Continuing on Ch. 2 of Hegel's Faith and Knowledge (1802) , plus some of the material being critiqued from Kant's Critique of Judgment (1790), chiefly sec. 76 and 77.

Kant's third critique is not just about beauty but about apprehending nature, and he claims that as humans, we can only understand natural objects by seeing them as purposive (i.e. teleologically): An organism has a healthy state that it is designed to aim at. While Kant can't use the classical Design argument to thus argue that we know that God exists qua designer, he argues that as a practical matter, we must regard such a designer as present. Hegel argues that this is one of many points where Kant should stop dithering and just admit that his project involves Reason actually knowing theological facts.

Mark and Mary are joined by Andrea, an Italian teacher with a broad performing background who's written a book of philosophical, poetic aphorisms called Think Town: self-help reflections and directives about fear, ego, happiness, etc.

There's a long history of aphorisms in philosophy, and philosophy invented the self-help genre, but how does philosophy work given the lack of argumentation?

We explore the monster under the bed, AI agents, making philosophy personally applicable, being receptive, DOT ego secretions, and more.

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Continuing on Faith and Knowledge (1802), Ch. 1 and 2. We start off by discussing how beauty might give us a window into things-in-themselves according to the Romantics, who were in part following Kant's lead. Also, what version of the ontological argument for the existence of God does Hegel believe? We try to figure out what Hegel is praising in Kant's positing of synthetic a priori claims, and yet how he thinks Kant didn't understand the implications of this view.

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In light of the new, well-acted and well-shot BBC/Netflix adaptation, we discuss William Golding's 1954 novel Lord of the Flies and its previous (1963, 1991) adaptations. Featuring Mark, Lawrence, Sarahlyn and Al.

What do we think of the updates made for this retelling? Its pacing? Its repeated close-up shots of kids' silent faces? Is this per usual obviously inferior to the novel, or does it actually present deeper characters and a more visceral presentation of their degradation?

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On Faith and Knowledge (1802), Ch. 1 and 2. Famously, Kant critiqued Reason to effectively forbid theology and metaphysics, and a young G.W.F. Hegel was not happy about that. He argues against the reduction of Reason to merely applying to the realm of experience, which makes religion merely a subjective, insubstantial matter. Hegel thought he could do better.

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We read part of The Dialectic of Enlightenment (1944), specifically the parts about Homer's epic as an allegory for the merely apparent triumph of modernism (capitalism, instrumental reason) over myth (savagery, magical thinking).

We are REELING from our REDACTED episode, and so we talk about the lessons we learned from that and start thinking about what it is to be out of one's comfort zone: how do fear and ego issues interact? Is playfulness a lack of professionalism? Are both arrogance and humility products of fear?

Plus, cutting-edge surgery reality shows, Schrödinger's hostile cat and Dr. Brenda's sentient food samples, Bishop Jim vs. Trudy the Innocent, and more!

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Continuing on on The Philosophical Discourse of Modernity, Ch. 1, 2, and 5 with guest John Ganz. We further discuss Habermas' characterizations of Hegel's take on modernity and eventually get to Adorno and Horkheimer, whose dismissals of modernity Habermas thinks go too far.

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On Jürgen Habermas’ The Philosophical Discourse of Modernity (1985), featuring guest John Ganz.

 Habermas defines modernity as Enlightenment ideals, discusses what's wrong with them (subjectivity), how Hegel argues constructively that a social element needs to be added this this, and how many other critics (e.g. Adorno, Nietzsche, and Foucault) instead argue more destructively against Enlightenment values like Truth, liberty, and justice.

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