As its title implies, this collection of previously published popular essays and lectures by Hare attempts to bridge the gap between analytic ethics and moral and political issues. It succeeds in that endeavor only in so far as it, on the whole, provides some concrete illustrations for students of Hare’s theoretical positions; but the professional philosopher will seek in vain here for anything that is either new or incisive regarding the topics discussed. Worse still is the fact that a (...) few of the essays are so old and out of date that they are misleading to students as regards Hare’s views; for they reflect an obstinateness, and even superficiality, that typifies an earlier period of analytic philosophy but which is not evident in his major and later writings. Thus, for example, in the essay entitled "Nothing Matters," a critique of Camus’ nihilism, Hare argues that people become persuaded that "nothing matters" because of a misunderstanding of the function of the word "matters." Taking it to be the name of some process that things did, rather than seeing that it is used to express the speaker’s concern, they soon begin to wonder what this activity is called "mattering," and, failing to find anything corresponding to it, become easily convinced of the meaninglessness of life! (shrink)

In recent metaethics, moral realists have advanced a companions-in-guilt argument against moral nihilism. Proponents of this argument hold that the conclusion that there are no categorical normative reasons implies that there are no epistemic reasons. However, if there are no epistemic reasons, there are no epistemic reasons to believe nihilism. Therefore, nihilism is false or no one has epistemic reasons to believe it. While this argument is normally presented as a reply to Mackie, who introduced (...) the term “companions-in-guilt” in his Ethics: Inventing Right and Wrong of 1977, Herbert J. Phillips presented a form of this argument in Ethics in 1940. In this paper, I will discuss Phillips’ version of the companions-in-guilt argument, demonstrate how recent epistemology bears out an important premise of the argument, and compare Phillips’ argument to Derek Parfit’s recent work. (shrink)

Edward Elliott and Jessica Isserow argue that it is not usually in the best interests of ordinary human beings to learn the truth of moral nihilism. According to Elliott and Isserow, ordinary human beings would suffer costs from learning the truth of moral nihilism that are unlikely to be fully compensated for by any benefits. Here I provide reasons to doubt that ordinary human beings would suffer costs from learning the truth of moral nihilism (...) and present a dilemma for Elliott and Isserow’s view. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.4 (2002) 551-552 [Access article in PDF] Book Review The Limits of Doubt: The Moral and Political Implications of Skepticism Petr Lom. The Limits of Doubt: The Moral and Political Implications of Skepticism. Albany: The State University of New York Press, 2001. Pp. xiv + 138. Cloth, $49.50. Paper, $16.95. Since the appearance in 1960 of Richard Popkin's The History of (...) Skepticism from Erasmus to Descartes (later extended to Spinoza and, in a forthcoming edition, to Bayle) skepticism has been acknowledged as a powerful intellectual force in modern philosophy. Lom's The Limits of Doubt corroborates this view by showing the relevance of this ancient tradition in the political and moral thought of a number of major modern philosophers.The major thesis of the book is that skepticism in itself, that is, conceived as the epistemological position of raising doubts about any knowledge claim, has no moral or political implications. According to Lom, the moral and political positions that have been associated with skepticism (either tyranny and other forms of political oppression or toleration and liberalism in general) derive not from skepticism itself but from what he calls "the limits of doubt": beliefs left untouched by skeptical doubt. To establish this thesis Lom examines the moral and political aspects of skepticism in Nietzsche (chapter 1), Sextus Empiricus (chapter 2), Hobbes (chapter 3), Diderot (chapter 4), and Montaigne (chapter 5), showing in each case the (value) beliefs responsible for the different moral and political positions held.Lom's analysis of these thinkers' relation to skepticism is comprehensive, detailed, and engaged with an extended secondary literature. I can here just briefly indicate some results of Lom's investigation. He shows Nietzsche's esteem for the ancient skeptics in whom alone Nietzsche saw a plain exhibition of intellectual integrity or honesty. This integrity implies, according to Lom, a demand for justice often unnoticed by superficial readings of Nietzsche. The illiberal aspects of Nietzsche's political philosophy, related to his doctrine of the will to power, derive, according to Lom, not from Nietzsche's skepticism but from the limits of his doubt, namely, his dogmatic nihilism (belief that there is no value, a position that Lom carefully distinguishes from skepticism). Lom also finds limits in Sextus Empiricus's skepticism. He follows Martha Nussbaum ("Skeptic Purgatives...," Journal of the History of Philosophy 29 [1991], 1-33) in claiming that Sextus's skepticism does not extend to the principle of non-contradiction and to the end of tranquility (ataraxia). The [End Page 551] latter is mainly responsible for what Lom considers the ancient Pyrrhonians' political indifference. This indifference, coupled with the Pyrrhonians' attempt to destroy reason (a polemical interpretation of ancient Pyrrhonism) "may also allow political nightmares to breed in the night" (45). In Hobbes, Lom identifies a kind of methodical doubt whose aim is not that of Descartes's of finding certain truth but to combat the pride of men. This pride leads to different and conflicting views of the summum bonum that disturb the civil order. Its destruction through skepticism facilitates the acceptance of the sovereign's decisions and thus the attainment of peace. Lom notes the similarity of Hobbes's position on doubt with Sextus's (the subordination of the skepsis to the goal of tranquility) and points out a number of interesting and still little explored parallels between Hobbes and Montaigne, whose skeptical and moral views are examined in chapter 5. According to Lom, Montaigne, like Sextus, is little interested in politics and his attack on cruelty and defense of toleration do not issue from his skepticism but from moral values that remain outside the scope of doubt, notably Montaigne's desire for peace. Lom's analysis of Diderot is interesting and original. He places the French philosophe in the tradition of "constructive skepticism" (expression labeled by Popkin to characterize the skepticism of Gassendi and Mersenne about knowledge of essences but opened to a hypothetical science of phenomena). Lom focuses on Diderot's Rameau Nephew, where he... (shrink)

