OUTLINES OF COSMIC PHILOSOPHY PART II SYNTHESIS ...

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The Critique of Pure Reason—Kant’s First Critique—is one of the most studied texts in intellectual history, but as Alfredo Ferrarin points out in this radically original book, most of that study has focused only on very select parts. Likewise, Kant’s oeuvre as a whole has been compartmentalized, the three Critiques held in rigid isolation from one another. Working against the standard reading of Kant that such compartmentalization has produced, The Powers of Pure Reason explores forgotten parts of the First Critique (...) in order to find an exciting, new, and ultimately central set of concerns by which to read all of Kant’s works. Ferrarin blows the dust off of two egregiously overlooked sections of the First Critique—the Transcendental Dialectic and the Doctrine of Method. There he discovers what he argues is the Critique’s greatest achievement: a conception of the unity of reason and an exploration of the powers it has to reach beyond itself and legislate over the world. With this in mind, Ferrarin dismantles the common vision of Kant as a philosopher writing separately on epistemology, ethics, and aesthetics and natural teleology, showing that the three Critiques are united by this underlying theme: the autonomy and teleology of reason, its power and ends. The result is a refreshing new view of Kant, and of reason itself. (shrink)

The essays in this collection represent in scholarly infrastructure to Professor Furley's major study, The Greek Cosmologists, of which volume 1 was published by the Press in 1987. They tackle the questions in ancient cosmology and the clash between the two opposing systems known as Aristotelianism and Atomism. Some essays are general reflections on the nature of the debate; others explore certain detailed questions; yet all illustrate the author's incisive approach, which cuts through irrelevancies and goes directly to the heart (...) of an issue. (shrink)

Name der Zeitschrift: Kant-Studien Jahrgang: 108 Heft: 3 Seiten: 471-472.

In this work the distinguished philosopher Milton Munitz provides a lucid account of the chief empirical findings and theories of recent cosmology and a systematic assessment of their broader philosophical implications.

According to Aristotle, philosophy had come into being in the VIth century with Thales, just as a mere, disinterested pursuit of truth, a curiosity for great problems which were substantially identical with those which Aristotle himself and his school were now raising. This abstract reading is very similar to that which views Greek poets as inspired by "eternal beauty" or by "art's for art sake" and which is nowadays completely discredited and given up by scholars of the history of (...) literature. Against this view the present text pro-poses a new reading of the "archaic" presocratic scientists: in fact, it is about those "sages" who lived on the bound-aries of the Greek-speaking world before the concentration of such people in Periclean Athens. They were closely linked to their native towns where they held high office; here there oral teaching and the public reading of their texts were followed closely by their fellow citizens. Thus the picture of the "cosmic republic" arises: to the "cosmic monarchy" of Homer and Hesiod a different mythical world succeeds. Here the earth, the sea, the sky, the human body and, generally, the "existing thing", all behave like isonomic towns or like the governing body of these towns. Philosophy will arise later, in Athens of the Vth century. (shrink)

This book argues that political philosophy is central to early Stoic philosophy, and is deeply tied to the Stoics' conceptions of reason and wisdom. Broad in scope, it explores the Stoics' idea of the cosmic city, their notion of citizen-gods, as well as their account of the law.

In this book - which is written by the 2008 Templeton Prize laureate Michael Heller - the problems of chance and probability are seen in light of the advancements of physics and biology. Heller's claim is that chance finds its place within the structure of the universe and cosmic evolution. His insightful remarks may be considered a critique of both Dawkins' 'blind watchmaker' approach and Dembski's 'intelligent design' perspective. Heller is a cosmologist, a philosopher, the director of the Copernicus (...) Center for Interdisciplinary Studies in Krakow, a professor at the John Paul II University in Krakow, and an adjunct member of the Vatican Observatory. (shrink)

Study of realism with special reference to the philosophy of Upanishads and Vedanta.

