This Article shows how three modern English thinkers — Hobbes, Locke and Bentham — construe the law as an intersection of secular eternity on the one one hand and transience in modernity on the other, allowing for immovability and movement at the same time, combining stability with change. It details how these theorists, who undoubtedly have earned themselves places of honor in the canon of modern political thought, tried to solve the problem of self-grounding in three different and yet paradigmatically (...) modern ways, each of them intertwining law and time in a different fashion, and each of them connecting both law and temporality to happiness. Thus this Article shows not only that these three British thinkers claim in one way or another that while natural desires may provide pleasure, only the law can bring happiness, but also emphasizes that, in their view, the transformation of the former into the latter entails a transformation of temporal consciousness. Thereby this Article foregrounds two elements that are crucial to an understanding of how seventeenth and eighteenth century British thinkers envisaged the transformation of pleasure into happiness by means of the law: first, the notion that the law creates or reinforces duration in social life, and second, the idea that the law can harness the immediacy of desires by assuring the legal protection of enduring pleasures, which lead to happiness. (shrink)

L’immediatezza è il principio che determina la forma delle relazioni sociali nella contemporaneità. Le ricerche sociologiche hanno già da tempo compreso la natura radicale di questa trasformazione e soprattutto in che misura la trasformazione stessa dipenda direttamente dagli sviluppi della tecnologia: il passaggio dalla “società industriale” alla “società della comunicazione” ha infatti portato alla modificazione del vecchio “principio di velocità” nel nuovo imperativo: “necessità di immediatezza”. Nel rapporto con l’altro, l’immediatezza si articola in tre aspetti, riferiti rispettivamente alla spazialità, alla (...) temporalità e alla corporeità umane: la telepresenza, ossia la possibilità di essere presenti a distanza, l’istantaneità, cioè la capacità di riduzione dei tempi alla dimensione puntuale dell’istante, e la coscienza pornografica, una coscienza di sé che è svincolata dalle narrative di lunga durata ma che dipende esclusivamente dalla visibilità e dal godimento del corpo. Seguendo l’organizzazione di questi tre caratteri si giunge a descrivere con accuratezza la relazione che oggi l’uomo occidentale intrattiene con il mondo. Il contributo della psicopatologia a questa ricerca rende chiaro come l’altro, costretti a conformarsi a immediatezza, non è più una parte di una narrazione condivisa, ma l'oggetto instabile e disincarnato di occasioni temporanee. In questa prospettiva l’immediatezza descrive anche le modalità relazionali del borderline, che sembra dunque proporsi quale struttura diffusa di personalità. (shrink)

The author presents John Dewey’s mature account of temporal continuity, showing how Dewey’s position can be identified as a form of radical temporalism. Even at the most elemental level (that of subatomic particles), natural existence is for such a temporalist an irreducibly temporal affair. While he focuses primarily on Dewey’s “Time and Individuality” (1940), the author supplements his account by drawing upon Experience and Nature (1925), “Events and the Future” (1926), and to a lesser extent, other texts. In his magnum (...) opus, Dewey draws a crucial distinction between temporal quality and temporal seriality. In an essay published the following year, he insists, contra C. D. Broad, on qualitative heterogeneity being an intrinsic trait of even the thinnest slice of the tem-poral continuum. The most elemental units of the temporal flux are neither “eternal and immu-table”, nor qualitatively homogenous. They also exhibit a from-to-through structure, with the dimensions of time being defined by these terms (pastness as from which, futurity as toward which, and presentness as through which). By relating the distinction between temporal quality and temporal seriality as well as the central claims made in “Events and the Future” to “Time and Individuality”, the author brings into clear focus the contours of Dewey’s radical temporalism. (shrink)

The moral pedagogy in the fairy tales is simple but powerful. It is concentrated in the lesson –according to the message of Aristotle– about the finalism sense of action: it makes the child understand that the human answer is an action with sense. Everything in the fairy tale leads to this perspective. Moreover, it exemplifies MacIntyre’s opinion which says that current people tend to be proto-aristotelian and to understand their own life and the other’s in narrative terms.

Ordinary clocks do not measure time in the common and Newtonian sense, and there is a similar problem for spatial measurements due to effects of motion and gravitation. Einstein’s theories of relativity are based on the denial of the possibility of the ‘absolute’ measurements that would be required. Nevertheless, here it is shown how such measurements can be performed. For this purpose, a “light clock” (or equivalent) is linked with a “space-time odometer” that counts the zero crossings in the field (...) of the cosmic microwave background radiation. The readings of these two instruments allow to calculate the time interval and the length of their path in Euclidean space even in the presence of local variations in gravitational potential. (shrink)

Following an extensive review of the moral intensity literature, this article reports the findings of two studies (one between-subjects, the other within-subject) that examined the effect of manipulated and perceived moral intensity on ethical judgment. In the between-subjects study participants judged actions taken in manipulated high moral intensity scenarios to be more unethical than the same actions taken in manipulated low moral intensity scenarios. Findings were mixed for the effect of perceived moral intensity. Both probable magnitude of consequences (a factor (...) consisting of magnitude of consequences, probability of effect, and temporal immediacy) and social consensus had a significant effect; proximity did not. In the within-subject study manipulated moral intensity had a significant effect on ethical judgment, but perceived moral intensity did not. Regression of ethical judgment on age, gender, major, and the three perceived moral intensity factors was significant between-subjects, but not within-subject. Ethical judgment was found to be a more robust predictor of intention than perceived moral intensity using a within-subject design. (shrink)

The moral pedagogy in the fairy tales is simple but powerful. It is concentrated in the lesson -according to the message of Aristotle- about the finalism sense of action: it makes the child understand that the human answer is an action with sense. Everything in the fairy tale leads to this perspective. Moreover, it exemplifies MacIntyre's opinion which says that current people tend to be proto-aristotelian and to understand their own life and the other's in narrative terms.

This article discloses the question of the pre-giveness of the other and alterity by analyzing and comparing the temporality of consciousness and the role of affection and sensation in Husserl and Levinas.I argue that within the intentional flow of consciousness one can find non-intentional structures, i.e. affection and hyletic data which mark a passivity of consciousness, break intentional act and welcome the other. While discussing the temporal structure of consciousness the special attention is given to the discussion of pra-impression.

