A lucid and crucial account of Schelling's major works in the philosophy of nature, now available in paperback.

A lucid and crucial account of Schelling's major works in the philosophy of nature, now available in paperback.

'The whole of modern European philosophy', wrote F.W.J. Schelling in 1809, 'has this common deficiency - that nature does not exist for it.' Despite repeated echoes of Schelling's assessment throughout the natural sciences, and despite the philosophy of nature recently proposed but not completed by Gilles Deleuze, Philosophies of Nature After Schelling argues that Schelling's verdict remains accurate two hundred years later. Presenting a lucid account of Schelling's major works in the philosophy of nature alongside those of his scientific contemporaries who pursued and furthered that work, this book does not simply aim to present Schelling's extravagant 'speculative physics' as an historical episode. Rather, Schelling's programme is presented as a viable and necessary corrective both to the rejection of metaphysics and the correlative 'antiphysics' at the ethical heart of contemporary philosophy.

'The whole of modern European philosophy', wrote F.W.J. Schelling in 1809, 'has this common deficiency - that nature does not exist for it.' Despite repeated echoes of Schelling's assessment throughout the natural sciences, and despite the philosophy of nature recently proposed but not completed by Gilles Deleuze, Philosophies of Nature After Schelling argues that Schelling's verdict remains accurate two hundred years later. Presenting a lucid account of Schelling's major works in the philosophy of nature alongside those of his scientific contemporaries who pursued and furthered that work, this book does not simply aim to present Schelling's extravagant 'speculative physics' as an historical episode. Rather, Schelling's programme is presented as a viable and necessary corrective both to the rejection of metaphysics and the correlative 'antiphysics' at the ethical heart of contemporary philosophy.

Schelling is often thought to be a protean thinker whose work is difficult to approach or interpret. Devin Zane Shaw shows that the philosophy of art is the guiding thread to understanding Schelling's philosophical development from his early works in 1795-1796 through his theological turn in 1809-1810. Schelling's philosophy of art is the 'keystone' of the system; it unifies his idea of freedom and his philosophy of nature. Schelling's idea of freedom is developed through a critique of the formalism of Kant's and Fichte's practical philosophies, and his nature-philosophy is developed to show how subjectivity and objectivity emerge from a common source in nature. The philosophy of art plays a dual role in the system. First, Schelling argues that artistic activity produces through the artwork a sensible realization of the ideas of philosophy. Second, he argues that artistic production creates the possibility of a new mythology that can overcome the socio-political divisions that structure the relationships between individuals and society. Shaw's careful analysis shows how art, for Schelling, is the highest expression of human freedom.

Idealism is philosophy on a grand scale, combining micro and macroscopic problems into systematic accounts of everything from the nature of the universe to the particulars of human feeling. In consequence, it offers perspectives on everything from the natural to the social sciences, from ecology to critical theory. Heavily criticised by the dominant philosophies of the 20th Century, Idealism is now being reconsidered as a rich and untapped resource for contemporary philosophical arguments and concepts. This volume provides a comprehensive portrait of the major arguments and philosophers in the Idealist tradition. The book demonstrates how Idealist philosophy provides a fruitful way of understanding contemporary issues in metaphysics, the philosophy of science, political philosophy, scientific theory and critical social theory.

F. W. J. Schelling's On the History of Modern Philosophy surveys philosophy from Descartes to German Idealism and shows why the Idealist project is ultimately doomed to failure.

On April 27, 2007, the first Speculative Realism (SR) workshop was held at Goldsmiths, University of London, featuring four young philosophers whose ideas were loosely allied. Over the ensuing decade, the ideas of SR spread from philosophy to the arts, architecture, and numerous disciplines in the humanities and social sciences. SR has been arguably the most influential new current in continental philosophy since the works of Gilles Deleuze and Félix Guattari found their second wind in the 1990s. But what is SR? This book is the first general overview by one of its original members, focusing on the aesthetic, ethical, ontological, and political themes of greatest importance to the movement. Graham Harman provides a balanced but critical assessment of his original SR colleagues – Ray Brassier, Iain Hamilton Grant, and Quentin Meillassoux – along with a clear summary of his own Object-Oriented Ontology (OOO). A number of central philosophical questions tie the four chapters together: What exactly is "correlationism," the chief enemy of SR? What are the stakes of philosophical realism, and is such realism better served by mathematics and the natural sciences, or by a broader model of cognitive activity that includes aesthetics? This book covers both the historical and conceptual development of the movement, providing a first-rate introduction for students, aided by helpful end-of-chapter study questions chosen by Harman himself. SR, Harman shows, is a vital and fast-developing field in contemporary philosophy.

A Deleuzian reading of Whitehead and a Whiteheadian reading of Deleuze open the possibility of a critical aesthetics of contemporary culture. In Without Criteria, Steven Shaviro proposes and explores a philosophical fantasy: imagine a world in which Alfred North Whitehead takes the place of Martin Heidegger. What if Whitehead, instead of Heidegger, had set the agenda for postmodern thought? Heidegger asks, “Why is there something, rather than nothing?” Whitehead asks, “How is it that there is always something new?” In a world where everything from popular music to DNA is being sampled and recombined, argues Shaviro, Whitehead's question is the truly urgent one. Without Criteria is Shaviro's experiment in rethinking postmodern theory, especially the theory of aesthetics, from a point of view that hearkens back to Whitehead rather than Heidegger. In working through the ideas of Whitehead and Deleuze, Shaviro also appeals to Kant, arguing that certain aspects of Kant's thought pave the way for the philosophical “constructivism” embraced by both Whitehead and Deleuze. Kant, Whitehead, and Deleuze are not commonly grouped together, but the juxtaposition of them in Without Criteria helps to shed light on a variety of issues that are of concern to contemporary art and media practices.

In this essay, Hegel attempted to show how Fichte's Science of Knowledge was an advance from the position of Kant in the Critique of Pure Reason, and how Schelling (and incidentally Hegel himself) had made a further advance from the position of Fichte. Hegel finds the idealism of Fichte too abstractly subjective and formalistic, and he tries to show how Schelling's philosophy of nature is the remedy for these weaknesses. But the most important philosophical content of the essay is probably to be found in his general introduction to these critical efforts where he deals with a number of problems about philosophical method in a way which is of general interest to philosophers, and not merely interesting to those who accept the Hegelian "dialectic method" which grew out of these first beginnings. Finally, the Difference essay is important in the development of "Nature-Philosophy" as a movement in the history of science.