Arguments for moral nihilism—the view that there are no moral truths—are criticized by showing that their major premises suggest epistemic or intellectual nihilism—the view that no beliefs are reasonable, justified, ought to be believed, and so on. Insofar as intellectual nihilism ought be rejected, this shows that the major premises of arguments for moral nihilisms ought to be rejected also.

Philosophers have identified a number of principles that characterize morality and underlie moral judgments. However, philosophy has failed to establish any widely agreed-upon justification for these judgments, and an “error theory” that views moral judgments as without justification has not been successfully refuted. Evolutionary psychologists have had success in explaining the likely origins and mechanisms of morality but have also not established any justification for adopting particular values. As a result, we are left with moral nihilism (...) -- the absence of any unarguable values or behaviors we must or should adopt. The philosophical and psychological implications of this nihilism suggest accepting shared, non-absolute values as “good enough”; a revised, humbler view of moral and other value judgments; and the possible acceptance of the hard truth of a value nihilism. (shrink)

Ever since John Leslie Mackie’s ‘popularization’ of moral error theories in meta-ethics, increasing attention has been focused on how to escape the force of nihilism. For many opponents of the moral error theory, ‘moral nihilism’ is used as a derogatory synonym associated with immorality and selfishness, but such a defamatory usage of the label is obviously not very helpful for a serious philosophical examination of the view. The goal of this paper is to draw on (...) insights by David Hume and other Humean philosophers such as J.L. Mackie, Richard Joyce, and Richard Garner, in order to turn ‘moral nihilism’ from a term of abuse to a ‘badge of honour’. (shrink)

The effects of anthropogenic climate change will be devastating. Nevertheless, most people do not seem to be seriously concerned. We consume as much as we always did, drive as much as we always did, eat as much meat as we always did. What can we do to overcome this collective apathy? In order to be able to develop effective measures, we must first get clear about the causes of climate change inaction. In this paper I ask whether moral (...) class='Hi'>nihilism (the denial of moral truths) is a significant cause of climate change inaction. The answer to this question depends mainly on the extent to which being a moral nihilist reduces one’s likelihood of taking action against climate change. At first sight, the extent seems to be considerable. I will argue, however, that this assumption is false. Only slightly more non-nihilists than nihilists are led to climate-friendly actions by moral considerations. And in absolute terms, morality plays such a minor role in leading people to act that the difference is barely noticeable. (shrink)

Neil Cooper; V*—Moral Nihilism, Proceedings of the Aristotelian Society, Volume 74, Issue 1, 1 June 1974, Pages 75–90, https://doi.org/10.1093/aristotelian/74.1.

The effects of anthropogenic climate change may be devastating. Nevertheless, most people do not seem to be seriously concerned. We consume as much as we always did, drive as much as we always did, eat as much meat as we always did. What can we do to overcome this collective apathy? In order to be able to develop effective measures, we must first get clear about the causes of climate change inaction. In this paper I ask whether moral (...) class='Hi'>nihilism is a significant cause of climate change inaction. The answer to this question depends mainly on the extent to which being a moral nihilist reduces one's likelihood of taking action against climate change. At first sight, the extent seems to be considerable. I argue, however, that this assumption is false. Only slightly more non-nihilists than nihilists are led to climate-friendly actions by moral considerations. And in absolute terms, morality plays such a minor role in leading people to act that the difference is barely noticeable. (shrink)