In order to introduce the text description of this class will show seven keywords, they represent In order to understand the general process for the seven. Need to mention is that the author published in Chinese script - title "Gadamer's philosophy of the seven key" - and this content is not the same. In fact, only one in that the use of key words in this speech mentioned the four key words will be used the next article. 1 Linguistics as (...) high as the United States in the "real management and methods," a book in the last third of the contents of the specified language is "the universal medium of interpretation of experience." It is in this medium, things are understood, understanding and interpretation to occur. It is the fundamental and the first thing on a switch, it makes things possible, without it, understanding must not occur. It is in this medium, the real management there, although in terms of the real incidence of management and is not limited to this medium. Sprachlichkeit is up to the universal language of the United States to name the first of of a proper noun. history of as language, history is a popular media, and history is also rising to become "a hermeneutical principle." To understand history, which must be traced back to Heidegger, "and there is time," the first six parts, entitled "Timing and historical nature." This title has been out of correct revelation, history is the study of this structure there is some a result of this there is the same as in the past and the present one there, it was possible there through his plans and will itself which extend to the future. Dilthey on Heidegger benefit of this term and its historical significance, but that裡Dilthey, the basic processes of life, and in Heidegger, the basic process is still alive there in the past and future Among the visual field. It is a learning process rather than the life there is a process, there is a process rather than the life philosophy of life regardless of the process. Dilthey and Gadamer and Heidegger places of historical analysis for the premise. 3 by the historical role of awareness up to the United States, this keyword has not appeared in from Schleiermacher, Dilthey, or Heidegger that裡. But Heidegger once spoke to the author, the concept represented by the word directly from Dilthey and future. Indeed, the word and the "fusion of" two persons都benefit from Hegel and Dilthey, Heidegger than In order to impact. At the same time, for the resumption of encounter with the text of the history of this effort directly, the recall In order to Heidegger and Qike fruit. Up to the United States shows that it is essential that "the existence of the structure." That is to say, it is usually associated with the text coming from a tradition, crushed In order to present before the sight. 4 hermeneutics into the cycle and see in understanding the structure and the first cycle between hermeneutics, there is a close link. Hermeneutics and the cycle regardless of such a concept, not only from a part of the overall future understanding, understanding from the part of the overall future. This is a logical contradiction, but it depicts In order to understand the kind of work does not have the way to recovery. This is to see What are the relationship? Up with the United States use this word in the former understanding of the meaning of a person he can understand any part of the text and context before, must have a pre-understanding. When Schleiermacher hermeneutics for the cycle to take a more formalistic point of view, he also participate in an objective and subjective look for. In order to reject the United States is up for the subjective, and he describes, in understanding the text, our understanding of a person but a different meaning, and this sense of ownership in a situation with a theme of the event . Heidegger the hermeneutic circle and put the world on their own understanding of the context in which the world is time and the existence of the world, in order to In order to reinvent the meaning of hermeneutic circle. It exists in the time being and is expected to forward to the future, it is a person exists in the world of all possibilities of a personal meaning. Gadamer Heidegger and then one more step beyond, he is defined as the cycle of hermeneutics and the interpretation of the traditional sports were a correlation between the movement. Heidegger's masterpiece裡tradition and not important, but those for the traditional and the interpretation of the relationship between text, up to the U.S. In order to play an important role in the analysis. Up to the United States, brought into the discussion In order to "complete expectation" that the key concept, it is subject to the historical role of awareness of the operation of the core. In this part of the contents of the directory for the present review is to show to some of the major associated. 5 authority and tradition up to the United States on the authority of the traditional view is that from his understanding and the hermeneutic circle before the concept developed in the future. Enlightenment for the suspect an effort made ​​to switch the authority of the United States to see coming up is one-sided, because the authority is naturally found in the leading field in a PhD, the referee, professors and experts. Recognize these people for a topic you know even in the natural and appropriate. So regardless of up to his brother's wife is not a legitimate authority and legitimate authority, and authority as a concept to see the future is appropriate. Similarly, our traditional understanding among the living, and we should explore a more deeper with our traditional relationship. Traditional German text is Űberlieferung, incurs passed along . Once again, as a fair decision without dialogue and is not legal to see, up to the United States against this anti-traditional views of the Enlightenment. 6 Depending on the domain of integration sight philosophy of integration is another sign up to the United States is not to find elsewhere. Basically, the text of the encounter with a sight In order to involve the integration of text and interpreter of the visual field of sight. And a man's own awareness is a fusion of traditional with the product. "That is convenient to get a sight of their own, but also requires a fusion of traditional with." In order for each dialogue also involves a fusion of sight. It is a wildcard description of the terminology. 7 Dialogue dialogue leading up to the U.S. interpretation of the theme of philosophy, relying on a life of his ideal, he as such a show of openness. Schleiermacher as high as the United States in general, is a talented rapper. However, the need for a fruitful dialogue open to others point of view, and the need to recognize that he or she may be right. In a true dialogue, both sides都want to talk more close to the truth regardless of management topics, which are more important than winning. Finally, the dialogue is a basic hermeneutical tool, a means to understand, so we coming close to the theme of the issue, but ready to change our point of view. An introductory section explains that the lecture will present seven key terms, representing seven aspects of the universal process of understanding. It is noted that a published lecture in Chinese by this author under the title "Seven Key Terms in the Philosophy of Hans-Georg Gadamer "is not the same as this, and indeed only one of the terms in that lecture is used in this one, although four of them are used in tomorrow's lecture. An introductory section explains that the lecture will present seven key terms, representing seven aspects of the universal process of understanding. It is noted that a published lecture in Chinese by this author under the title "Seven Key Terms in the Philosophy of Hans-Georg Gadamer" is not the same as this, and indeed only one of the terms in that lecture is used in this one, although four of them are used in tomorrow's lecture. 1. Sprachlichkeit-Linguisticality As Gadamer notes in the final third of Truth and Method, language is the "universal medium of hermeneutical experience." It is the medium in which things are understood, the medium in which understanding and interpretation take place. It is fundamental and prior to everything. It makes things possible, and without it understanding cannot take place at all. It is the medium in which truth happens, although there is more than this to the happening of truth. Sprachlichkeit is the term Gadamer uses to name the "universal priority" of language. 2. Geschichtlichkeit-Historicity Like language, history is a universal medium, and historicity is raised to the status of "a hermeneutical principle. "To understand historicity, one has to go back to the six sections of Heidegger's Being and Time that carry the heading" Temporality and Historicity. "Already this title correctly suggests that historicity is a consequence of the ontological structure of Dasein as a being that lives with a past and a present, and also extends itself into the future through projecting possible being. Heidegger is indebted to Dilthey for the term and sense of historicity, but in Dilthey the basic process is life, whereas in Heidegger, the basic process is being-in-the-world in horizons of past and future. It is an ontological process rather than a life process, a process of being rather than the vitalism of life in life-philosophy. Gadamer presupposes Dilthey's and Heidegger's analysis of Geschichtlichkeit . 3. das wirkungsgeschichtliche Bewusstsein-the Historically Effected Consciousness This is a key term in Gadamer that does not appear in Schleiermacher, Dilthey, or Heidegger. Heidegger once remarked to the author that the idea that this term represents is straight out of Dilthey. Certainly it and the "fusion of horizons" are more indebted to Hegel and Dilthey than to Heidegger. At the same time, the effort to restore the historical immediacy of encounter with a text recalls Heidegger and Kierkegaard. Gadamer argues that the essence of it is " the structure of experience. "That is to say, it shatters the present horizon, usually with a text from tradition. 4. Hermeneutische Zirkel and Vorurteil-Prejudice and the Hermeneutical Circle There is an intimate connection between the fore-structure of understanding and the hermeneutical circle. The hermeneutical circle refers to the idea that one understands the part from the whole, but also the whole from the parts. This is a logical contradiction, but it describes the back and forth way that understanding works. What has this to do with prejudices ? Gadamer uses this word as synonymous with pre-understanding, and one has to have a prior understanding before one can understand any part of a text or situation. While Schleiermacher took a more formalistic view of the hermeneutical circle, he also looked at the objective and subjective sides. Gadamer rejects the subjective side and explains that in understanding a text we are not understanding a person but a meaning that resides in a situation and a subject-matter. Heidegger revolutionized the meaning of the hermeneutical circle by placing it in the context of an understanding of self and world that is temporal and existential. It exists in time and anticipates a future, and it is the personal sense of one's possibilities for being in the world. Gadamer took a step beyond Heidegger by defining the hermeneutical circle as the interplay between the movement of tradition and that of the interpreter. Tradition plays little role in Heidegger's masterwork, but it and the interpreter's relation to the text loom large in Gadamer's analysis. The discussion brings in the key concept in Gadamer of the "anticipation of completion" which is central to the working of historically effected consciousness. A review of the table of contents for the section is presented to show some of the major relationships. 5. Autorität und Tradition-Authority and Tradition Gadamer's views with regard to authority and tradition grow out of his concepts of preunderstanding and the hermeneutical circle. The effort by the Enlightenment to discredit all authority seemed one-sided to Gadamer because authority is naturally accorded to doctors, judges, professors, and other experts in a field. To acknowledge that they know more about a subject than you do is natural and appropriate. So Gadamer speaks of legitimate authority and illegitimate authority, but authority as a concept seems appropriate. Likewise, tradition inhabits our understanding, and we should seek an ever deeper relationship to our tradition. The German word for tradition is Űberlieferung, that which is handed down. Again, Gadamer takes up arms against the Enlightenment prejudice against tradition as illegitimate without dialogue or a fair trial. 6. Horizontverschmelzung-Fusion of Horizons The "fusion of horizons "is another trademark of Gadamerian philosophy. It is not found elsewhere. Basically, the encounter with the text involves a fusion of horizons, that of the text and that of the interpreter. Also one's own consciousness is a product of a fusion of horizons with the tradition. "Even to acquire one's own horizon requires a fusion of horizons with the tradition." Every conversation, too, involves a fusion of horizons. It is an all-purpose term. 7. Conversation Conversation is a leitmotif of Gadamer's hermeneutical philosophy, an ideal he lived by, an openness he exemplified. Schleiermacher was a gifted conversationalist, as was Gadamer. But a fruitful conversation requires openness to the viewpoint of the other person, and the acknowledgement that he or she could be right. In a true conversation both partners want to come closer to the truth about a matter, and that is more important than winning. Ultimately, conversation is a basic hermeneutical tool, a means of reaching understanding, so we approach a subject with questions, but ready to change our point of view. (shrink)

