Mark, Wes, and Dylan reconvened for one more hour on Part I, "Fellow Feeling" (ch. 3-4) in The Nature of Sympathy (1913/1922).

We continue to try to figure out the razor's edge of "fellow feeling proper" that does not rely on the sympathizer identifying in any way and look into psychological and metaphysical ways that people can identify with others.

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Mark and Bill are joined by the actor/improviser who directs Camp Improv Utopia and is involved in managing improv spaces such as Denver's Rise Comedy. We talk about the notion of community, with a scene about the neighborhood watch and a return to Empty Street to deal seriously in a public-service-announcement/after-school special sort of way with the issue of buying liquor underage.

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Continuing on The Nature of Sympathy (1913/1922), Part I: "Fellow Feeling," Ch. 1-4. We look more closely at the text, getting further into how fellow feeling relates to ethics, and why the moral sentimentalists (like Hume) were wrong about this.

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Mark, Lawrence, Sarahlyn and Al here discuss the sci-fi/office dramedy in light of its second season. We might normally wait until the end of the show, but given that season 1 was 2022, and it took three years to get us season 2, who knows it it'll actually finish? And who knows if it will not be massively disappointing at that point? We strike while the show is culturally relevant!

But did even this season measure up to its phenomenal premise and first season? There are so many juicy plot and character elements on this show that we can't possibly fit them all in.

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On The Nature of Sympathy (1913, expanded 1922), Part I: "Fellow Feeling," Ch. 1-4. 

What is it to feel sympathy (aka "fellow feeling") for another person? It is NOT to "identify" with that person; ethics requires that the person be irreducibly Other, not part of my (extended) ego.

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Peter recorded with Chris Stamey as early as 1972, and they reconvened as The dB's in the '80s. Peter has released six albums as the dB's, three more as a duo with Chris, four co-fronting the Continental Drifters, and three solo albums. He has also been a supporting/touring member in several bands including REM, Hootie and the Blowfish, and currently The Paranoid Style.

We discuss "Larger Than Life" from his new solo album The Face of 68), "Don’t Mention the War" from Game Day (2018), and "She Won’t Drive in the Rain" by The Db’s from their reunion album Falling off the Sky (2012). We conclude by listening to "Where Does the Time Go" by Continental Drivers from Better Day (2001). Intro: "Amplifier" by The Db’s from Repercussion (1981). More info at halfpearblog.blogspot.com.

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On Edmund Husserl's Ideas, Vol. 2 (1928), Section 3, "The Constitution of the Spiritual World," Ch. 1, "Opposition Between the Naturalistic and Personalistic Worlds."

Given Husserl's method of "reduction" whereby he sets aside the metaphysical status of objects in the natural world (are they mind-independent or merely ideas?), we wanted to see how he accounts for our ability to directly perceive other people's minds. We don't just perceive their bodies and our own bodies and deduce that others must be like us mentally, but we perceive both our minds and those of others as strata (aspects) of physical bodies.

Read along with us, starting on p. 183 (PDF p. 101).

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Continuing on "The Origin of the Knowledge of Right and Wrong" (1889), getting into how we measure the comparative value of things. While Brentano does observe actual practices in these areas, his phenomenology detects moral facts that can be used to cast judgments of people's actual practices, saving him from relativism.

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Mark and Bill introduce a new potential setting and some characters for ongoing use in future improvisations. We talk about techniques for doing that and wrap up by getting an update from Bill on his substitute teaching and talking about what makes for a good teacher.

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On "The Origin of the Knowledge of Right and Wrong" (1889). What justifies basic moral facts? Brentano claims that right there in our experience, we can rationally sense with complete certainty that certain kinds of preferences are good ones, and others are not. This take on intuitionism is a response to Kant that (like Kant) cuts between the traditional epistemic categories of rationalism and empiricism, and Brentano's descriptive psychology kicked off the whole project of phenomenology.

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We acknowledge this hugely popular form of "entertainment" recently embodied by The Baldwins, but popularized by shows like The Osbournes and The Kardashians, wherein some celebrity and/or family just shows off their life, Mark, Lawrence, Sarahlyn and Al are joined by returning guest Kayla Dryesse to talk about why this kind of show exists, its variations, and its redeeming value (if any). Is The Baldwins basically just a lengthy Instagram post?

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