My text is written to answer the questions asked at the APA Meeting's presentation of the book Moral Textures: Feminist Narratives in the Public Sphere by professors María Lugones and Eduardo Mendieta. The answer seeks to clarify that Lugones's infrapolitics position is not so distant from mine. I also address Mendieta's question directed more to the aesthetic domain. There, I seek to show how my position could be taken as a creative effort to extend some of Habermas's early work on the public sphere, and to develop the thesis of the important relations between the aesthetic and the moral realms.

Soulez's work focuses on the ethical dimension of philosophy manifested in the way in which thought engages and transforms an acting subject on a formal level, beyond what is “said” as such, including any explicitly ethical statements. Wittgenstein's injunction to “silence” on certain ethical matters does not, for Soulez, prevent his being a thinker of the ethical stakes of philosophy, contrary to more orthodox readings of the analytical tradition.

How might we locate originality as emerging from within the “discrete” work of commentary? Because many women have engaged with philosophy informs (including commentary) that preclude their work from being seen as properly “original,” this question is a feminist issue. Via the work of selected contemporary French women philosophers, the author shows how commentary can reconfigure the philosophical tradition in innovative ways, as well as in ways that change what counts as philosophical innovation.

Wittgenstein raises the notion of “conversion” in philosophy through his claims that philosophical understanding is a matter of the will rather than the intellect. Soulez examines this notion in Wittgenstein's philosophy through a series of reflections on the aims and methodology of his philosophical “grammar,” in relation to comparable models among Wittgenstein's contemporaries (Freud, fames) and from the history of philosophy (Saint Augustine, Descartes).

This paper goes beyond critiques of western philosophical notions of space as passive, feminine, and unintelligent by reconfiguring containment as an (inter-)active process. The author draws on work in the history of technology, on a cybernetic epistemology that emphasizes the interdependence of organism and environment, and on intersubjectivist psychoanalytic theories of the maternal provision. A more unexpected ally is found in Heidegger, whose writings on holding and supply are read in ways that contribute to the development of an urgently required philosophy of container technologies.

This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the “glare” of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

Convinced that logic has a history and that its history always manages to surprise the philosophers, Claude Imbert has devoted much of her work to the study of the Stoic school and of the late-nineteenth-century German logician Gottlob Frege. In the fifth chapter of her book Pour une histoire de la logique, she examines the trajectory of Frege's awareness of what his new logic entails, in particular the way it subverts the project of Kant.

Frege's philosophical writings, including the “logistic project,” acquire a new insight by being confronted with Kant's criticism and Wittgenstein's logical and grammatical investigations. Between these two points a non-formalist history of logic is just taking shape, a history emphasizing the Greek and Kantian inheritance and its aftermath. It allows us to understand the radical change in rationality introduced by Gottlob Frege's syntax. This syntax put an end to Greek categorization and opened the way to the multiplicity of expressions producing their own intelligibility. This article is based on more technical analyses of Frege which Claude Imbert has previously offered in other writings (see references).