The article exhibits the problem of God\'s action in the world as it is presented in process philosophy. Whitehead conceived actuality as heterogenical category within which we can distinguish two modes: actuality of being and actuality of becoming. The second one is the actuality in primary sense; there is ontological primacy of becoming over being. Being is, according to J. L. Nobo\'s interpretation, a product of becoming and not vice versa. Actuality of being depends on being-for-becoming. Actuality of becoming depends (...) on prehending being into subjective immediacy of internal process of concrescence. Because of subjective character of becoming, an entity which is still becoming, cannot be prehended. It means that entity cannot play any role in becoming of other entities. Only entity whose process of concrescence has completed, entity which is in fact being, can play such a role. If God is a main exemplification of becoming, as primary actual, He is imprehensible. He cannot be objectified and His actuality is only actuality of subjective arrested immediacy. He cannot influence the world. Many process philosophers tried to solve the dillema. One of them is Lewis S. Ford whose proposal depends on introducing the third mode of actuality: the future creativity. But Ford does not consider basis of that temporal paradigm of actuality and doesn\'t examine its justification. So what we need is a reconstruction of Whitehead\'s philosophy which will let us check his ontological, epistemological and methodological presuppositions and asses whether the temporal paradigm is justified, whether the God-world problem really arises and whether it is possible to solve it in terms of process theory of actuality. (shrink)

