Tullio Viola – Charles S. Peirce is primarily read and discussed today for his contribution to logic and semiotics, and as a key figure in pragmatist philosophy. Much less known is his interest in history, both as a scientific discipline to be cultivated alongside philosophy and as fertile ground for philosophical reflection.
Sébastien Tremblay – Koselleck once said that monuments are intrinsically linked to the impermanence of historical events. They are a conversation between the past and the future taking place in the present. Yet, static, they also become agents of oblivion. What if the best path to remembrance could be found in the impulse to destroy them? Using Koselleck’s approaches to politischeSinnlichkeit and underlining the plurality of history, I argue that vandalism is not per se an act of censure or the manifestation of a “cancel culture,” but is rather an act of commemoration.
Jeffrey Andrew Barash – In 1982 I took the initiative to write to Reinhart Koselleck, although I had never met him, to ask if he would be willing to serve as the sponsor of my application for an Alexander von Humboldt-Fellowship. I had just defended my doctoral dissertation at the University of Chicago, entitled Martin Heidegger and the Problem of Historical Meaning, and I returned to Paris to apply for grants that would permit me to rewrite my thesis for publication as a book. Upon receiving my letter, Koselleck kindly invited me to give a talk in Bielefeld on a topic of my choice.
Moira Pérez – In recent years, various authors of theory and philosophy of history have suggested we are experiencing a “new historical condition”, which Zoltán Boldizsár Simon and Marek Tamm have characterized as driven by the “anthropocenic and technoscientific transformations of our lifeworlds”. The existence of such a condition has been widely debated, as have its challenges and ramifications in relation to long-standing conceptions of temporality and time scale, the human and the non-human, the natural and the artificial, among others. Many of these works are tinted by a feeling of uncertainty, of exploring and analysing something while we are not really sure what it is or what will emerge from it.