The chapter discusses moral nihilism and moral relativism, with some sympathy, especially to relativism. It considers some arguments for the views, some arguments against them, and some arguments designed to decide between them. Moral nihilism and moral relativism are meta-ethical theories, theories of the nature of morality. Nihilism is the view that there are no moral facts, that nothing is right or wrong, or morally good or bad. Relativism is the view that (...) moral statements are true or false only relative to some standard or other, that things are right or wrong relative to Catholic morality, say, and different things are right or wrong relative to Confucian morality, but nothing is right or wrong simpliciter. (shrink)

Christopher Cowie argues that moral error theory is uniquely placed to avoid embracing any of the troubling and counter-intuitive horns of moral paradoxes. Contra Cowie, I argue that moral non-cognitivists can also avoid embracing any such troubling and counter-intuitive horns. Rather than supporting moral error theory, I argue that moral paradoxes more precisely support moral nihilism—a first-order view that is consistent with moral error theory and with moral non-cognitivism. Moreover, I argue (...) that reconstructing the argument from moral paradoxes as an argument for moral nihilism enhances its philosophical significance in two ways. First, the argument from moral paradoxes is the first unified argument in support of moral nihilism. Second, given that the logical space of moral nihilism is greater than the logical space of moral error theory, the threat that the argument from moral paradoxes poses to moral philosophy is more serious than Cowie acknowledges. (shrink)

Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding (...) the films’ (and frequently the audience’s) "muddled" morality. My narrative analysis reveals that Jigsaw’s values are not as confused as they may first appear to be. Despite explicitly proclaiming that his quest is to save others, his actions reveal another story (and not only because his schema is homicidal). Following the loss of his unborn son and his failed suicide attempt, Jigsaw seeks to symbolically eradicate himself: the victims he selects reflect and reify his own obsessive personality traits. In keeping with the franchises’ narrative twists – which are designed to reverse initially "obvious" meanings – I argue that Jigsaw’s proclamations have misdirected critics. His nihilism may be manifested as coerced suffering and articulated as distaste with the world, yet the series’ symbolic target is Jigsaw himself. (shrink)

The Nietzschean critiques of Schopenhauer’s metaphysical and ethical pessimism are well known. For Nietzsche, Schopenhauer’s pessimistic metaphysics necessarily leads to a nihilation of reality that gives rise to a mode of passive ethical quietism. To correct these perceived weaknesses, Nietzsche famously endeavors to develop a new “pessimism of strength” that, he argues, will promote a more vital and positive sense of natural moral value and ethical activity. The aim of this paper is to interrogate Nietzsche’s claim that Schopenhauer’s metaphysics (...) necessarily leads to a nihilation of natural value and ethical quietism. To these ends, I will examine the nature of Schopenhauer’s pessimism, its metaphysical foundations and ethical applications, and show how Philipp Mainländer, a hitherto understudied inheritor of this pessimism, saw in it not a gateway to moral nihilism, but an inversion of moral naturalism which called for radical acts of ethical, social, and political engagement. By translating and interpreting key passages from Mainländer two-volume Die Philosophie der Erlösung, this paper shows how Mainländer’s ethics and politics help us to understand the ethical consequences of Schopenhauer’s metaphysical pessimism in a new light, not as a precursor to nihilism and quietism, as Nietzsche claims, but as a foundation for revolutionary ethical and socio-political activity. (shrink)