Lately, the concept of experience, which postmodernist theoreticians declared dead, has seen a renaissance. The immediacy of experience seems to offer the possibility of reaching beyond linguistic discourses. In their attempt to overcome the “linguistic turn,” scholars such as Ankersmit, Gumbrecht, and Runia pit experience against narrative. This paper takes up the recent interest in experience, but argues against the opposition to narrative into which experience tends to be cast. The relation between experience and narrative is more complex than is (...) widely assumed. Besides representing and giving shape to experience, narratives are received in the form of a experience. Through their temporal structure, narratives are crucial to letting us re-experience the past as well as to representing the experiences of historical agents. This potential of narrative is nicely illustrated by Thucydides' History of the Peloponnesian War in which “side-shadowing” devices restore history's experientiality. Through “side-shadowing,” narrative can challenge the tendency toward teleologies inherent in merely retrospective histories and can re-create the openness intrinsic to the past when it still was a present. However, the “side-shadowing” devices used by Thucydides are fictional. To conceptualize the price and gain of “side-shadowing” in historiography, the paper advances the concept of a “narrative reference” . Introspection, speeches, and other “side-shadowing” devices sacrifice truth in a positivist sense, but permit a second-level reference, namely to history's experientiality. In a final step, the paper turns toward modern historians—most of whom are reluctant to use the means of fiction—to briefly survey their attempts at restoring the openness of the past. (shrink)

This article reflects on childhood times based on the words chrónos, kairós and aión, which the Greeks use to conceptualize time, in dialogue with different authors, such as Kohan, Pohlmann, Skliar, Kohan and Fernandes. In the pedagogical field, we explore how Pedagogy of Childhood has focused on the importance of childhood temporality and children’s agency, with contributions from Hoyuelos, Parrini, Aguilera et al., Barbosa, Oliveira-Formosinho e Araújo, Oliveira-Formosinho, Pinazza and Gobbi. We reflect on what forms of organizing time are (...) possible when we think about children and their childhoods. Would it be a continuous and chronological time, a time of opportunity for the instant or the timeless intensity of the aiónic? Would it be possible to open spaces in school for other temporalities, given its immersion in chronological time, and its extreme emphasis on routine? We seek a relationship between forms of temporality, philosophy, and early education in order to explore alternative possibilities in the relationship between child and the school context, and conclude that, since the child’s is the aiónic time of intense experience, it is in the heightened dynamic immediacy and the multiple symbolic languages of play that it may be possible to create pedagogical structures that provide a dwelling for childhood temporality. (shrink)

This study uses a sample of 242 European professional purchasers to examine the six characteristics of the decision-making process developed by Jones. The illustration mobilizes six original scenarios reproducing typical purchasing situations. Two versions of each scenario were used, one representing low moral intensity and the other showing high moral intensity. Two populations were sampled: one of 120 purchasers responding to the first version of the questionnaire and a second of 122 different purchasers responding to version two. Each version contained (...) three low-moral-intensity scenarios and three high-moral-intensity scenarios. The research also investigates two concepts suggested by Hannah et al. :663–685, 2011): examining the complexity of ethical decision-making through scenarios and microsocial professional ethical contexts. The findings reveal that neither traditional individual characteristics nor standard company characteristics have a real impact on two stages of Rest’s model. They also show that internal locus of control and a high microsocial ethical environment have a positive impact on purchaser awareness and intention to act ethically for four of the six dimensions: magnitude of consequences, social consensus, temporal immediacy, and concentration of effect. Moral intensity factors also have a positive impact on these four dimensions. The two other dimensions are not related to the independent variables. (shrink)

: This paper presents a detailed account of Descartes' derivation of his second law of nature—the law of rectilinear motion—from a priori metaphysical principles. Unlike the other laws the proof of the second depends essentially on a metaphysical assumption about the temporal immediacy of God's operation. Recent commentators (e.g., Des Chene and Garber) have not adequately explained the precise role of this assumption in the proof and Descartes' reasoning has continued to seem somewhat arbitrary as a result. My account better (...) reveals the dependence of the second law on fundamental principles about time and causality. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Zen master Dōgen 道元, the founder of the Sōtō sect in medieval Japan, is often referred to as the leading classical philosopher in Japanese history and one of the foremost exponents of Mahayana Buddhist thought. His essays, sermons and poems on numerous Buddhist topics included in his main text, the Shōbōgenzō 正法眼蔵, reflect an approach to religious experience based on a more philosophical analysis of topics such as time and temporality, impermanence and momentariness, the universality of Buddha-nature and naturalism, (...) and the role of language and emotions in the experience of enlightenment, as well as practical matters such as ethics and the precepts or meditation and daily activity, than is generally found in the writings of most thinkers in the Japanese Zen school. The single main element in Dōgen’s unique approach to Buddhist theory and practice is his emphasis on the multiple meanings of “impermanence” in personal experience and as the basis for Buddhist metaphysics. In particular, he emphasizes the radical impermanence of each and every phenomenon and the need to attain spiritual realization by acknowledging and identifying, rather than resisting or denying, the ephemeral nature of reality. The notion of impermanence or the transiency of all aspects of human and natural existence has always been a fundamental feature of the Buddhist teaching since the sermons of the Buddha dealing with the doctrines of anātman and anitya regarding the insubstantial, selfless nature of things. However, Dōgen repeatedly cautions against any subtle tendency to view ultimate reality––nirvāṇa or the universal “Buddha-nature” ––as an eternal realm separable from, or independent of, impermanence. Instead, he stresses that a full, unimpeded, and perpetually renewed experience of impermanence and of the unity of “being-time” is the touchstone and framework of every aspect of Buddhist meditative training and spiritual realization. Other key doctrines related to this are the “spontaneous here-and-now manifestation of Zen enlightenment”, the “eternal moment of meditation”, the “immediacy of awakening”, and “impermanence-Buddha-nature”. In addition to looking at Dōgen’s poetic writings on aesthetic experience, later writings on karma and supernaturalism will be briefly examined for their contributions to his philosophical discussions of mystical awareness and the issues of commitment and responsibility involved in authentic religious practice. (shrink)

