Nietzsche's perspectivism and problems of self-refutation

Nietzsche's perspectivism has aroused the perplexity of many a recent commentator, not least because of the doctrine's apparent self-refuting character.  If, as Nietzsche holds, there are no facts but only interpretations, then how are we to understand this claim itself?  Nietzsche's perspectivism must be construed either as a facts or as one further interpretation - but in the former case the doctine is clearly self-refuting, while in the latter case any reasons or arguments one may have in support of one's perspective are rendered both impotent and superflouos.  The unpalatable consequencs of Nietzsche's perspectivism are further highlighted by considering its effects on Nietzsche's treatment of the fundamental laws of logic, such as the principle of non-contradiction.  Finally, Nietzsche's perspectivism, if not self-refuting, at least seems to be refuted by his own writings, where he confidently puts forward various doctines and critiques, thus indicating that he does not think of his own beliefs as being true merely in a perspectival sense.  There is every reason, i conclude, to be perplexed about Nietzsche's perspectivism.

The relevance of perspectivism to the task of modularisation in ontology development

An ontology development methodology seeks to provide developers with established principles, processes, practices, methods and activities for developing ontologies (Gasevic et al., 2009). Diverse methodologies have been published for the development of ontologies, and have evolved, based on the diverse experiences of researchers and practitioners, and the development teams who surveyed the benefits and shortcomings of the available methodologies in order to determine the applicability of methodologies to particular contexts. An evaluation of existing ontology development methodologies has identified that the concept formulation process is not well defined, or based on rigorous processes (Castro et al., 2006; Winters & Tolk, 2009). In order for the validity of the social realism of the actors in a social setting to be captured, the perspectives of each actor needs to be acknowledged and incorporated into the concept formulation process / framework. This paper demonstrates how consideration of perspectivism leads to a meaningful modularisation of the resultant ontology.

Bourdieu`s reflexive sociology and `spaces of points of view`: whose reflexivity, which perspective?

This paper considers Bourdieu's concepts of perspectivism and reflexivity, looking particularly at how he develops arguments about these in his recent work, The Weight of the World (1999) and Pascalian Meditations (2000b). We explicate Bourdieu's distinctive purposes and deployment of these terms and approaches, and discuss how this compares with related methodological and theoretical approaches currently found in social and feminist theory. We begin by considering three main ways in which 'reflexivity' is deployed in current sociological writing, distinguishing between reflexive sociology and a sociology of reflexivity. This is followed by a discussion of the main aspects of Bourdieu's approach to 'reflexive sociology' and its relation to his concepts of social field, perspectivism and spaces of point of view. He argues that we need to interrogate the idea of a single 'perspective' and account especially for the particularity and influence of the 'scholastic' point of view. He characterizes this latter point of view as unaware of its own historicity and as largely concerned with contemplation and with treating ideas primarily as abstractions (Bourdieu, 2000b). Bourdieu's intervention is to argue, as he has throughout his work, for a more reflexive account of one's location and habitus, and for sustained engagement with ideas and social issues as practical problems. Bourdieu exhorts researchers to work with 'multiple perspectives' (Bourdieu et al., 1999, p. 3), the various competing 'spaces of points of view', without collapsing into subjectivism or relativism. We then consider recent feminist engagements with and critiques of Bourdieu's notion of reflexivity and chart some of the main points of contention regarding its relevance and conceptual potential for theorizing gender identities and transformations in current times. We conclude with a brief outline of how we are working with a reflexive sociological approach in a cross-generational study of young women in difficult circumstances, 'on the margins' of education and work.

Nietzsche as 'Europe's Buddha' and 'Asia's superman'

Nietzsche represents in an interesting way the well-worn Western approach to Asian philosophical and religious thinking: initial excitement, then neglect by appropriation, and swift rejection when found to be incompatible with one’s own tradition, whose roots are inexorably traced back to the ‘ancient’ Greeks. Yet, Nietzsche’s philosophical critique and methods - such as ‘perspectivism’ - offer an instructive route through which to better understand another tradition even if the sole purpose of this exercise is to perceive one’s own limitations through the eyes of the other: a self-destruktion of sorts. To help correct this shortcoming and begin the long overdue task of even-handed dialogue - or contemporary comparative philosophy - we will be served well by looking at Nietzsche’s mistakes, which in turn informed the tragic critic of the West of the last century, Martin Heidegger. We may learn here not to cast others in one’s own troubled image; and not to reverse cultural icons: Europe’s Superman, and Asia’s Buddha.

Giorgio de Chirico and the idea of enigmatic imagery : the innocence of becoming

My paintings emerge from within a context best explained by reference to Nietzsche's perspectivism. That is an intellectual attitude that deprivileges rationalism and accommodates scepticism or unknowing as an acceptable starting point From this standpoint art/language can be seen as being in a state of becoming rather than as representing a state of being. This thesis aims to demonstrate, not only by a philosophical encounter with Giorgio de Chirico's work: ie. his use of myth, his Nietzschean perspectivism and his enigmatic interpretation of figuration, that the most helpful context and understanding of my work can be realied. De Chirico's art, like Nietzsche's philosophy seeks in its processes to explore the possible unity of Dionysian aesthetic force with the Apollonian. Neither Nietzsche nor de Chirico considered within a post-Socratic world that this unity was realizable. Nevertheless they both share in their respective art forms a need to represent the relentless struggle to enact the disjunction of the two aesthetic forces in a secular world. The artist’s enigmatic imagery is characterized by a consideration of appearance and reality and it is for this reason that the work was selected as a model for investigating the nature of enigma. His use of seemingly straightforward, ordinary images suggests a sense of accessibility, yet at the same time they are irreducible to knowing and my own image-making was greatly expanded by investigating these concerns. I am not arguing that de Chirico was influenced by Nietzsche but instead that Nietzsche's philosophical point of view and his use of poetic language to express these views lay in discovering the qualities and substance of the Dionysian spirit As well as working within a Nietzschean world-view set out in The Birth of Tragedy, de Chirico has also drawn on the Italian unification, specifically the Risorgimento and the lineage of these political and mythical figures were endemic to his art and they interface the with his use of the Apollonian-Dionysian disunity first explored by Nietzsche. The focus of the exegesis will be to present the poetic and philosophical use made of the latter in de Chirico’s art It is anticipated that this philosophical encounter with the aesthetic, social and political world of de Chirico will, not only assist in interpreting his life's work anew, but will also provide a context in which my paintings of enigma might be interpreted.