This essay tries to develop a “black radical Kantianism” – that is, a Kantianism informed by the black experience in modernity. After looking briefly at socialist and feminist appropriations of Kant, I argue that an analogous black radical appropriation should draw on the distinctive social ontology and view of the state associated with the black radical tradition. In ethics, this would mean working with a (color-conscious rather than colorblind) social ontology of white persons and black sub-persons and then asking what respect for oneself and others would require under those circumstances. In political philosophy, it would mean framing the state as a Rassenstaat (a racial state) and then asking what measures of corrective justice would be necessary to bring about the ideal Rechtsstaat.
Response by César Cabezas Gamarra.
Presented by the German Idealism Workshop
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.
The Eastern Study Group invites submissions for its 17th annual meeting to take place at Fordham University on Saturday and Sunday, May 2-3, 2020. Our host this year is Reed Winegar.
Keynote Speakers: Patricia Kitcher (Columbia)
Please send all abstracts electronically to Kate Moran, kmoran@brandeis.edu
Please submit a detailed abstract (1,000–1,200 words) with a select bibliography. Submissions should be prepared for blind review and include a word count. Please supply contact information in a separate file. If you are a graduate student, please indicate this in your contact information.
The selection committee welcomes contributions on all topics of Kantian scholarship (contemporary or historically oriented), including discussions of Kant’s immediate predecessors and successors. Presentation time is limited to 30 minutes, followed by 30 minutes of discussion.
The best graduate student paper will receive a $200 stipend and be eligible for the Markus Herz Prize. Women, minorities, and graduate students are encouraged to submit. Papers submitted for the Herz prize should not exceed 6,000 words.
Papers already read or accepted at other NAKS study groups or meetings may not be submitted. Presenters must be members of NAKS in good standing.
ENAKS receives support from NAKS and host universities.
For questions about ENAKS or the upcoming meeting, please contact Kate Moran (kmoran@brandeis.edu) or consult the ENAKS website at www.enaks.net.
What can science teach us about how we perceive and understand art? How can art help us understand ourselves and each other? In this event, the Zuckerman Institute explores the interactions between our brains and the artistic world, finding connections and parallels between art and science.
Event Speakers
Please visit the event webpage to view the speaker list.
Event Information
Free and open to the public, registration is required by January 28, 2022. This event will also be live-streamed. Please email zuckermaninstitute@columbia.edu with any questions.
This talk is part of the Stavros Niarchos Foundation Brain Insight Lecture series hosted by Columbia’s Mortimer B. Zuckerman Mind Brain Behavior Institute and supported by the Stavros Niarchos Foundation.
Kant and Spinoza on Prophecy, Enlightenment and Revolution
Presented by Columbia University Dept. of Philosophy
This talk explores the reflexive nature of consciousness, which consists primarily in the fact that a state of consciousness has a reflexive relation to the subject who has that state, so that the subject can typically be aware of itself as having that state. Comparing Kant’s, Fichte’s, and selected contemporary analytic theories of this reflexivity shows that there is a crucial difference in the way the relation between form (or mode) and content of a state of consciousness is conceived. The first part examines Kant’s formal theory of consciousness: reflexivity is understood not in terms of a self-referential content resulting from a reflection on the state of the subject, but as the universal transcendental form that any content must have in order to be representationally significant and potentially conscious to the subject. The second part examines Fichte’s departure from Kant in his theory of a self-positing consciousness: in the original act of self-positing, the mere form of reflexivity is turned into a self-referential content that determines the subject as an object from the absolute standpoint of consciousness. The third part examines analytic theories that explain the reflexivity (or what is often called the subjective character) of consciousness on a model of mental indexicality. These theories tend to reduce reflexivity to an objective constituent of content that, although often implicit, can be read off from the subject’s contextual situatedness in nature. In conclusion, Kant’s theory can be understood as a moderate, human-centered kind of perspectivism that navigates between Fichtean absolute subjectivity and a naturalist absolute objectivity.
Registration is free but required. A registration link will be shared via email with our department mailing lists a few weeks before the event. Please contact Jack Mikuszewski at jhm378@nyu.edu if you did not receive a registration link.
The Philosophy Department provides reasonable accommodations to people with disabilities. Requests for accommodations should be submitted to philosophy@nyu.edu at least two weeks before the event.
Book discussion on Gwenda-lin Grewal’s, Thinking About Death in Plato’s Euthydemus. A Close Reading and New Translation (OUP 2022)
Speakers:
Gwenda-lin Grewal (NSSR)
Cinzia Arruzza (NSSR)
Nicholas Pappas (CUNY)
Thinking of Death places Plato’s Euthydemus among the dialogues that surround the trial and death of Socrates. A premonition of philosophy’s fate arrives in the form of Socrates’ encounter with the two-headed sophist pair, Euthydemus and Dionysodorus, who appear as if they are the ghost of the Socrates of Aristophanes’ Thinkery. The pair vacillate between choral ode and rhapsody, as Plato vacillates between referring to them in the dual and plural number in Greek. Gwenda-lin Grewal’s close reading explores how the structure of the dialogue and the pair’s back-and-forth arguments bear a striking resemblance to thinking itself: in its immersive remove from reality, thinking simulates death even as it cannot conceive of its possibility. Euthydemus and Dionysodorus take this to an extreme, and so emerge as the philosophical dream and sophistic nightmare of being disembodied from substance. The Euthydemus is haunted by philosophy’s tenuous relationship to political life. This is played out in the narration through Crito’s implied criticism of Socrates-the phantom image of the Athenian laws-and in the drama itself, which appears to take place in Hades. Thinking of death thus brings with it a lurid parody of the death of thinking: the farce of perfect philosophy that bears the gravity of the city’s sophistry. Grewal also provides a new translation of the Euthydemus that pays careful attention to grammatical ambiguities, nuances, and wit in ways that substantially expand the reader’s access to the dialogue’s mysteries.
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!