John Dewey, in his resistance to foundational individualism, declares that individual autonomy so conceived is a fiction; for Dewey, it is association that is a fact. In his own language: “There is no sense in asking how individuals come to be associated. They exist and operate in association.” In a way that resonates with Confucian role ethics, the revolutionary Dewey particularizes the fact of associated living and valorizes it by developing a vision of the habitude of unique, defused, relationally-constituted human beings. That is, he develops a distinctive, if not idiosyncratic language of habits and “individuality” to describe the various modalities of association that enable human beings to add value to their activities and to transform mere relations into a communicating community.
In Confucian role ethics, Dewey’s contention that association is a fact is restated in a different vocabulary by appealing to specific roles rather than unique habitudes for stipulating the specific forms that association takes within lives lived in family and community—that is, the various roles we live as sons and teachers, grandmothers and neighbors. For Confucianism, not only are these roles descriptive of our associations, they are also prescriptive in the sense that roles in family and community are themselves normative, guiding us in the direction of appropriate conduct. Whereas for both Confucianism and Dewey, mere association is a given, flourishing families and communities are what we are able to make of our facticity as the highest human achievement.
AY 2018 – 19 Workshop Schedule
September 25th – Avery Archer (GWU)
October 16th – Daniel Singer (Penn)
November 13th – Ariel Zylberman (SUNY Albany)
February 26th – Vita Emery (Fordham)
March 26th – Kathryn Tabb (Columbia)
April 23rd – Carol Hay (UMass Lowell)
The Epistemology and Ethics group is composed of faculty and graduate students at Fordham and other nearby universities. Papers are read in advance, so the majority of the time is devoted to questions and discussion.
Location: Plaza View Room, 12th Floor, Lowenstein Bldg., 113 West 60th Street. If interested in attending, email dheney[at]fordham[dot]edu.
AY 2018 – 19 Workshop Schedule
September 25th – Avery Archer (GWU)
October 16th – Daniel Singer (Penn)
November 13th – Ariel Zylberman (SUNY Albany)
February 26th – Vita Emery (Fordham)
March 26th – Kathryn Tabb (Columbia)
April 23rd – Carol Hay (UMass Lowell)
The Epistemology and Ethics group is composed of faculty and graduate students at Fordham and other nearby universities. Papers are read in advance, so the majority of the time is devoted to questions and discussion.
Location: Plaza View Room, 12th Floor, Lowenstein Bldg., 113 West 60th Street. If interested in attending, email dheney[at]fordham[dot]edu.
Critique is an assertion of values pitted against a state of affairs. To say that things should not be the way they are–to respond to questions such as ‘Why do I think this political or economic arrangement is wrong (and why should I care?)?’ implies an ethical stance. Critique thus draws together fact and value, domains that a long tradition of moral thought has argued exist on distinct planes. For there are dimensions of political life that are incomprehensible without this conjunction between ethical motivations and social realities. But if they are to have political consequences, such questions cannot be confined to private introspection. Scale matters. This talk looks at the articulation between everyday interactions and social movements to show the interplay among the first, second, and third person stances that characterize ethical life. Drawing ethnographic examples from American feminism and Vietnamese Marxism, it considers some of the ways in which ethical intuitions emerge, consolidate, and change, and argues that objectifications and the reflexivity they facilitate help give ethical life a social history.
In 1804 Schelling diagnosed our impending “annihilation of nature” due to our conceptual detachment from and consequent economic exploitation of our natural world. His critique of Modernity’s Cartesian Idealisms, effected through his inversion of the Kantian categories, results in a philosophical project whose relevance to our ongoing climate crisis is difficult to overstate.
Bruce Matthews
Bard College/BHSEC, professor of philosophy, research in German Idealism and Romanticism, with a focus on life and thought of F.W.J. Schelling, whose recent work revolves around Schelling’s critique of modernity with its anticipation of, as he wrote in 1804, ‘the annihilation of nature,’ and its relevance to the Anthropocene.
“Schelling in the Anthropocene: A New Mythology of Nature,” (Symposium: Canadian Journal of Continental Philosophy, 2015), “Schelling: A Brief Biographical Sketch of the Odysseus of German Idealism,” in The Palgrave Handbook to German Idealism (2014), and “The New Mythology: Between Romanticism and Humanism,” in The Relevance of Romanticism (Cambridge University Press, 2014). Books include the forthcoming intellectual biography, Schelling: Heretic of Modernity (2018), Schelling’s Organic Form of Philosophy: Life as the Schema of Freedom (SUNY 2011).
Presented by the Philosophy Department at The New School for Social Research
Ian Hacking wrote that probability is a Janus-faced concept with one face looking toward the world and the other toward the mind. The face looking toward the world is central to laws and explanations in physics (especially quantum mechanics and statistical mechanics) and the special sciences. The face looking toward the mind is central to epistemology and decision theory. This conference concerns both aspects and especially their relation to each other. What is probability that it possesses both aspects? This three-day conference will focus on answering this and related questions.
There is no registration fee and attendance is open to all; however, RSVP is required. Please RSVP here before Oct 15, if you plan to attend. All are welcome!
General information is available here.
Conference Organizers
Barry Loewer (Rutgers)
Denise Dykstra (Rutgers)
Invited Participants
David Albert (Columbia)
Valia Allori (NIU)
Katie Elliott (UCLA)
Ned Hall (Harvard)
Carl Hoefer (Barcelona)
Jenann Ismael (Columbia)
Christopher Meacham (Amherst)
Wayne Myrvold (Western)
Richard Pettigrew (Bristol)
Jack Spencer (MIT)
Schedule Overview
(A detailed schedule is available here.)
Thursday, October 24
- 3:00 – 6:00: Metaphysics of Objective Probability: Ned Hall (Harvard); Jenann Ismael (Columbia).
Friday, October 25
- 9:00 – 9:50: Breakfast in the philosophy department
- 9:50 – 10:00: Welcome & Introductory Remarks (Barry Loewer)
- 10:00 – 1:00: Chance: Katie Elliott (UCLA); Christopher Meacham (Amherst).
- 1:00 – 2:30: Lunch
- 2:30 – 5:30: Probabilities in the Special Sciences: Carl Hoefer (Barcelona); Wayne Myrvold (Western Ontario).
Saturday, October 26
- 9:00 – 10:00: Breakfast in the philosophy department
- 10:00 – 1:00: Chance-Credence Principles: Richard Pettigrew (Bristol); Jack Spencer (MIT).
- 1:00 – 2:30: Lunch
- 2:30 – 5:30: Typicality and the Statistical Postulate: David Albert (Columbia); Valia Allori (NIU).
Please contact the conference organizers (LawsAndChanceProject@gmail.com) if you have any questions.
The Vanishing Point of Existence: Kierkegaard and the Ethics of the Novel.
Presented by: Yi-Ping Ong, Associate Professor, Department of Comparative Thought and Literature, Johns Hopkins University.
Presented by Liberal Studies at The New School of Social Research
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