This short paper deals with the difficult articulation of a diverse cultural heritage within a society and the democratic forms of assuring its social cohesion. Special attention is paid to the links between immaterial culture and the environment that transforms it into a structural element of social cohesion. Culture is seen as a 'mould' which shapes a shared behaviour, and democracy can be conceived as a system made up of elements of a cultural nature that go as far as implying (...) safeguarding pluralism, respect and tolerance of all kinds of difference. This is the case with those countries where the structures of the modern state are in the process of disappearing and being redefined in new forms, whose essential feature is acceptance of cultural diversity. If we conceive democracy in terms of heritage and in terms of non-exclusion of cultures dominated by a dominant culture, then it results that Mexico has not experienced true democracy - either in the past or nowadays. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 568-569 [Access article in PDF] James P. Scanlan. Dostoevsky the Thinker. Ithaca, NY: Cornell University Press, 2002. Pp. xiii + 251. Cloth, $29.95. Important works on Dostoevsky's life and thought abound, but James Scanlan offers the first comprehensive treatment and evaluation of Dostoevsky as a philosophical thinker. Scanlan uses Dostoevsky's thousands of letters, essays, and "capacious notebooks" (3), as well as (...) his literary work, to analyze systematically Dostoevsky's philosophical worldview and to argue for its coherence. Scanlan's commitment to careful scholarship is apparent throughout, including his translations of the texts. A philosopher himself, Scanlan contextualizes Dostoevsky's work in relation to traditional philosophers, including Descartes, Kant, and Kierkegaard. The result is a balanced, rich, and provocative treatment that also suggests new interpretations of some of Dostoevsky's literary works.If Bakhtin is right to describe Dostoevsky's novels as "polyphonic," how does one ascertain their author's position? Scanlan grants the challenges of approaching Dostoevsky as a philosopher. Nineteenth-century Russian thinkers rarely identified with particular philosophical schools, and Dostoevsky never thought of himself as a philosopher. Yet Dostoevsky was intensely interested in philosophy, and Scanlan argues that Dostoevsky's characters serve as surrogates for competing philosophical positions. Scanlan also reminds readers of Dostoevsky's often-neglected nonfiction works and weaves masterfully the nonfiction and the literature to support his argument.Echoing Bakhtin, Scanlan labels Dostoevsky's methodology "dialogical in style, monological in substance" (4). Doing so effectively rejects critical perspectives that suggest the author held contradictory positions. For Scanlan, Dostoevsky's dialectical method resulted from his preoccupation with combating others' ideas, implied by his frequent use of reductio ad absurdum arguments. Dostoevsky "sought to establish his own positions by demonstrating the failure of their antitheses" (231). Not only does Scanlan persuasively demonstrate the consistency of Dostoevsky's philosophical commitments, he also challenges the appropriation of Dostoevsky by existentialists as an "irrationalist," despite Dostoevsky's "convincing portrayals of human irrationality" and skepticism concerning rationality's powers (5).Scanlan examines Dostoevsky's vision of Christianity that included a strict binary of matter and spirit, and a rejection of rational egoism and mechanism (termed "nihilism"). Dostoevsky's positive deontologism, his "law of love" (with Christ as exemplar) was, for Dostoevsky, necessary to overcome the "law of personality," and conscience grounded in Christian love was the basis for salvation. Scanlan persuasively argues that Dostoevsky, if irrationalist, belongs more with Kant than Kierkegaard in viewing rationality as limited but not to be rejected wholesale. Scanlan uses this analysis to ground a provocative new reading of Notes from Underground.Scanlan also explores the connectedness of Dostoevsky's ethics and aesthetics in Dostoevsky's insistence that artists should create moral beauty beyond the purely aesthetic or cognitive. Much has been written about Dostoevsky's aesthetics, but Scanlan exposes its logical grounding in Dostoevsky's rejection of the subjective utilitarian aesthetics of Chernyshevsky and the radical materialism of Dobrolyubov. For Dostoevsky, the need for [End Page 568] beauty and creativity is intrinsic to human nature, and art serves an epistemological function that gestures toward reality, not as a "mindless photographer" (140) but as a cognitive vision penetrating "the core of his subject" (141). Dostoevsky also justified his use of the anomalous, noting that the exceptional might be "an avenue of access to the universal" (143).Dostoevsky's "dream of a community of perfect Christian brotherhood and love" (160) grounds Scanlan's examination of Dostoevsky's sociopolitical philosophy and his rejection of the critical view that Dostoevsky's politics radically changed over time. Though Scanlan agrees with biographers that Dostoevsky despised the "moral blight" (169) of serfdom, he argues that Dostoevsky's vision of Christian society permitted social stratification so long as service to masters was voluntary, cooperative, and rational. This analysis makes clear the distance between Dostoevsky and Western liberal political theorists.For Dostoevsky, society based on universal Christian love is the only acceptable "socialism," and the last part of Scanlan's work analyzes Dostoevsky's nationalism and its relation to his attacks on socialism. In addition to... (shrink)

O artigo é uma reflexão sobre o modo como, na "Genealogia da Moral", Nietzsche repensa "o problema estético" a partir da oposição entre a concepção kantiana do belo como predicado de um juízo "desinteressado" e a concepção stendhaliana do belo como efeito de uma "cristalização" e uma "promessa de felicidade". A chave do pensamento de Nietzsche neste contexto está no conceito de "embriaguez" , por um lado, como termo-chave para designar a "pré-condição fisiológica" da arte, mas, por outro, como (...) um processo de espiritualização dos instintos ou das pulsões que as interioriza e intensifica. Esta espiritualização distingue-se da contemplação desinteressada porque não nos des-afecta e porque é, em grande medida, uma espiritualização da sexualidade, mas não deixa, por isso, de implicar uma reavaliação dos valores e uma ampliação do horizonte do humano. É por isso que a arte pode ser pensada como um "contra-movimento" que afirma a vida e combate o "ideal ascético" e o "niilismo europeu". The present article is a reflection on the way how, in "Genealogy of Morals", Nietzsche rethinks "the aesthetic issue" based on the opposition between Kant's conception of beauty as a predicate of a "disinterested" judgment and the stendhaliana conception of beauty as the effect of a "crystallization" and a "promise of happiness". The key to the thought of Nietzsche's in this context resides on the concept of "intoxication" on the one hand, as a key-term to designate the "pre-physiological condition" of art, but on the other hand, as a process of spiritualisation of the instincts or of the drives, which internalizes and intensifies them. This spiritualization is distinguished from disinterested contemplation for it does not dis-affects us, and because it is by large a spiritualization of sexuality, without renouncing to imply a revaluation of the values and a widening on the horizon of the human. That is why art can be thought of as a "counter-movement" that affirms life and fights the "ascetic ideal" and the "European nihilism". (shrink)