International relations constitute a purely intersubjective field. Its actors, objects and meanings have no self-standing “objectivity” in a narrow sense. As such, the IR theorisation for conducting studies on the IR phenomena and events lacks the anchor of the independent objectivity which the positive sciences enjoy. The IR theorisation consequently relies on its own preceding world-views, interpretative frameworks and narratives, which become genetic acts, creating an ontological complication. In doing so, the IR theorisation tends to bend, alter and occasionally omit (...) the pre-theoretical, immediate and intersubjective givenness of the IR phenomena and events. Also, the theory’s narrative on the phenomena and events needs to include the narrative of their genesis, which are imposed upon their immediate, therefore post-genetic givenness, causing a temporal distortion. Still, there might be a possibility to study them as they are given, avoiding these complications. The Husserlian phenomenology provides this endeavour with fundamental concepts and tools that are related to intersubjectivity, temporality and access to the immediacy of the givenness of the phenomena and events. However, the Husserlian phenomenology itself has also a tendency to relapse into the complications of theorising, in particular due to its “genetic” proposals. Yet, these are “remediable” under the light of the Heideggerian criticism on the matters of intersubjectivity, temporality and the nature of the immediate, “innerworldy” givenness. In other words, the phenomenology, with contributions of the Heideggerian phenomenological-ontology, may effectively provide the IR studies with ways to approach the IR phenomena and events in their pre-theoretical, immediate, intersubjective, authentic givenness. Keywords: phenomenology, international relations, international relations theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Loopholes, Gaps, and What Is Held Fast”Lorraine Code (bio)Keywordsepistemology, incredulity, knowing other people, memory, testimonyNancy Potter’s compelling essay points to some of the limitations of the theoretical apparatus that the post-positivist empiricist epistemologies of the Anglo-American mainstream make available for evaluating experiential memory claims in general, and “false memory syndrome” in particular. The loopholes and gaps in these theories of knowledge push urgent questions about testimony, trust, (...) and the politics of knowledge into a prominent place on the agendas of successor epistemology projects. These politics are enacted in societies whose dominant rhetoric privileges eye-witness evidence and “knowledge by acquaintance” as sources of objective knowledge, yet whose practices of incredulity—of granting and withholding acknowledgement to testimonial knowledge claims—expose power-saturated structures of dominance and subordination and of arbitrarily uneven distributions of epistemic authority. 1For classical empiricists and their successors, perception, memory and testimony, hierarchically ordered with perception on top, count as the principal sources of empirical knowledge. This ordering maps the relative reliability of the processes, with perception ranking as most stable, reliable and secure, memory coming second on all of these scores, and testimony ranking a poor third, closer to opinion, hearsay and rumor than to the other more respectable sources. Perception, for these theories, is “immediate” in that it is direct, bare, uncontaminated either by the particularities of the perceiving subject or of the perceptual event: from its presumed (but contestable) immediacy, all the rest follows. Memory counts as perception at one remove, its reliability a function of the relative “vividness” of the perceptions it commemorates. The esteem commonly claimed for eye-witness testimony derives from this conception of memory, which is believed to ground the testimony because of its presumed proximity to “immediate” perception. Yet testimony, even in its restricted “knowledge by description” form, tends by contrast with perception and memory to be a shaky affair; and as the temporal distance between event and testimony increases, so knowledge of matters unavailable to direct observation fares less and less well in classical and post-positivist epistemologies. A distrust of testimony is at once understandable and odd, because so small a proportion both of communal and of “individual” knowledge indeed derives from first-hand observations and experiences: most of it comes from testimony in an extended sense that encompasses books, teachings, media reports, all of the sources and resources on which both secular and scholarly knowledge relies for much of its substance. This expanded construction of the term runs alongside [End Page 255] the first-personal “testimonial” sense that is more plainly operative in discussions of false memory syndrome which, despite its experiential source, is often likewise contested on grounds that discredit the “privileged access” status that these same epistemologies claim for experience at first hand.Epistemologists commonly assimilate testimony to monologic, observational knowledge, deriving its constitutive features from instances where a testimonial utterance can pose as another perception—this time an auditory one—in a personal set of knowledge-producing observations (e.g., Fricker 1987). Because the speaker may be lying or mistaken, the process may fail to transmit knowledge; but this failure can be read as a simple perceptual error or a misremembering. Such approaches ignore the constitutive function of an interpreter/listener in fostering or thwarting testimonial knowledge to subsume it, too, much under an observational model. Indeed, not only do they separate the knower from the known and the process of knowing, as Potter observes, they also separate the knower from other knowers to guard against their influencing (= contaminating) the knowledge-production process. Experiences where an interlocutor actually enables the production of knowledge do not figure in such analyses, 2 whose effect is to suggest that giving or hearing testimony invokes no more significant moral-political issues than do acts of perceiving tables and chairs: that hearing, like seeing, is believing. (Norman Malcolm’s analysis of memory, which Potter cites, would also underwrite such a view of testimony.) Yet standard empiricist and post-positivist epistemologies generate an inquisitorial model of eliciting testimony in which the more generalized “testimony” in the knowledge that people acquire from books, media reports, conversation, reference sources recedes from... (shrink)

The aim of this work is to contribute to the ecological and phenomenological understanding of people with borderline personality disorder by analyzing the relation to the “limit situations”, a concept that was formulated one century ago by Karl Jaspers. This study makes it possible to go beyond the nosographic debate in which the pathological entity is often confined, by defining it as a disorder “situated” between neurosis and psychosis. The five limit-situations (which have been described by Gabriel Marcel in his (...) introduction to Jaspers’ proposals) – namely, (1) historical situation, (2) love conflict, (3) suffering, (4) guilt, (5) and death – turn out to be crucial situations in which the limit-existence manifests itself in a specific way. In particular, we observe that the peculiarities of the experience characterizing the borderline individual’s limit situations rely on a temporality grounded on instantaneity and immediacy, and imply a specific relationship to others. Finally, the limit state seems to call into question this primordial tendency by suggesting that every man is bound to be part of time, to love, to feel guilty, to suffer and to flee this suffering, to die and to organize his life by considering such a condition of finitude. (shrink)

