Dr.Joel Whitebook, Philosopher and Psychoanalyst will discuss his book Freud: An Intellectual Biography
As Hegel observed, the “Objective Spirit” never stands still — an observation that is especially true today. As a result, members of every generation have to return to the classics and reappropriate them for themselves. This is what Joel Whitebook has done in his recently published intellectual biography of Freud (Cambridge University Press) that we will be discussing in this workshop.
Cutting through the tired clichés of the “Freud Wars,” the author presents us with a radically new portrait of the founder of psychoanalysis. Because Whitebook is a philosopher as well as a psychoanalyst, he has been able to integrate many of the profound transformations that have taken place in psychoanalytic theory and practice, infant research, gender studies, philosophy, and critical theory since Ernest Jones and Peter Gay published their canonical studies in the last century. Whitebook thereby succeeds in creating an account of Freud’s achievement that speaks to our cultural situation.
Furthermore, in addition to presenting the unfolding of Freud’s thinking in the context of the developments in his personal life and in the society at large, Whitebook has also succeeded in bringing this iconic man to life in compelling fashion. Where Freud often tried to protect himself by hiding behind the forbidding mask of an authoritarian patriarch and unbending rationalist, we come to see him as the vulnerable, complex, and all-too-human person that he was.
Presented by The New School for Social Research and Philosophy Department and it is co-sponsored with the Ferenczi Center.
We live in an era of aesthetics. Art has become both pervasive and powerful – it is displayed not only in museums and galleries but also on the walls of corporations and it is increasingly fused with design. But what makes art so powerful, and in what does its power consist?
According to a widespread view, the power of art – its beauty – lies in the eye of the beholder. What counts as art appears to be a function of individual acts of evaluation supported by powerful institutions. On this account, the power of art stems from a force that is not itself aesthetic, such as the art market and the financial power of speculators. Art expresses, in a disguised form, the power of something else – like money – that lies behind it. In one word, art has lost its autonomy.
In his talk, Markus Gabriel rejects this view. He argues that art is essentially uncontrollable. It is in the nature of the work of art to be autonomous to such a degree that the art world will never manage to overpower it. Ever since the cave paintings of Lascaux, art has taken hold of the human mind and implemented itself in our very being. Thanks to the emergence of art we became human beings, that is, beings who lead their lives in light of an image of the human being and its position in the world and in relation to other species. Due to its structural, ontological power, art itself is and remains radically autonomous. Yet, this power is highly ambiguous, as we cannot control its unfolding.
Markus Gabriel holds the chair for Epistemology, Modern and Contemporary Philosophy at the University of Bonn and is also the Director of the International Center for Philosophy in Bonn as well as the director of the Center for Science at Thought at Bonn.
Presented by The New School for Social Research and Philosophy Department and it is co-sponsored with the Liberal Studies Department.
“Being dragged into the orbit of Webster’s mind is like entering the Magic Mountain: you go in as a visitor, and stay as a patient”
– Tom Mcarthy, author of Remainder and Satin Island
“Jamieson Webster’s new work reflects upon that aspect of hysteria—or conversion disorder—that has eluded the attention of most commentators: the indifference of the subject at the very moment that the symptom is most clearly enacted. This point of departure allows Webster to think about what the body contains but also what traverses the body at a level that is prior to speech, that is perhaps the condition of speech itself. This incisive and unsettling meditation gives us a form of psychoanalytic writing that tracks the transference as bodily transformation and impasse. It is written in and for our times, when the courage and difficulty of the slow labor of psychoanalysis provides a perspective that eludes the certitudes of dogma and the exhilarations of false promises. Webster’s book asks us to stay within the domain of difficult exchange where what registers and shifts at the level of the body lets us know more about what we can expect of life and what our own living carries of the lives of others. Beautifully written, theoretically brave, and disturbing in all the best ways”.
– Judith Butler, Maxine Elliot Professor of Comparative Literature and Critical Theory, University of California, Berkeley
https://cup.columbia.edu/book/conversion-disorder/9780231184083
From the book:
Conversion disorder—a psychiatric term that names the enigmatic transformation of psychic energy into bodily manifestations—offers a way to rethink the present. With so many people suffering from unexplained bodily symptoms; with so many seeking recourse to pharmacological treatments or bodily modification; with young men and women seemingly willing to direct violence toward anybody, including themselves—a radical disordering in culture insists on the level of the body.
Part memoir, part clinical case, part theoretical investigation, this book searches for the body. Is it a psychopathological entity; a crossroads for the cultural, political, and biological in the form of care; or the foundation of psychoanalytic work on the question of sexuality? Jamieson Webster traces conversion’s shifting meanings—in religious, economic, and even chemical processes—revisiting the work of thinkers as diverse as Benjamin, Foucault, Agamben, and Lacan. She provides an intimate account of her own conversion from patient to psychoanalyst, as well as her continuing struggle to apprehend the complexities of the patient’s body. When listening to dreams, symptoms, worries, or sexual impasses, the body becomes a defining trope that belies a vulnerable and urgent wish for transformation. Conversion Disorder names what is singular about the entanglement of the fractured body and the social world in order to imagine what kind of cure is possible.
Presented by The New School for Social Research and Philosophy Department and it is co-sponsored with the Ferenczi Center.
Presented by Metro Area Philosophers of Science
Seen from a distance, competing views of laws of nature attend to different aspects of their target concept. The Best System Analysis (‘BSA’) focuses on the role of laws in systematizing our thoughts about particular facts, while non-Humean (‘realist’) views focus on whatever it is – N-relations among universals, powers – that pushes the universe from one state to another. Nothing stops us from combining these views: with the BSA, we can restrict the laws of science to summarizing particulars, while at the same time, with our preferred realism, positing a ‘driver’ that makes those particulars as they are.