[186 pages] Just as the six branches of a snow crystal converge in regular proportions toward their common center, the six contributions to this book point toward a future philosophy of cosmic life. In this sense, this edited volume represents a multidisciplinary and transcultural polylogue of distinguished authors from three continents, which aims to establish highly innovative perspectives and open new frontiers of developing philosophical reflections and scientific foundations for the emergence of a common cosmic consciousness, for (...) an integral ecology, and for a cooperative planetary civilization of humanity. John B. Cobb, Jr. uses a process-philosophical foundation to describe life as living events expressing novelty and the cosmos as a process of self-enriching and self-evolving “Life Itself.” Chandra Wickramasinghe unfolds his scientific and philosophical perspective on cosmic life in twelve successive steps, offering a wide range of arguments and insights that support an up-to-date theory of panspermia. Attila Grandpierre presents the "Cosmic Life Principle" and the comprehensive science based upon it that is inextricably linked to the healthy and cooperative civilization, to the biological laws of nature, to the laws of logic, to the uplifting of the well-being of people and ecological communities. Chunyou Yan introduces the approach of his holographic philosophy, according to which the universe must be understood as a vast living entity, every aspect of which represents life. Bei Peng shows that the proportions of energy meridians in traditional Chinese medicine correspond to musical intervals, and on this basis she demonstrates the analogy of the human body to macrocosmic phenomena. David Bartosch offers an examination of three important systematic foundations for a poly-contextural, transcultural philosophy of cosmic life with roots in Greek, Chinese, South and West Asian, and European traditions of thought. (shrink)

In this chapter, important transcultural and multi-civilizational foundations for a comprehensive philosophy of cosmic life are presented from a systematic and at the same time historical perspective. An “anacrusis” regarding the origin of the philosophical term ‘cosmic life’ is followed by systematic groundwork in relation to Gotthard Günther’s concepts of poly-contexturality and trans-classical science. These are extended and complemented by the views of other thinkers. Against this background, the new term ‘panenbiotism’ (“all-in-life-doctrine”) is introduced. Like ‘cosmic (...) life,’ this term is then used as the basis for a transcultural comparative discussion of positions from ancient Hellenic and Chinese contexts, from South and West Asia, and from Europe. This discussion is organized in the form of three main sections which correspond to three basic themes concerning ‘cosmic life.’ Each of these is developed along the trajectories of related subtopics. In this sense, the first main section presents several views from various times and places in the context of which (cosmic) life is seen as an expressed principle of incessant self-(re)creation through metabolism and partial self-consumption. In the second main section, the transcultural comparative angle is applied to multiple perspectives and variations on the theme of cosmic life as an integral feature of a vast or infinite universe. Finally, the third main section presents family-resemblant views of cosmic life as an integral aspect of cosmic ‘light.’ This last section also links the discussion with some unorthodox and very innovative hypotheses of our time. The main thesis of this chapter is that a future philosophy of cosmic life must draw on a variety of philosophical traditions from different civilizations and, in a spirit of unrestricted openness, translate the ultimate inexhaustibility of all scientific endeavors into a more productive intellectual reality within the expanded scope of a new kind of trans-classical concept of science. (shrink)

The major stages of development of cosmic pedagogy have been researched. Based on the achievements of the modern neurosciences as well as of psychology, cosmology, and philosophy, the authors provide their reasoning for the cosmic education and its outlooks for the educational systems of the world. Through the studies of how important human mind is for the Earth and the cosmos and by researching the evolution of human mind within the structure of the Universe, the authors create (...) a more advanced scientific and philosophic basis for the cosmic education where the subject is a comprehensive process of formation and directed progress of both an individual mind and a conglomerate of minds called the "psychospace". The cosmic education researches the permanent progress of the intelligent matter of the Earth. The purpose of the cosmic education has been determined as formation of a planetary and cosmic personality. According to the authors, a planetary and cosmic personality is a harmony of mind, soul, and body, and such harmony is directed to usethe internal creative potential of mind to the benefit of the intelligent matter of the entire Earthand the cosmos. The properties of such a planetary and cosmic personality are being improved continuously; they are a sample (the ideal) of the cosmic pedagogy and the image of a human being of the future. Through the usage of the entire potential and art of upbringing and educating, the cosmic pedagogy is called to embody the major properties of the image of a human being of the future in the new generations of minds and to form a planetary and cosmic personalitycapable of self-actualization to the benefit of the permanent progress of the intelligent matter. (shrink)

