Peter Campbell – författare

We live in disturbed times. Seemingly more now than at any time in the previous five decades, the planet appears riven. Against this troubling global background, An Impossible Dream traces author Peter Campbells six-week, eight-hundred-kilometre long walk along the Camino de Santiago across northern Spain, capturing what he saw and what he felt during the journey.

Using the Camino as a backdrop, Campbell looks back at the cultural and religious conflicts of the Iberian Peninsula in the Middle Ages, and he reflects on the history of the Crusades, the Knights Templar, the legendary El Cid, and much more, drawing comparisons between now and times past.

Through vivid descriptions and introspective reflection, An Impossible Dream portrays the physical, emotional, and psychological challenges Campbell faced as he undertook this epic walk, the relationships formed along the way, and the spiritual questions asked and answered. He considers his own conflicts and intolerances, and he offers an insightful reminder for anyone who has already walked the Camino, and a fascinating perspective for those who have yet to undertake that journey. He tells a story of a walk through lifea life lived, questions asked, and lessons learned.

Should philosophers, on occasion, be embarrassed in their work? Were they? We look at some cases in the history of modern philosophy and study the grounds for embarrassment and the way philosophers have dealt with it. Hume and Wittgenstein are our prime examples of philosophers who were aware that through their work, they had undermined the very possibility of doing such work—that the aims of traditional philosophy are out of reach—and thus have been thoroughly embarrassed. What are the upshots, they ask, for philosophers and their subject? One way of responding was to give up the traditional aims so as to protect oneself from further embarrassment. This was the strategy we find in the early Wittgenstein, the Vienna Circle, and in Quine who, in their own ways, tried to reconceive the aims and subject matter of philosophy in a narrow fashion that took science as its model. This move, however, comes with its own embarrassments, as we illustrate with the later Wittgenstein’s cautionary remarks about the embarrassments of scientism and his warnings about the related inclination to self-deception.

Should philosophers, on occasion, be embarrassed in their work? Were they? We look at some cases in the history of modern philosophy and study the grounds for embarrassment and the way philosophers have dealt with it. Hume and Wittgenstein are our prime examples of philosophers who were aware that through their work, they had undermined the very possibility of doing such work—that the aims of traditional philosophy are out of reach—and thus have been thoroughly embarrassed. What are the upshots, they ask, for philosophers and their subject? One way of responding was to give up the traditional aims so as to protect oneself from further embarrassment. This was the strategy we find in the early Wittgenstein, the Vienna Circle, and in Quine who, in their own ways, tried to reconceive the aims and subject matter of philosophy in a narrow fashion that took science as its model. This move, however, comes with its own embarrassments, as we illustrate with the later Wittgenstein’s cautionary remarks about the embarrassments of scientism and his warnings about the related inclination to self-deception.

Recent years have seen the increasing valuation and promotion of ‘creativity’. Future success, we are often assured, will rest on the creativity of our endeavours, often aligned specifically with ‘cultural’ activity. This book considers the emergence and persistence of this pattern, particularly with regards to cultural policy, and examines the methods and evidence deployed to make the case for art, culture and the creative industries. The origins of current practices are considered, as is the gradual accretion of a broad range of meanings around the term ‘creative’, and the implications this has for the success of the wider ‘Creativity Agenda’. The specific experience of the city of Liverpool in adopting and furthering this agenda both in the UK and beyond is considered, as is the persistence of a range of problematic, and often contradictory, assumptions and practices relating to this agenda up to the present day.