This paper offers a close reading of “The Geology of Morals,” the third and possibly most important chapter, or plateau, of Deleuze and Guattari’s magnum opus A Thousand Plateaus. I analyse some of...

The objective of this work is to carry out a genetic study on the Husserlian concept of noema based in the givenness of the real body in the passive experience of pain. The development focuses, either, on the delimitation of the painful body given in its physical sphere in attention to its material properties, and in the eventual integration of this passively given body in the so-called noetic-noematic structure regarding the intentional revelation that pain implies. To do this, pain will (...) first be briefly examined in light of "original" passivity. Secondly, the way in which the body is given in its real disposition and its understanding as a bodily ego in experiencing pain will be contemplated. Thirdly, considering the “original” constitution of the body in pain in a broad sense, emphasis will be placed on its correspondence with intentionality, a matter that only confirms that pain is a form of perception. Finally, the deployment of the genetically viewed noema is given on the basis of the determination of the real body as a noematic object. (shrink)

I examine Heidegger's reflections on the Anaximander fragment, concentrating on the question of justice. In his commentary, Heidegger draws on Nietzsche's thoughts about justice, the will to power, and nihilism to formulate an interpretation of the fragment that connects it to the epochal history and destiny of being. This "ontological" interpretation, constructed in a compelling reading of the history of philosophy, requires that Heidegger first address the historicism and "ontological forgetfulness" prevailing in historical consciousness and historiography, in order to (...) begin thinking towards the possibility of another epoch of being, releasing us from the injustice that is inherent in the ontology that rules in the present historical dispensation. Although Heidegger avoids moral prescription, he cannot avoid critical entanglement in the moral-juridical sense of justice, despite his claims and protestations, since, as his own account of the fragment implies, justice and ontology must be inseparable. Reading Heidegger's commentary in relation to Benjamin's philosophy of history, I argue that Heidegger's reflections on justice suggest a narrative of tragic hope that resembles Benjamin's configuration of justice in his reading of the Baroque mourning-play, where the hopelessly fragmented and imperiled image of justice is revealed as emerging from a Leidensgeschichte fatefully bound up in the continuum of a Schuldgeschichte. (shrink)