So far, there have been only a few attempts to hybridize the BSA with some form of realism, and then only with the powers view. I argue that there is a deep assumption woven into the fabric of realism from Descartes’s time on: that the laws of a science report on facts, which in turn either are or involve the realist’s chosen driver. I argue that the best-known attempt to hybridize the BSA with a power’s view – Heather Demarest’s potency-BSA – still makes this Cartesian assumption, and faces significant objections as a result. The lesson is that anyone attempting to create hybrids should abandon that assumption entirely. After formulating what I take to be a more defensible powers-BSA hybrid, I go on to show how one might cross-breed the BSA with primitivism and with the universals view. By abandoning the Cartesian assumption, we can create hybrids that are considerably more defensible than their realist parents.
Location: Plaza View Room, 12th Floor, Lowenstein Building of Fordham Lincoln Center (113 W 60th St).
Directions: Enter at the corner of 60th and Columbus, and have a university ID ready. Please tell the security that you are attending an event hosted by the philosophy department. To get the Plaza View Room, take the escalators one floor up to find the elevators. Only some elevators go up to the 12th floor; for those that only go to the 11th floor, go to 11 and turn to the center of the main hallway to see a stairway to 12. Upon arriving at the 12th floor, take a right and walk all the way to the end through the doors. Please email Peter Tan (ptan8@fordham.edu) for any issues.
Due to technical limitations, the talk will be in-person only.
This conference aims to initiate dialogues between philosophy and the arts. Philosophers and thinkers/ scholars across disciplines of humanities and social sciences will meet with artists and scholars from a wide variety of visual and visual artistic disciplines, including painting, photography, and literature, as well as travel, dance, and fashion. Rather than taking art as a mere object of philosophical study, this conference will explore the manifold confluences and intersections of philosophy and art, exploring how each can become the object of the other and how the boundary between the philosophical and the artistic can be sharpened or blurred. The motive is specifically to explore the “visual” and “movement” element in art of, and in everyday life and theorize it – both philosophically and critically.
Co-sponsored by: Office of Deans: New School for Social Research and School of Art & Design History & Theory; University Student Senate and Graduate Faculty Student Senate
Schedule and Location
The conference will meet on The New School campus in New York City.
On March 24th, we will meet in room B500 at 65 W 11 Street.
On March 25th, we will meet in Starr Foundation Hall UL105 at University Center (63 Fifth Avenue).
Following is the schedule for both days, (please see the website for details on panels and speakers):
11:00 am Panel 1 Speaker presentations.
12:00 pm Panel 1 roundtable and audience Q&A.
1:15 pm Lunch break.
2:15 pm Panel 2 Speaker presentations.
3:15 pm Panel 2 roundtable and audience Q&A.
4:30 pm Evening reception with free food and drinks for attendees!
This conference aims to initiate dialogues between philosophy and the arts. Philosophers and thinkers/ scholars across disciplines of humanities and social sciences will meet with artists and scholars from a wide variety of visual and visual artistic disciplines, including painting, photography, and literature, as well as travel, dance, and fashion. Rather than taking art as a mere object of philosophical study, this conference will explore the manifold confluences and intersections of philosophy and art, exploring how each can become the object of the other and how the boundary between the philosophical and the artistic can be sharpened or blurred. The motive is specifically to explore the “visual” and “movement” element in art of, and in everyday life and theorize it – both philosophically and critically.
Co-sponsored by: Office of Deans: New School for Social Research and School of Art & Design History & Theory; University Student Senate and Graduate Faculty Student Senate
Schedule and Location
The conference will meet on The New School campus in New York City.
On March 24th, we will meet in room B500 at 65 W 11 Street.
On March 25th, we will meet in Starr Foundation Hall UL105 at University Center (63 Fifth Avenue).
Following is the schedule for both days, (please see the website for details on panels and speakers):
11:00 am Panel 1 Speaker presentations.
12:00 pm Panel 1 roundtable and audience Q&A.
1:15 pm Lunch break.
2:15 pm Panel 2 Speaker presentations.
3:15 pm Panel 2 roundtable and audience Q&A.
4:30 pm Evening reception with free food and drinks for attendees!
In this paper, I explore the role that metaphor plays in the development of new scientific models. My goal is to illustrate metaphor’s fecundity in this regard, the way in which it extends our understanding in surprisingly diverse ways. As Mary Hesse put this point, “it is precisely in its extension that the fruitfulness of the model may lie” (1980, 114).
The particular focus of my paper is on the history of what John Haugeland called mind design: the use of mechanical models to reverse-engineer how minds work (1997, 1). My history focuses on two such models: the clockwork model and the computer model. In each case, I show how a metaphorical understanding of the model led to conceptual innovation in two distinct ways. First, it provided an interpretive frame that guided new research by offering an abstract, hypothesized structure to be later filled in by empirical research (Camp 2020). Second, it provided a concrete exemplar to contrast with human minds (Daston 1994). For instance, while on the one hand Descartes invoked the clockwork model to explain how color vision works (Adams 2015), he also invoked it as a vivid illustration of how human reasoning does not work (Riskin 2016).
It is this second source of conceptual innovation that is the real core of the paper; it reveals what I call the dialectic of mind design. This dialectic is especially evident in our tendency to redefine what it is to be human in response to new technological developments. For instance, it is evident when we take something that was previously assumed to be paradigmatic of mental acuity, such as the ability to play chess, and redefine it as something merely mechanical (Ensmenger 2012). But it is equally well evident when we take something that was previously taken to be mechanical—such as color vision—and redefine it as paradigmatically mental (Chalmers 1997; cf. Adams and Browning 2020). The concept of mindedness is, in this sense, a constantly moving goalpost that is perennially being redefined in response to new technological developments.