Over the last decades, education has shifted more clearly to a learner-centered understanding, including particularly constructivism, leaving little room conceptually for a substantive role for the teacher. This article develops a Levinasian framework for understanding the teacher as other. It begins by exploring the spatial metaphors of Levinas’s idea of the teacher as transcendent but shifts to Levinas’s idea of time as instants (durations) that come to the ego as a gift from the future. The article employs these temporal metaphors (...) to understand better the transcendence of the teacher. (shrink)

In this paper we address the epistemological debate between emerging perceptual accounts of knowing other minds and traditional theory of mind approaches to the problem of other minds. We argue that the current formulations of the debate are conceptually misleading and empirically unfounded. Rather, the real contribution of PA is to point out a certain ‘immediacy’ that characterizes episodes of mindreading. We claim that while the intuition of immediacy should be preserved for explaining the nature and function of some cognitive (...) processes of mindreading, the notion of immediacy should apply for describing a particular epistemic attitude and not a particular type of epistemic access. We draw on Wittgenstein's discussions of one's relation to other minds to elaborate our claims and to move the epistemological discussions beyond stalling debates between ToM and PA. (shrink)

TRADITIONALLY, SCHLEIERMACHER’S REDEN ÜBER DIE RELIGION has been considered to emphasize intuition and immediacy as the means by which to understand and relate to the world. This reading was popularized by Wilhelm Dilthey and carried on into the twentieth century by Karl Barth and Hans-Georg Gadamer. Though none of these thinkers is solely interested in the Reden, it forms their starting point and as such informs much of their interpretation of Schleiermacher’s later works. More recently, however, an emphasis on Schleiermacher’s (...) notion of mediacy has appeared, with readings ranging so widely that some call Schleiermacher a “good Kantian,” remaining within the limitations of Kant’s first Kritik, while others claim that Schleiermacher is proto-Hegelian, and still others, that he is a proto-pragmatist. In emphasizing one or the other, immediacy or mediacy, intuition or mediation, these attempts have avoided the complexity of Schleiermacher’s project: the fact that Schleiermacher considers immediacy and mediacy, intuition and mediation, of equal significance and goes so far as to place them side by side in his understanding of experience and of knowledge. (shrink)

Recent findings indicate that complex cognitive functions are organized at a global level in the brain and rely on large-scale information processing requiring functional integration of multiple disparate neural assemblies. The critical question of the integration of distributed brain activities is whether the essential integrative role can be attributed to a specific structure in the brain or whether this ability is inherent to the cognitive network as a whole. The results of the present study show that mean values of the (...) running correlation function in frontal-temporal EEG pairs with one electrode in the anterior cingulate cortex are significantly higher than the same values in other frontal-temporal pairs. These findings indicate a particular role of the ACC in large-scale communication, which could reflect its unique integrative functions in cognitive processing. (shrink)

This essay concentrates on philosophizing that happens outside and in addition to planned philosophical discussions, philosophizing that comes alive in practice, that is intensified in children’s encounters with the world, with others, with language, in play. It contemplates how adults, educators and parents encounter children and are affected by children’s philosophical explorations. What is the role of the adult in children’s philosophical questioning? How can we respond to children’s philosophizing? What does it mean to do so? The essay explores philosophical (...) exercises for early childhood educators in a range of examples from literature – memoirs, autobiographies, fiction and works that play in between those. By thinking through these literary examples, it investigates how educators can prepare for philosophical encounters with children through exercises of reading and thinking. In doing so the essay experiments with a form of writing that itself becomes a philosophical exercise. Through the examples and exercises the essay suggests how early childhood educators can train for a pedagogical immediacy that involves listening to the philosophical and existential questioning in children’s play, tantrums, and silences. The investigations and readings of the examples are not meant to lead to conclusions that can be directly applied in pedagogical practices; neither do they work as arguments for listening or listening in a particular way to children. What we get, and what I am looking for, is rather the experience of working and thinking through these examples. (shrink)

The paper first introduces the concept of implicit and explicit temporality, referring to time as pre-reflectively lived vs. consciously experienced. Implicit time is based on the constitutive synthesis of inner time consciousness on the one hand, and on the conative–affective dynamics of life on the other hand. Explicit time results from an interruption or negation of implicit time and unfolds itself in the dimensions of present, past and future. It is further shown that temporality, embodiment and intersubjectivity are (...) closely connected: While implicit temporality is characterised by tacit bodily functioning and by synchronisation with others, explicit temporality arises with states of desynchronisation, that is, of a retardation or acceleration of inner time in relation to external or social processes. These states often bring the body to awareness as an obstacle as well. On this basis, schizophrenia and melancholic depression are investigated as paradigm cases for a psychopathology of temporality. Major symptoms of schizophrenia such as thought disorder, thought insertion, hallucinations or passivity experiences may be regarded as manifesting a disturbance of the constitutive synthesis of time consciousness, closely connected with a weakening of the underlying pre-reflective self-awareness or ipseity. This results in a fragmentation of the intentional arc, a loss of self-coherence and the appearance of major self-disturbances. Depression, on the other hand, is mostly triggered by a desynchronisation from the social environment and further develops into an inhibition of the conative–affective dynamics of life. As will be shown, both mental illnesses bear witness of the close connection of temporality, embodiment and intersubjectivity. (shrink)

In this article I reply to three critics. Responding to Cinzia Arruzza, I argue that capital encounters a large spectrum of differences of gender, religion and ethnicity, as well as differences generated by racism. Capital is able to use these differences to its own profit in order to differentiate wages and intensities of exploitation and thereby divide the working class. Responding to Peter Osborne, I contend that my temporal-layered framework elucidates how capital organises and synchronises different temporalities according to the (...) dominant temporality of socially-necessary labour time. I combine Bloch’s idea of ‘multiversum’ and Benjamin’s idea of history in order to show how conflicting temporalities can disclose new political possibilities of liberation. Responding to Harry Harootunian, I articulate the relationship between my reading of Marx and the Postcolonial critique. (shrink)

In the first of two essays on the ontological ground of otherness, and its phenomenological availability, we argue that what we call the “occasion” within the encounter of others are sources as well as re-sources for disclosing the results of a construction and concealment of a secret identity, one we keep from ourselves even though we have created it. Yet, individuals are capable of returning their encounters to the well of sensus communis, and that sensus communis is as natural as (...) it is cultural. Human beings are not compelled to interpret strangeness as threat, even if we are culturally compelled to interpret strangeness itself. Narrative lives in our sensus communis, and it is open, revisable, even danceable. Immediacy is person, the person that is community, and it is sublime, is both liked and disliked. (shrink)

Material objects extend through space by having different spatial parts in different places. But how do they persist through time? According to some philosophers, things have temporal parts as well as spatial parts: accepting this is supposed to help us solve a whole bunch of metaphysical problems, and keep our philosophy in line with modern physics. Other philosophers disagree, arguing that neither metaphysics nor physics give us good reason to believe in temporal parts.

