<b>Timothy O'Leary</b>. <i>Foucault and the Art of Ethics</i>. London and New York: Continuum, 2002.
Bibliographic record
Abstract
Foucaultʹs later work (1976-1984) has already been widely commented on, 1 and many critics have been trained in the "ethical turn" in Foucaultʹs later thinking.Some Foucauldians consider that his genealogy of power remains, perhaps necessarily, incomplete and they denounce Foucault's "technocratization shift."Some classical scholars blame Foucault for his misunderstandings of Hellenistic thinking, while other commentators criticize Foucaultʹs artificial, individualistic and nihilistic "return to the subject," and some political thinkers take a radical stance against the aestheticising of practical problems in Foucault's later works.Until the end, Foucault remained one the most polemical thinkers of his time.His later work continues to be the subject of many controversies, and there is still no consensus about the philosophical value of his ethics.Foucault and the Art of Ethics provides a welldetailed and exhaustive study of Foucault's ethical thinking, providing worthy arguments to feed the debates.Timothy OʹLeary presents Foucaultʹs "art of ethics" as being, in large part, a Nietzschean answer to the Socratic question, "How is one to live?"The author clearly explains the meaning and consequences of the "fourfold division of ethical practices," which includes the ethical substance, the mode of subjection, the practices of the self and the mode of being (pp.12, 41, and elsewhere) as defined by Foucault in his introduction to The Use of Pleasure.The book approaches Foucaultʹs ethics from different angles by showing the unity in the seemingly discontinuous project of Foucaultʹs History of Sexuality.The author also discusses other writings of the same period (late interviews and unpublished lectures at Collège de France) in order to understand Foucaultʹs later reinterpretation of his work in terms of a problematization of the ethical subject.OʹLeary presents Foucaultʹs "art of existence" (the "aesthetics of existence" or the "etho-poetics" as Foucault sometimes calls it
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.003 | 0.005 |
| Scholarly communication | 0.005 | 0.008 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.006 | 0.004 |
| Insufficient payload (model declined to judge) | 0.135 | 0.050 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".