventional ideas about time are largely mistaken and that what we think of as independent physical time is actually our calibration of a certain relation between events. Namely, the relation between time-keeping events and the causal sequential differences of physical processes (...) which are real and independent of us. (shrink)

Silence is a multifaceted concept which is not merely as an absence of sound but a presence with significant ontological, existential, and phenomenological implications. Through a thematic analysis, this paper deconstructs silence into various dimensions—its ontology, linguistic universality, and its function as cessation of speech, a form of listening, an act of kenosis, a form of ascesis, and a way of life. The study employs philosophical discourse and mathematical notation to delve into these aspects, demonstrating that while each perspective sheds (...) light on certain facets of silence, none can comprehensively encapsulate its essence. The research underscores the paradoxical nature of silence. It is both a universal phenomenon recognised across cultures and an intimate, personal experience that resists definitive categorisation. The paper concludes that the true nature of silence, particularly when considering the state of "being silent," remains indefinable and elusive, inviting deeper contemplation on its role in human experience. (shrink)

The Münchhausen trilemma is the following: When trying to prove a fundamental truth, you run into one of, two of, or all three of the following issues: -/- 1: Circular reasoning 2: Infinite regress 3: An arbitrary starting point -/- But what if these are not in fact “problems”, but three different ways to observe the fundamental truth? Reconciling the three and showing how they function together is what I endeavor to articulate here.

The Monad’s components are as follows: 1: Monism as the state of eternal undifferentiation 2: Dualism as the state of infinite differentiations -/- MONAD = ET = INF ET Ψ INF.

The book deals with conceptualization of time in different languages and in different kinds of discourse (folklore, poetry, fiction). Special attention is paid to some culture-specific models of time as well as to linguistic means related to temporal semantics: nouns, adjectives, adverbs, prepositions, prefixes, particles, and other temporal modifiers. The concept of time is also considered in its logical, axiological and historical aspects.