RESUMEN La filosofía hegeliana en general, y en particular la “Ciencia de la lógica” y el tratamiento que en esta se hace sobre nociones como las de identidad y diferencia, generaron desde el momento mismo en que vio la luz, un sinnúmero de posiciones críticas tales como las de Schelling, los hegelianos de izquierda y, en general, de todos aquellos filósofos que, en virtud de las posibles implicaciones prácticas de una filosofía de la identidad buscaron “expurgar la semilla del dragón (...) del panteísmo hegeliano”, entre las cuales es necesario mencionar la legitimación de estados totalitarios y los genocidios asociados a ellos. Esta búsqueda, fue realizada sobre la afirmación de que el pensamiento hegeliano, al estar soportado sobre la identidad, implica una negación y, por tanto, aniquilación y reducción de la diferencia. En este sentido, el presente artículo busca examinar la noción hegeliana de la identidad, la correspondencia o no de las críticas que sobre el particular se han hecho sobre Hegel y, finalmente, analizar una de las salidas que, desde las interpretaciones hegelianas más recientes, se han hecho para responder a las críticas: la filosofía hegeliana in stricto sensu, una filosofía de la diferencia. ABSTRACT The Hegelian philosophy in general, and in particular the “Science of Logic” and the treatment that in this is made about notions as identity and difference, generated since its conception a countless critical positions such as those of Schelling, the left Hegelian and, in general, of all those philosophers who, accordingly with the posible practical implications of a philosophy of identity sought to “purge the dragon’s seed from Hegelian pantheism” among which it is worth to mention the legitimization of totalitarian states and genocide associated with them. This search was made on the assertion that Hegelian thought, being supported on the identity, implies a negation and, therefore, annihilation and reduction of the difference. In this sense, the present article seeks to examine the Hegelian notion of identity, the correspondence or not of the criticisms that have been made about Hegel and, finally, to analyze one of the outlets that, from the most recent Hegelian interpretations, have been made to respond to the criticisms: the Hegelian philosophy in stricto sensu, a philosophy of the difference. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.2 (2003) 278-279 [Access article in PDF] Frederick C. Beiser. German Idealism: The Struggle Against Subjectivism, 1781-1801. Cambridge, MA: Harvard University Press, 2002. Pp. xvi + 726. Cloth, $59.95. With German Idealism Frederick Beiser adds to his already impressive body of work on classical German Philosophy. The aim of his book is to provide a historical account of the various forms the notion (...) of "idealism" took on in the work of Kant, Fichte, Hölderlin, Novalis, Friederich Schlegel, and Schelling. While the ruling picture of the period presents German idealism as the "metaphysics of subjectivity" blown up into mythic proportions, Beiser argues steadily and convincingly that "the development of German idealism consists not in an increasing subjectivism but in the very opposite: a growing realism and naturalism" (3).Nearly two-thirds of the book is devoted to Kant and Fichte. The treatment of Kant weighs in at just under two hundred pages, and is devoted to tracing his struggles with idealism in the pre-critical writings, the Kritik der reinen Vernunft and the Opus postumum. Unresolved Kantian problems serve as the launching pad for Fichte's "practical idealism." Beiser concentrates on Fichte's battles with skepticism and nihilism, his turn to the "primacy of the practical," and his efforts to provide a moral and inter-subjective foundation [End Page 278] for self-consciousness. The rest of the book deals with the ways in which the Kant-Fichte legacy is taken up and transformed into "absolute idealism" by the early Romantics and Schelling. Among the absolute idealists, it is Schelling—"the most inventive, brilliant, and productive" of them all (467)—who receives the most attention.It is a virtue of German Idealism that the trees of interpretive controversy are never mistaken for the idealist forest. In the body of the text, Beiser sticks closely to the task at hand, introducing the reader to the main lines of argumentation and the major philosophical stakes with exceptional skill and clarity. Scholarly debates are carried out mostly in the endnotes. This approach moves things along at a brisk pace, and makes for a refreshingly readable academic tome. It is perhaps inevitable, however, that a book of this scope will crack a little under the strain of its own weight. Three problems stand out. First, rejecting Hegel's self-aggrandizing account of the period is one thing, but it is surely overstating the case to say that the history of German idealism shows us that Hegel "was not the creative and original thinker that his history suggests or that his disciples imply" (11). Beiser's history, at least, does not justify such a claim. Pointing out that Hegelian-sounding ideas were in the air before Hegel started publishing does not suffice. Plato inherited from Parmenides the concern with "being," but this hardly makes him less of a creative and original thinker. Second, Beiser does not live up to his methodological promise to bracket "contemporary philosophical concerns and concepts" (ix). The book is littered with anachronisms. Schlegel is presented as attacking the "myth of the Given" (445-6), for example, while Schelling gives a "transcendental argument" for the self-knowledge of the absolute (589). Beiser also regularly classifies philosophers from the period as either "foundationalist" or "anti-foundationalist" (6-9, 235-9, 444-6), thus putting to work an undeniably contemporary "-ism" for which German, to this day, does not have a direct equivalent.Third, Beiser's treatment of the early German Romantics is too weak to serve as a bridge from Kant and Fichte to Schelling. While he is certainly right to insist that the early Romantics played a crucial role in the development of German idealism, he repeatedly conflates this claim with the less-than-convincing claim that they were philosophers with systematic ambitions. As a result, he seems ill at ease with their work, and has trouble dealing with the form within which they made their contributions. Take Schlegel for example. "For perfectly plausible reasons," we are told, "Schlegel was very skeptical of much... (shrink)

Moral nihilism is the view that there are no moral facts or moral truths. It is the ontological component of moral error theory, which is the best-known and most comprehensive metaethical theory that involves moral nihilism. My main aim is to discuss some consequences of endorsing moral error theory or believing to some degree that moral error theory is true. In §2, I consider the implications for ordinary moral thought and (...) discourse and the epistemological consequences for moral theorizing. In §3, I consider a recent challenge, according to which moral judgments do not have the epistemic profile that moral error theory alleges. I shall argue in §3–5 that the challenge can be met and that there is evidence that moral error theory is in fact correct about the epistemic profile of moral judgments. (shrink)

Moral nihilism is the view that there are no moral facts or moral truths. It is the ontological component of moral error theory, which is the best-known and most comprehensive metaethical theory that involves moral nihilism. My main aim is to discuss some consequences of endorsing moral error theory or believing to some degree that moral error theory is true. In §2, I consider the implications for ordinary moral thought and (...) discourse and the epistemological consequences for moral theorizing. In §3, I consider a recent challenge, according to which moral judgments do not have the epistemic profile that moral error theory alleges. I shall argue in §3–5 that the challenge can be met and that there is evidence that moral error theory is in fact correct about the epistemic profile of moral judgments. (shrink)