This paper traces how the dualism of body and soul, cosmic and human, is bridged in philosophical and religious traditions through appeal to the notion of ‘breath’ (πνεῦμα). It pursues this project by way of a genealogy of pneumatic cosmology and anthropology, covering a wide range of sources, including the Pythagoreans of the fifth century BCE (in particular, Philolaus of Croton); the Stoics of the third and second centuries BCE (especially Posidonius); the Jews writing in Hellenistic Alexandria in the (...) first century BCE (Philo); and the Christians of the first century CE (the gospel writers and Paul). Starting from the early Pythagoreans, ‘breath’ and ‘breathing’ function to draw analogies between cosmogony and anthropogony – a notion ultimately rejected by Plato in the Timaeus and Aristotle in his cosmological works, but taken up by the Posidonius (perhaps following the early Stoa) and expanded into a rich and challenging corporeal metaphysics. Similarly, the Post-Hellenistic philosopher and biblical exegete Philo of Alexandria, who was deeply influenced by both Platonist and Stoic physics, approaches the cosmogony and anthropogony described in Genesis (1:1–3 and 1:7) through Platonist-Stoic philosophy, in his attempt to provide a philosophically rigorous explanation for why Moses employed certain terms or phrases when writing his book of creation. Finally, the chapter sees a determined shift in the direction of rejecting pneumatic cosmology for a revised pneumatic anthropogony in the writings of the New Testament: by appeal to the ‘Holy Spirit’ or ‘Holy Breath’ (πνεῦμα ἅγιον), early Christians effectively adapted the Stoic metaphysics of ‘breath’, with its notions of divine intelligence and bonding, to the prophetic and ecclesiastical project of building a Christian community conceived of as the ‘body of Christ’. Hence, the spiritual cosmogony of the Pythagoreans, Stoics, and Philo is effectively subordinated to the spiritual anthropogony that facilitates the construction of the Christian kosmopolis, only fully realised in the form of New Jerusalem, the ‘bride’ which, in tandem with the Holy Spirit, calls to the anointed. At the end of the Christian worldview, the kosmos of Greek philosophy is supplanted by the pneumatic kosmopolis. (shrink)

I examine Bernard Williams’s forceful challenge that evolutionary science has done away with the sort of teleological worldview that is needed in order to make sense of an Aristotelian virtue ethic perspective. I also consider Rosalind Hursthouse’s response to Williams and argue that it is not sufficient. My main task is to show what is needed in order to meet Williams’s challenge. First, I argue that we need a deeper exploration of the first-personal evaluative standpoint from within our human form (...) of life than we find in Hursthouse’s ethical naturalist perspective. In particular, we need to recognize the important role of “strong evaluation” for identifying what is noblest and best about us as human beings, for this will enable us to address the “mixed bag” problem of human nature. Second, I argue—contra John McDowell’s quietism—that in order to make sense of such a normative account of human nature we must overcome Williams’s tragic cosmic outlook according to which human life is seen as ultimately without meaning and purpose. (shrink)

Kagawa Tyohiko, who was a well known Christian leader and social reformer, is re-evaluated from the perspective of a public philosophy, and as an example of the possibilities for collaboration and conflict between science and the religious humanities in East Asia. His last book, Cosmic Purpose, which appears to be a kind of natural theology, is analyzed from the perspective of the hidden topic of human evil. By considering Kagawa's deep religious sensibility and conscience, the book can be (...) interpreted to reflect on the wrong directionality selected by modern Japan's leaders that resulted in the tragic war. (shrink)

The cosmic cycle described in the surviving fragments of Empedocles' poem is the alternation, in endless succession, of Love and Strife. Dr O'Brien's book is primarily an analysis of this elaborate system. It seeks to determine the positions which Love and Strife occupy in the world at different times.

