Eric Schliesser in Digressions & Impressions:
Despite Dennett’s training in philosophy (at Oxford, no less, under Ryle), his appointment in a well-regarded philosophy department, and his continued self-identification as a philosopher (“Philosophers, like me” (407)), I suspect that many professional philosophers find Dennett’s From Bacteria to Bach and Back, if they read it all with any care, barely philosophy. Dennett offers few structured arguments (with carefully numbered premises), no clear dilemmas/trillemas (etc.) nor the apparent paradoxes that are the staple of our profession nor does he deploy the conceptual distinctions that populate, say, recent philosophy of mind. With a few notable exceptions (Peter Godfrey Smith, Ruth Millikan, Dan Sperber, Bryce Huebner, Jody Azzouni, etc.) Dennett rarely mentions other living philosophers whose work he draws upon.
In some respects Dennett is a legacy philosopher, our intellectual celebrity in the world of public intellectuals, admired or reviled (due to his association with New Atheism). One can easily imagine that Dennett’s latest work shares the fate of Rorty’s late work: mainstream professional philosophers recognizing the name, and paying respectful lip-service to his importance while ceding engagement with his ideas to other disciplines and TED audiences. This would be a mistake. Dennett’s late work is brimming with new ideas (developed in more scholarly publications for over a decade) and insightful changes of heart. (Some other time I offer examples; but recall here.) Along the way, Dennett has become an exemplar for an entirely different way of doing philosophy. I call this (recall here and here): synthetic philosophy.
More here.

Placards are being prepared. Photo-opportunities are being organised. A list of demands is being
Samuel Moyn reviews A Foreign Policy for the Left by Michael Walzer in Modern Age:
Before he died, Senator John McCain wrote a loving
Sometimes I think my work may be seen eventually as some literary equivalent (obviously much reduced in scale) to Picasso. My vice, my strength, is beginnings. Usually I begin well—it is just that I seem to have little interest in finishing. It seems adequate to start a piece, go far enough to glimpse what the possibilities and limitations might be, and then move on. Which for that matter is close to the discrete temper of our time.
John Horgan in Scientific American:
Chris Mackin in TNR:
But rationalism doesn’t make the magical universe go away. Possibly because I earn my living as a writer of fiction, and possibly because it’s just the sensible thing to do, I like to pay attention to everything I come across, including things that evoke the uncanny or the mysterious. Homo sum, humani nihil a me alienum puto (I am human, I consider nothing human alien to me). My attitude to magical things is very much like that attributed to the great physicist Niels Bohr. Asked about the horseshoe that used to hang over the door to his laboratory, he’s claimed to have said that he didn’t believe it worked but he’d been told that it worked whether he believed in it or not. When it comes to belief in lucky charms, or rings engraved with the names of angels, or talismans with magic squares, it’s impossible to defend it and absurd to attack it on rational grounds because it’s not the kind of material on which reason operates. Reason is the wrong tool. Trying to understand superstition rationally is like trying to pick up something made of wood by using a magnet.
Perhaps it is Starnone’s newness in the English-speaking world that explains why reviewers have tended to jump over his proven track record and speculate about his connections to the mysterious and pseudonymous Italian author Elena Ferrante. Their rumored personal relationship is beside the point, but their books are similarly staggering—and the resemblances between their styles and subjects is hard to ignore.
The incredible temple of pity and terror, mirth and amazement, which is popularly known as Coney Island, really constitutes a perfectly unprecedented fusion of the circus and the theatre. It resembles the theatre, in that it fosters every known species of illusion. It suggests the circus, in that it puts us in touch with whatever is hair-raising, breath-taking and pore-opening. But Coney has a distinct drop on both theatre and circus. Whereas at the theatre we merely are deceived, at Coney we deceive ourselves. Whereas at the circus we are merely spectators of the impossible, at Coney we ourselves perform impossible feats—we turn all the heavenly somersaults imaginable and dare all the delirious dangers conceivable; and when, rushing at horrid velocity over irrevocable precipices, we beard the force of gravity in his lair, no acrobat, no lion tamer, can compete with us.
After World War II, tiny Albania became a hermit state, rigidly controlled by a Stalinist dictator,
In April 2015, after a long and very public career, first as a male decathlete, then as a reality TV star,
How the brain fixes the timing of the events we experience depends on episodic memory. Whenever you remember key events from your past, you are tapping into episodic memory, which encodes what happened, where it happened, and when it happened, doing so for all our remembered experiences. Neuroscientists know the brain must have a kind of internal clock or pacemaker to help it track those experiences and record them as memories.
When I let it slip that the press kit I’d been given had referred to him as a ‘Renaissance man,’ Riz Ahmed looked angrily down into his breakfast, a chicken-quinoa bowl with extra chicken. It lasted for just a moment, but the image stayed with me, because it was the only time during our approximately 10 hours together — breakfast in Brooklyn, private sessions with the Islamic art collection at the Metropolitan Museum of Art, YouTube sessions listening to 1970s Qawwali-inspired Iraqi disco, talks on park benches in Fort Greene, tea on the sidewalk of Fulton Avenue and even dinner in Boston, where Ahmed was filming an independent feature about a heavy-metal drummer who’s losing his hearing — that the 35-year-old actor seemed to be truly, genuinely upset.
In 1784, America’s soon-to-be second, third, and fourth presidents celebrated the publication of a report debunking the practices of Franz Anton Mesmer, a Vienna-educated physician whose name gives us the word mesmerizing.