The objective of this work is to carry out a genetic study on the Husserlian concept of noema based in the givenness of the real body in the passive experience of pain. The development focuses, either, on the delimitation of the painful body given in its physical sphere in attention to its material properties, and in the eventual integration of this passively given body in the so-called noetic-noematic structure regarding the intentional revelation that pain implies. To do this, pain will (...) first be briefly examined in light of "original" passivity. Secondly, the way in which the body is given in its real disposition and its understanding as a bodily ego in experiencing pain will be contemplated. Thirdly, considering the “original” constitution of the body in pain in a broad sense, emphasis will be placed on its correspondence with intentionality, a matter that only confirms that pain is a form of perception. Finally, the deployment of the genetically viewed noema is given on the basis of the determination of the real body as a noematic object. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way in (...) which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

The topicality of Friedrich Nietzsche’s thought is reflected in his critique of mass culture, society and the state, and scientific methods, which later had a significant impact on modern discourse. Mass culture is the foundation of modern social reality as a force of decadence and nihilism that degrades the authentic and creates a mediocre culture. Nietzsche opposed a “culture” that implies a transcendence and sublimation of “nature” into the forms of “moral” ideals, and he called for a natural (...) life without harmful cultural influences that are an obstacle to a healthy human life. The idea of nihilism present in culture is relevant to our time because it manifests as a loss of depth or meaning in life itself, which, like nature, is chaos, without structure or empirical evidence. To understand the scientific revolution and its impressively devastating pace in the high-tech laboratories of our global research ecosystem, relevant is Nietzsche’s perspective aimed at demystifying science, especially positivism and naturalism, which seek to impose truth based on scientifically verified knowledge. Scientific interpretations and constructions are efforts to control and “humanise” nature by adapting chaos to our anthropomorphic expectations, needs, and concerns and making chaotic nature predictable. The paper shows that Nietzsche’s critique of culturalism and naturalism is based on the vision of the life of the “last man human” who rejects the culture of self-overcoming and dismantles reduces the fear of the uncertain and sudden and lives enframed in reality as presented by the scientific community. In the life of the contemporary human being, the will to live is merely maintained because he lacks the will to power. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In a departure from traditional Western political theory that is reminiscent of left?wing anarchism, contemporary libertarianism rejects the necessity of making political choices based on a value hierarchy, instead claiming that it is possible for all individuals to pursue their divergent values simultaneously?as long as each respects the equal rights of others to do the same. The caveat, however, hides a conflict of loyalties that would plague a libertarian society: on the one hand are the particular loyalties of one's preferred (...) Utopian community; on the other hand, loyalty to the larger ?framework for utopias?; within which one's utopia exists. The second loyalty implies a value relativism incompatible with the first one, meaning either that loyalty to the libertarian framework will undermine the utopias within it, or that the particular values of the utopias will destabilize the libertarian framework. The durability of a libertarian society, then, requires a mentality best characterized as nihilistic. In this, libertarianism differs from liberalism but is surprisingly similar to the cultural diversity movement. The thesis is illustrated by examining John Gray's attempt to eschew both a hierarchy of values and moral relativism. (shrink)

The author reviews the work of select theologians, ethicists, and biblical scholars who suggest that the difference between humans and animals should serve not solely as an ascription of a special status to humans but also as the foundation for a responsibility that humans bear toward animals. As an added reflection, the author explores common categorical differentiations in systematic theology: God and creation, human and nonhuman, elect and non-elect. In the first and last of these categorical differentiations, unique identity entails (...) both a special status and a responsibility. The latter is normatively directed to those who are categorically different. As such, the categorical difference between humans and animals establishes a foundation for moral concern. (shrink)

This paper tests a theory about the relationship between two important topics in moral philosophy and psychology. One topic is the function of normative language, specifically claims that one “ought” to do something. Do these claims function to describe moral responsibilities, encourage specific behavior, or both? The other topic is the relationship between saying that one “ought” to do something and one’s ability to do it. In what respect, if any, does what one “ought” to do exceed what (...) one “can” do? The theory tested here has two parts: (1) “ought” claims function to both describe responsibilities and encourage people to fulfill them (the dual-function hypothesis); (2) the two functions relate differently to ability, because the encouragement function is limited by the person’s ability, but the descriptive function is not (the interaction hypothesis). If this theory is correct, then in one respect “ought implies can” is false because people have responsibilities that exceed their abilities. But in another respect “ought implies can” is legitimate because it is not worthwhile to encourage people to do things that exceed their ability. Results from two behavioral experiments support the theory that “ought” exceeds but implies “can.” Results from a third experiment provide further evidence regarding an “ought” claim’s primary function and how contextual features can affect the interpretation of its functions. (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, (...) autonomy , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