The levels that compose biological hierarchies each have their own energetic, spatial and temporal structure. Indeed, it is the discontinuity in energy relationships between levels, as well as the similarity of sub-systems that support them, that permits levels to be defined. In this paper, the temporal structure of living hierarchies, in particular that pertaining to Human society, is examined. Consideration is given to the period defining the lifespan of entities at each level and to a periodic event considered fundamental to (...) the maintenance of that level. The ratio between the duration of these two periods is found to be approximately 2.5 × 104. A similar relationship is found when lower, non-living levels of molecules and atoms are considered. This suggests that there is a constant factor of amplification between analogous periodic events at successive levels of the Human hierarchy. (shrink)

Originally published in 1991, this book focuses on a major problem in the philosophy of Martin Buber. This is the topic of immediacy which is presented in terms of the contact between human beings on the one hand, and man and God on the other. The basic theme throughout is whether the I-Thou relation refers to immediate contact between human beings, as Buber saw it, or whether that relation is something established or aspired to. This is an important study which (...) should be consulted in any future discussion of Martin Buber’s thought. At the same time, it raises critical issues for recent European philosophy. Students of philosophy, and religious and social thought will find its critical exposition extremely helpful. (shrink)

Originally published in 1991, this book focuses on a major problem in the philosophy of Martin Buber. This is the topic of immediacy which is presented in terms of the contact between human beings on the one hand, and man and God on the other. The basic theme throughout is whether the I-Thou relation refers to immediate contact between human beings, as Buber saw it, or whether that relation is something established or aspired to. This is an important study which (...) should be consulted in any future discussion of Martin Buber’s thought. At the same time, it raises critical issues for recent European philosophy. Students of philosophy, and religious and social thought will find its critical exposition extremely helpful. (shrink)

Adorno believed that a circular relationship was established between immediacy and mediation. Should we now say that this model with its clear Hegelian influence is outdated? Or does it need some theoretical integration? This volume addresses these questions by covering the performance of music, its technological reproduction and its modes of communication - in particular, pedagogy and dissemination through the media. The book's four parts each deal with different aspects of the mediation process. The contributing authors outline the problematic moments (...) in Adorno's reasoning but also highlight its potential. In many chapters the pole of immediacy is explicitly brought into play, its different manifestations often proving to be fundamental for the understanding of mediation processes. The prime reference sources are Adorno's Current of Music, Towards a Theory of Musical Reproduction and Composing for the Films. Critical readings of these texts are supplemented by reflections on performance studies, media theories, sociology of listening, post-structuralism and other contiguous research fields. (shrink)

Temporal justification logic is a new family of temporal logics of knowledge in which the knowledge of agents is modelled using a justification logic. In this paper, we present various temporal justification logics involving both past and future time modalities. We combine Artemov’s logic of proofs with linear temporal logic with past, and we also investigate several principles describing the interaction of justification and time. We present two kinds of semantics for our temporal justification logics, one based on interpreted systems (...) and Fitting models and the other based on Mkrtychev models, and further, we establish soundness and completeness. We show that the internalization property holds in some of the temporal justification logics. We further investigate the two well-known epistemic-temporal notions of no forgetting and no learning in the framework of justification logics. Finally, we present temporal justification logics that avoid the logical omniscience problem. (shrink)

ABSTRACT Temporal eliminativism is the view that the present is privileged because past and future entities do not exist. Temporal ersatzism is the view that the present is privileged because, although past and future entities exist, they are not concrete. I argue that shifting from temporal eliminativism to temporal ersatzism can help to address objections to the former theory that are due to relativity theory—but only if temporal ersatzism is understood in a fairly specific way and only in so far (...) as the temporal ersatzist is willing to take on some prima facie surprising commitments. I close by showing how the claims that I make with respect to temporal ersatzism generalise to other theories of time on which the present is privileged, including McDaniel’s [2018] presentist existential pluralism. (shrink)

Claiming that individuals and communities get their choices, rhythms and practices biopolitically choreographed by temporal mechanisms that dictate which human experiences are included or excluded, Elizabeth Freeman states that those ‘whose activities do not show up on the official time line, whose own time lines do not synchronize with it, are variously and often simultaneously black, female, queer’. The narrative subject of Bernardine Evaristo's Girl, Woman, Other is black, female and queer in her design of a polyphonic text featuring twelve (...) black women moving through the world in different decades and occupying a temporal dimension that deviates from the linear and teleological modes. I draw on Edelman ; Freeman and Ahmed to analyse Evaristo's novel as a text informed by feminist queer temporality and thus explore these characters’ resistance to chrononormative assumptions like ‘the straight time of domesticated gender, capital accumulation, and national coherence’. In this light, I address her cast of ‘time abjects’ –lesbians, transgender women, feminist killjoys and menopausal females—as characterized ‘chronotopically’ as their racialized and gendered subjectivities coalesce temporally and spatially seeing their pasts and futures interact in a typically transpositional, queer and diasporic continuum. By invoking Freeman's notion of ‘erotohistoriography’ as a distinctive mode of queer time that not only recognizes non-linear chronopolitics, but decidedly prioritizes bodies and pleasures in self-representation, I contend that Evaristo depicts bodies as likewise performing this encounter between past and present in hybrid, carnal and trans-temporal terms. I conclude that in her joining temporality and corporeality, memory and desire, she suggests alternative ways of representing contemporary black British womanhood. (shrink)

