“I am against religion because it teaches us to be satisfied with not understanding the world.” –Richard Dawkins
King Laius died at the Cleft Way, where he got in the way of an emigrant to Thebes who happened also to be his son. The prophecy was that Oedipus would be the death of Laius, and it was in the name of avoiding this fate that father and son worked together to seal it. Yet what truly made Oedipus Continue Reading …
In the second installment of a two-part series, Nicholas Joll examines a view that morality is impossible and explores the opportunities offered by possible worlds.
Bob joins the PEL four to discuss his new book Why Buddhism Is True: The Science and Philosophy of Meditation and Enlightenment. Bob applies his expertise in evolutionary psychology to corroborate Buddhism’s claims that we are deluded: about our desires, emotions, the unity of our selves, and the “essences” we project on things and people. And he thinks meditation can instill in the diligent the ability to see things more clearly. But does it really?
David has recorded seven albums since 2000. Usually one wants to avoid the term “Beatlesque,” but David is a Beatles freak who once recorded his performances all 209 Beatles songs over 209 days.
We discuss “Time to Go” from David Brookings and the Average Lookings (2016), “Dead Battery” from Chorus Verses the Bridge (2005), and the title track from Obsessed (2007). We conclude by listening to “If I Don’t Make It Back” from The Maze (2013). Opening music: “You’re Right, It Went So Wrong” from the current album.
What are science, religion, and secularism? How have they interacted, historically, and what are the major issues in contemporary reflection on them? A new series explores these questions through the works of the scientists, theologians, and philosophers who have shaped the dialogue over the last century and a half.
Mark and Seth ask Doug Lain (Zero Squared), Brett O’Shea (Revolutionary Left Radio), and C. Derick Varn (Symptomatic Redness) what they think of Debord and PEL’s treatment of the book on Ep #170.
Our chinwag this time concerns two works by the remarkable Clarice Lispector, the novella The Hour of the Star and the short story “The Departure of the Train.”
Hear more Phi Fic discussions at PhiFicPodcast.
More on the 1967 Situtationist book. Do we buy Debord’s critique? Is any merely partial critique (i.e., no revolution) just more spectacle? Is technology inherently dehumanizing? Don’t these passivity/anti-technology arguments even apply to books? Could Debord’s model of authenticity catch on in society as a whole?
End song: “Millionaire” by The Mekons (1993); Jon Langford appears on Nakedly Examined Music #22.
Kim is a poet, archivist, and New York City tour guide. We discuss his album plum plum featuring “The Dream Band”: his producer friend Don Fleming, Joe Bouchard (Blue Öyster Cult), Steve Shelley (Sonic Youth) and NEM guest Gary Lucas. We discuss “Circle’s Gotta Go” and “Arizona Burning,” and conclude with “Claudine.” We also discuss “I Comb My Hair with My Hand” by Jad Fair and the Shapir-O’Rama from We Are the Rage (1996). Intro: “East Side Story” by When People Were Shorter and Lived Near the Water from Bill Kennedy’s Showtime (1993). Follow Kim on Facebook.
What is culture? In modern capitalism, Debord’s 1967 book describes it as all about the economy. It’s not just our jobs that keep us trapped, but our life outside of working hours is also demanded by “the system” via our activity as consumers, and this commoditization infiltrates every corner of our lives. Debord wants us to WAKE UP, break our chains, and live lives of immediacy, vitality, and authenticity.
Britain’s Wishbone Ash started in 1969 and has released 25+ albums, with guitarist/singer Andy the sole member left from the original band.
We discuss “American Century” from Blue Horizon (2014), “Master of Disguise” from Bare Bones (1999), and “Roads of Day to Day” (1970, released on First Light, 2007). End song: “In Crisis” from The Power of Eternity (2007). Intro music: “Blowin’ Free” from Argus (1972). Visit wishboneash.com for more.
In the first installment of a two-part series, Nicholas Joll tries to convince us that, for one thing, fire is not hot and, for another, that sincerity is impossible.
On the 1958 film and articles including Laura Mulvey’s “Visual Pleasure and Narrative Cinema” (1975) and Robin Wood’s “Vertigo” (1965). What is love? Are we really just loving a built image while remaining isolated? And is it just an illusionary social construct that keeps us all from feeling fundamental vertigo? Lacan, existentialism, and more!
Californian-turned-British singer-songwriter Anton has released over 25 albums since 1993, generally moving from alterna-guitar-pop to colorful-pychedelic, but remaining tuneful.
We discuss “High Noon” and (and listen to “Swindon”) from Magic Act (2016), “Dust Beneath My Wings” by Three Minute Tease (2011) and its subsequent incarnations, and the title track from In the Village of the Apple Sun (2006). Intro: “King of Missouri” (2002). Learn more at antonbarbeau.com.
In Contrastive Reasons, Justin Snedegar develops and defends a novel version of contrastivism about moral reasons, then extends the view to normative reasons of other kinds by offering an analysis of when it is rational to withhold belief.
Listen to an interview with the author on The New Books in Philosophy Podcast.
Consider his claims: 1) We do not know what’s best for other people and 2) Since governance is ultimately founded on the threat of violence, the government should only exert its power regarding those things that we would ourselves defend with a gun. They sound reasonable, but are interestingly wrong.
More on Darwin’s famous book. Why does it matter for philosophy, beyond providing an alternative to intelligent design? Is it really anti-religious? How can well tell if it’s really a scientific theory? Talking about a species evolving trait X to enable survival sounds teleological; is it really, and is that bad? Why would the mind develop through natural selection?
End song: “I Live” by Jason Falkner, as interviewed on Nakedly Examined Music #47.