We discuss two approaches to life: presentism and futurism. The first one, which we are identifying with the Buddha, is to live in the present and not to allow the future to hinder us from living in the ever present now. The second one, which we will identify with Karl Popper, is to think before we act, and act now for a better future. We will discuss various aspects of presentism and futurism, such as Ruth Millikan’s Popperian animal, the psychologist Howard Rachlin’s social and temporal discounting, and even the popular but controversial idea, YOLO (you live only once). The purpose of this talk is to contrast one with the other. The central question of ethics is: How should one live? Our variation on that question is: When should one live? We conjecture that the notion of flow, developed by Csikszentmihalyi, may be a better optimal choice between these two positions.
This work, which is joint with Jongjin Kim, is to appear in the Journal of Buddhist Ethics.
Logic and Metaphysics Workshop:
September 2 GC Closed NO MEETING
September 9 Yael Sharvit, UCLA
September 16 Ole Hjortland and Ben Martin, Bergen
September 23 Alessandro Rossi, StAndrews
September 30 GC Closed NO MEETING
October 7 Dongwoo Kim, GC
October 14 GC Closed NO MEETING
October 21 Rohit Parikh, GC
October 28 Barbara Montero, GC
November 4 Sergei Aretmov, GC
November 11 Martin Pleitz, Muenster
November 18
November 25
December 2 Jessica Wilson, Toronto
December 9 Mark Colyvan, Sydney
December 16 MAYBE A MEETING; MAYBE NOT
Abstracts:
“Giving as Spending and Spending as Giving: Buddhism and the Politics of Spending during the Chosŏn Dynasty”
Juhn Ahn, University of Michigan
The impact of the Koryŏ-Chosŏn transition on the Buddhist establishment in Korea is generally understood in current scholarship to have been a negative one. It is all too often assumed that Buddhist monasteries, who enjoyed great economic prosperity under Koryŏ’s culture of giving, were forced to undergo a radical reduction in size and number and their wealth confiscated to replenish the empty royal fisc. There is also a tendency to assume that this systematic restructuring of the Buddhist establishment, often dubbed its “decline,” was orchestrated and executed by a small group of reform-minded Neo-Confucian scholar-officials who saw Buddhism as an economic parasite and cause of unnecessary spending. It is true that the Buddhist establishment never again enjoyed the kind of wealth that it once did during the Koryŏ, but this paper argues that we should not take this as a sign of decline or the necessary outcome of state suppression. Instead, this paper will turn its attention to the politics of spending that continued to shape and reshape the Chosŏn court and show that the politics of spending provided the Buddhist establishment with an opportunity—an opportunity that it did in fact use—to redefine the conditions of its existence.
“Court Lady Ch’ŏn Ilch’ŏng (1848 – 1934) in the Making of Modern Korean Buddhism”
Hwansoo Kim, Yale University
In this talk, I will introduce the work of a forgotten Korean Buddhist laywoman who served as one of the highest-ranking ladies in the court of the late Chosŏn dynasty. I will demonstrate that Court Lady Ch’ŏn (1848 – 1934) was as integral to modernizing Korean Buddhism during the pre-colonial and colonial era as the Korean Buddhist monastics with whom she worked. By examining Ch’ŏn’s seminal role in the incipient stage of modern Korean Buddhism, the history of female Buddhist leadership can be extended.
Ch’ŏn primarily worked with the Korean monk and leader Yi Hoegwang (1862-1933), drawing on a wide network of relationships both inside and outside the court to help him establish the first modern institution of Korean Buddhism, build the first modern temple in central Seoul, and open a Buddhist clinic. However, because Yi was later condemned by historiography as the worst of Buddhists who had collaborated with Korea’s colonizer, Ch’ŏn’s leadership and legacy were likewise stigmatized and sidelined. This talk seeks to restore Ch’ŏn’s centrality as a Buddhist modernizer, thereby giving balance to a largely male-centered and ethno-centric history and lengthening the lineage of lay female leadership in the transformation of Korean Buddhism in the early twentieth century.
“Buddhism and State Violence in Modern Korea”
Jin Y. Park, American University
Historically, Korean Buddhism has been known as “State Protection Buddhism” (護國佛敎). The seemingly positive character of this description also points to the limitations of Korean Buddhism’s role in the broader context of society. A state should exist to protect its members, but history has witnessed that the state can and did exercise its power against its members. Which members did the Korean government support, and which were sacrificed in the process? What role did Korean Buddhism play in the unfolding of that history?
This presentation deals with Buddhism’s response to state violence in modern Korea. Through an analysis of a specific instance of state violence and Korean Buddhism’s response, the presentation tries to gauge Korean Buddhism’s capacity to engage with the socio-political milieu of human existence.
Co-sponsored by
The Academy of Korean Studies, Seoul Korea; Weatherhead East Asian Institute; the Department of East Asian Languages and Cultures; The Institute for Religion, Culture, and Public Life; The Department of Religion; The Center for Buddhism and East Asian Religion
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The current pandemic has focused attention on the techniques used by epidemiologists and other non-experimental scientists to infer causal hypotheses from correlational data. I have previously argued* that we need to explain these techniques by reducing causal relationships to dependencies in systems of structural equations with probabilistically independent exogenous variables. In this talk I shall aim to use this account to cast light on (a) single-case counterfactual dependence and actual causation, (b) the content and practical relevance of generic causal claims like “smoking causes cancer”, (c) the temporal asymmetry of causation, and (d) the proper understanding of rational action under risk.
*In particular, I’ve argued this in http://weebly-file/1/8/5/5/18551740/stat_nat_csn_monist.pdf. I will also be giving a talk on it at the CUNY Logic and Metaphysics workshop on Monday 7 March 1615-1815.
The talk will be on Zoom. All are welcome to attend!
The zoom link will be distributed through the MAPS mailing list. If you are not on the MAPS mailing list and would like to receive the Zoom link for the talk, please email nyphilsci@gmail.com.
THE COLUMBIA SOCIETY FOR COMPARATIVE PHILOSOPHY
Welcomes you to an IN-PERSON meeting:
Allison Aitken (Columbia University)
« A Case against Simple-mindedness: Śrīgupta on Mental Mereology »
With responses from Alexander Englert (Princeton University)
ABSTRACT: There’s a common line of reasoning which supposes that the phenomenal unity of conscious experience is grounded in a mind-like simple subject. To the contrary, Mādhyamika Buddhist philosophers beginning with Śrīgupta (seventh-eighth century) argue that any kind of mental simple is incoherent and thus metaphysically impossible. Lacking any unifying principle, the phenomenal unity of conscious experience is instead an ungrounded illusion. In this talk, I will present an analysis of Śrīgupta’s “neither-one-nor-many argument” against mental simples and show how his line of reasoning is driven by a set of implicit questions concerning the nature of and relation between consciousness and its intentional object. These questions not only set the agenda for centuries of intra-Buddhist debate on the topic, but they are also questions to which any defender of unified consciousness or a simple subject of experience arguably owes responses.