Temporal externalism (TE) is the thesis (defended by Jackman (1999)) that the contents of some of an individual’s thoughts and utterances at time t may be determined by linguistic developments subsequent to t. TE has received little discussion so far, Brown 2000 and Stoneham 2002 being exceptions. I defend TE by arguing that it solves several related problems concerning the extension of natural kind terms in scientifically ignorant communities. Gary Ebbs (2000) argues that no theory can reconcile our ordinary, practical (...) judgments of sameness of extension over time with the claim that linguistic usage determines word extensions. I argue that Ebbs shows at most that no theory other than TE can effect this reconciliation. Furthermore, while Ebbs’ argument undermines Jessica Brown’s solutions to two closely related problems about natural kind term extensions (Brown 1998), TE can solve both problems without difficulty. Some criticisms of TE are briefly addressed as well. (shrink)

We focus on three main sets of topics emerging from the commentaries on our target article. First, we discuss several types of animal behavior that commentators cite as evidence against our claim that animals are restricted to temporal updating and cannot engage in temporal reasoning. In doing so, we illustrate further how explanations of behavior in terms of temporal updating work. Second, we respond to commentators’ queries about the developmental process through which children acquire a capacity for temporal reasoning and (...) about the relation between our account and accounts drawing similar distinctions in other domains of cognition. Finally, we address some broader theoretical issues arising from the commentaries, concerning in particular the question as to how our account relates to the phenomenology of experience in time, and the question as to whether our dichotomy between temporal reasoning and temporal updating is exhaustive, or whether there might be other forms of cognition or representation related to time not captured by it. (shrink)

At least for Schleiermacher, religion is life in immediate feeling. Whether or not we agree with him, immediacy can be understood as one essential aspect of feeling that makes feeling congenial as the means by which we tend to express the source of religious experience. Yet in general, immediacy is difficult to define and qualify. Is there a hope for immediacy in seeking “to be delivered from contingency”? Is immediacy expressed in the instantaneity of how qualities of things are given (...) in a “total interpenetration”? Or are “immediacy and mediation” always inseparable, thus leaving any “opposition between them to be a nullity”??[i] Might immediacy entail a threat to faith through the absolutizing of the relative? And finally, would not the absolute insistence upon mediation morph it into a new form of immediacy? It is against the backdrop of these questions that this paper investigates the constellation of roles immediacy might play in religious experience, and it does so through building upon the claims of Jean-Yves Lacoste and Anthony Steinbock in regards to religion. For Lacoste, “feeling” is not an adequate means by which we should give expression to religion, in part because it leaves religion responsive to an all too volitional and intentional account. Lacoste also prefers to conceive relation with the Absolute/God not as an experience, but as a non-experience. Whereas for Steinbock, even though emotions all to often are conceptualized according to sentimentality and solipsism, he undertakes to reveal that they in fact have an inherent inter-personal/Personal or Moral intelligibility. The paper builds up to the final claims that immediacy is a temporal expression of the unconditioned, yet that it is precisely this temporal element in relation to the Absolute that complicates the mediation/immediacy interaction. (shrink)

Our senses receive a manifold of sensory signals at any given moment in our daily lives. For a coherent and unified representation of information and precise motor control, our brain needs to temporally bind the signals emanating from a common causal event and segregate others. Traditionally, different mechanisms were proposed for the temporal binding phenomenon in multisensory and motor-sensory contexts. This paper reviews the literature on the temporal binding phenomenon in both multisensory and motor-sensory contexts and suggests future research directions (...) for advancing the field. Moreover, by critically evaluating the recent literature, this paper suggests that common computational principles are responsible for the temporal binding in multisensory and motor-sensory contexts. These computational principles are grounded in the Bayesian framework of uncertainty reduction rooted in the Helmholtzian idea of unconscious causal inference. (shrink)

The summa of a distinguished philosopher's career, and full treatment of the temporal in philosophical terms, this volume shows us that by taking time seriously we can discover something essential to almost every question of human concern. Are we IN time? Charles Sherover asks, and in pursuing this question he considers time in conjunction with cognition, morality, action, physical nature, being, God, freedom, and politics. His essays, while drawing upon Royce, Heidegger, Kant, Leibniz, and even Hartshorne and Bergson, defy categorization (...) by method or school; instead, they reveal the diversity and divergence of thinking about time as well as the myriad features and values within the omnipresence of time and change. The volume begins with an overview of the history of thought on time and a clarification of some fundamental conceptual distinctions in temporal ideas. Sherover then offers a critique of Kant, the first thinker to recognize that all human experience has a temporal form. In a series of essays on metaphysics--a valuable corrective to the dominant metaphysical tradition of talking about being as if time does not matter--he pursues temporal responses to such problems as being, internal relations, individuation, mind, and free will. Finally, in essays on time, freedom, and the common good, Sherover argues that these three phenomena are intrinsically related to one another, the fulfillment of each involving the other two. Throughout, these essays brilliantly depict human life and thought thoroughly steeped in time and argue for the significance of the future for human activity. Portraying the openness of the future as the basis for purposiveness and freedom, knowledge and moral action, social life and religious hope, Sherover's work conveys a hopeful message of human finitude that nonetheless allows us a measure of control over events in our own time. (shrink)

Habits and habitudes are peculiar in that they are both a condition of human agency, as well as one of its most significant hurdles. They open up the world by providing us with ways of being within it (e.g., how we perceive, move about, and generally orient ourselves in space). However, they also confine our worldly behavior given their repetitive and often predictable nature. This tension between spontaneity and repetition arises out of the two-fold temporal structure of habits—i.e., the habitual (...) body simultaneously directs us toward the future and the past. An understanding of this tension is generally important for thinking about how individuals can do things differently. More urgently, this work has applications in the treatment of addictions and other compulsive behaviors where the difficulties of disrupting habitual repetition are much more pronounced. (shrink)

Abstract Temporal Externalism is the view that future events can contribute to determining the present content of our thoughts and utterances. Two objections to Temporal Externalism are discussed and rejected. The first is that Temporal Externalism has implausible consequences for the epistemology of biology and other taxonomic sciences (Brown, 2000). The second is that it is committed to implausible claims about dispositions.