Keith Ward advocates modifications in the doctrine of God similar to those affirmed by open theism. However, he rejects social Trinitarianism, in spite of his own recognition that the two views have often gone together. I argue that, beyond this, Ward really rejects the Trinitarian and Christological doctrines of the church, as expressed in the creeds of Nicaea and Chalcedon. The implications of this are explored; one implication is that Ward’s Christ is less “cosmic” than the traditional view he (...) repudiates. (shrink)

The past hypothesis is that the entropy of the universe was very low in the distant past. It is put forward to explain the entropic arrow of time but it has been suggested. The emperor’s new mind. London:Vintage Books; Penrose, R.. Annals of the New York Academy of Sciences, 571, 249–264; Price, H.. In S. F. Savitt, Times’s arrows today. Cambridge: Cambridge University Press; Price, H.. Time’s arrow and Archimedes’ point. Oxford: Oxford University Press; Price, H.. In C. Hitchcock, Contemporary (...) debates in philosophy of science. Oxford: Blackwell]) that it is itself in need of explanation. It has also been suggested that cosmic inflation could provide the explanation, but Price raises a serious objection to this suggestion, which has otherwise received very little attention in the philosophical literature. Price points out that the standard inflationary explanation involves a double standard: although the evolution of the universe described by the inflationary model seems natural from the standard temporal perspective it looks highly unnatural from the reversed temporal perspective. The main purpose of this paper is to propose a novel form of the inflationary explanation that avoids this objection. It is argued that the inflationary model would not involve a double standard if we construct the model with a global “boundary” condition instead of a conventional boundary condition: if we assume that the universe is as generic as possible overall, rather than as generic as possible at some given point as is assumed in the standard inflationary model. This novel form of the inflationary explanation is then compared with Price’s 1996 preferred explanation, a version of the so-called “Weyl hypothesis”. (shrink)

In the pursuit of knowledge, Dorion Sagan argues in this dazzlingly eclectic, rigorously crafted, and deliciously witty collection of essays, scientific authoritarianism and philosophical obscurantism are equally formidable obstacles to discovery. As science has become more specialized and more costly, its questing spirit has been constrained by dogma. And philosophy, perhaps the discipline best placed to question orthodoxy, has retreated behind dense theoretical language and arcane topics of learning. Guided by a capacious, democratic view of science inspired by the (...) examples set by his late parents—Carl Sagan, who popularized the study of the cosmos, and Lynn Margulis, an evolutionary biologist who repeatedly clashed with the scientific establishment—Sagan draws on classical and contemporary philosophy to intervene provocatively in often-charged debates on thermodynamics, linear and nonlinear time, purpose, ethics, the links between language and psychedelic drugs, the search for extraterrestrial intelligence, and the occupation of the human body by microbial others. Informed by a countercultural sensibility, a deep engagement with speculative thought, and a hardheaded scientific skepticism, he advances controversial positions on such seemingly sacrosanct subjects as evolution and entropy. At the same time, he creatively considers a wide range of thinkers, from Socrates to Bataille and Descartes to von Uexküll, to reflect on sex, biopolitics, and the free will of Kermit the Frog. Refreshingly nonconformist and polemically incisive, _Cosmic Apprentice_ challenges readers to reject both dogma and cliché and instead recover the intellectual spirit of adventure that should—and can once again—animate both science and philosophy. (shrink)

It is a commonplace that Marxist theories of order deal with the transition from one order to another, whereas most non-Marxist theories of order, whether of ideas or of societies, stress the stability of some established order, showing how, by gradual modification, it avoids the violence of revolutionary change. Wild's theory is one of the few non-Marxist theories of revolutionary transition. It stresses the breakdown of the mythical order and emergence of cosmic order which repairs the defects of its (...) predecessor and what we are now enduring, the breakdown of the cosmic order. Out of the ruins is growing a new order, the personal order. That philosophers should attend to the transition from order to order is the precept and practice of Whitehead in Adventures of Ideas, and in Modes of Thought. Wild's theory resembles both the Hegelian-Marxian dialectic of orders and the Whiteheadian doctrine of orders. Wild's theory, although it does not mention Whitehead's, is in certain respects more like the latter than the former. Any order is from a perspective with limitations that become evident when we compare it with alternative perspectives; and although this implies that there is no absolute or final order, no framework within which all phenomena fit, it does not imply that there is no order or no knowledge at all. Most Hegelians will find Wild's theory lacking synthesis, and most Marxists would feel Wild had failed to grasp necessity, specifically material necessity, in the process. The transitions spring rather from the inadequacies of personal perspective: any interpretation is bound to the man in his situation and therefore must be superseded. The resemblance of Wild's theory to Whitehead's goes deeper than form because they are moved by esteem for the human individual and distrust of powerful groups that tend to overpower free men. Both refuse to bend the knee to collective order. Wild could well accept as this own this statement from Adventures of Ideas. There are. (shrink)

Via a hermeneutics focused on Chinese numerology and concentric arrangements, the book offers a novel construal of the textual universe proper to early China writings. The author lays bare distinguishable patterns of textual composition while relating them to corresponding patterns of thinking. He differentiates rhetorical variants through detailed studies of the Zhuangzi's Inner chapters, the Laozi, the Analects, and the Huainanzi. The philosophical depth and relevance of the Chinese ancient worldview appear in a fresh light when one unearths the patterns (...) into which its content is embedded. The focus on textual patterns and rhetorical arrangements also facilitates the reading of Chinese classics alongside other traditions. The book will be a valuable reference for scholars and graduate students studying Chinese literary criticism, Chinese philosophy, and comparative philosophy. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, (...) every project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

The aim of this paper is twofold. First, our purpose is to propose and motivate a novel and scientifically informed variant of cosmopsychism, namely, the view that the experiences of ordinary subjects are ultimately grounded in an all-pervading cosmic consciousness. Second, we will demonstrate that this approach generates promising avenues for addressing familiar problems of phenomenal constitution. We use stochastic electrodynamics (SED) as the physical bedrock of our approach, supplementing it with key insights about the nature of consciousness long (...) emphasized in eastern philosophy and other wisdom traditions. We proceed to show that our approach substantiates an intriguing way of thinking about the dynamical emergence of ordinary consciousness from cosmic consciousness, identifying the latter with the vacuum state of quantum field theory. Finally, we argue that the present approach is well suited to address problems of phenomenal constitution, in particular as they pertain to the qualities and structure of experience and to the generation of subjects. (shrink)

Nonanthropocentric environmental philosophy is a response to two kinds of anthropocentrism: personal anthropocentrism, according to which being human involves the possession of some or all of a set of properties typical of persons, and biological anthropocentrism, according to which being a human involves being a member of the species Homo sapiens. Nonanthropocentric environmental philosophy itself becomes problematic when it is viewed in terms of two arguments that it often seems to imply: the “Planetary Perspective Argument,” which rejects both (...) forms of anthropocentrism and seeks to maximize good outcomes and minimize bad outcomes in terms of life’s point of view, the land’s point of view, or the global ecosystem’s point of view, and the “Cosmic Perspective Argument,” which is structurally analagous to the planetary perspective argument but has much more sweeping empirical premises driven by recent work in cosmology, astrobiology, and exoplanet science. The ultimate problem for environmental philosophers is to find a way to remain nonanthropocentric without succumbing to the indifference of the cosmic perspective. (shrink)