This book is a critical attempt to approach world cinema in a new global frame that updates the national frame of territorial cinemas and the transnational frame of their interplay. The global frame implies the reintegration of border-crossing forces onto the postpolitical plane of troubled globalization with two ethical facets: the soft ethical inclusion of differences in multicultural, neoliberal systems and their hard ethical symptoms of fundamentalist exclusion and terror. Reflecting both, global cinema is formulated as staging crucial challenges that (...) today's globalism and its antinomies bring to the notions of subjectivity and community. Many films indeed depict the antagonism between the inclusive global system and its excluded remnants, allegorizing the impossible political change in various modes of catastrophe and nihilism. A global community often takes on a totalized network of sovereign violence and (counter)terror stuck in the impasse of utopian imagination. Yet some films suggest alternative ethics irreducible to collective politics when abject figures, deprived of social subjectivity and rights, become contingent agents of existential 'gift-giving' by fostering commonality without community, solidarity without unity. The psychoanalytic notion of abjection is redefined here as both the biopolitical mode of bare life and its potential for the ethical agency that opens atopian, if not utopian, networking on the edge of the global regime beyond the problematic 'soft/hard' ethics of tolerance/violence or pity/hate. This precarious yet precious abject agency is explored through a vast net of globally circulating contemporary films and a core cluster of political, ethical, and psychoanalytic philosophies. (shrink)

This paper examines the ethical issues of the inclusion of workers with disabilities in the workplace with a cross-fertilization approach between organization studies, the ethics of care, and a movement from the field of architecture and design that is called Universal Design (UD). It explores how organizations can use UD to develop more inclusive workplaces, first by applying UD principles to workspaces and second by showing how UD implies an integrative understanding of inclusion from the workspace to the workplace. Moreover, (...) this paper discusses the ethical challenges and complexities that this design practice faces in regard to its applicability to diverse organizations and industries. Finally, this paper demonstrates that inclusion requires abandoning any notion of a perfect, productive body and, therefore, recognizing our shared vulnerability and fundamental interdependence in the workplace. (shrink)

The principle, Ought implies can, Has two versions. The strong version expresses a necessary condition for the appropriateness of moral judgments; the weak version expresses a possible ground for excusing wrongdoing. The strong version is presupposed by choice-Morality, While the weak one is presupposed by character-Morality. It is argues that the strong version and choice-Morality are mistaken and that the weak version and character-Morality give a much more plausible account of our moral experience. The general conclusion is that (...) choice is not necessary for the appropriateness of moral disapproval. (shrink)

Recently, psychologists have explored moral concepts including obligation, blame, and ability. While little empirical work has studied the relationships among these concepts, philosophers have widely assumed such a relationship in the principle that “ought” implies “can,” which states that if someone ought to do something, then they must be able to do it. The cognitive underpinnings of these concepts are tested in the three experiments reported here. In Experiment 1, most participants judge that an agent ought to keep a (...) promise that he is unable to keep, but only when he is to blame for the inability. Experiment 2 shows that such “ought” judgments correlate with judgments of blame, rather than with judgments of the agent’s ability. Experiment 3 replicates these findings for moral “ought” judgments and finds that they do not hold for nonmoral “ought” judgments, such as what someone ought to do to fulfill their desires. These results together show that folk moral judgments do not conform to a widely assumed philosophical principle that “ought” implies “can.” Instead, judgments of blame play a modulatory role in some judgments of obligation. (shrink)

There are many general economic policies I favour such that I would feel significantly ashamed were I to succumb to bribery, or to institutional pressure short of physical threat, to publicly support their opposites. Here are a few of these policies: (1) Rich countries should not impose trade barriers, including subsidies for their own producers, against imports from poor countries. (2) Leaders of poor countries should be regarded as irresponsible when they imply to their people that their economic difficulties (...) arise principally from wickedness and exploitative behavior on the part of rich countries – the moral urgency of (1) notwithstanding. (3) Much freer movement of people across national borders for purposes of labour should be allowed everywhere. (4) Destitution is an unduly severe penalty for laziness, lack of talent or intelligence, or bad luck. More productive people should provide the lazy, the unskilled and the unlucky with as large a basic income grant as is compatible with maximizing net social productivity (which no present society comes very close to doing, partly due to confused social morality and partly due to incentive-distorting tax systems). (shrink)

In moral dilemmas, where circumstances prevent two or more equally justified prima facie ethical requirements from being fulfilled, it is often maintained that, since the agent cannot do both, conjoint obligation is overridden by Kant's principle that ought implies can, but that the agent nevertheless has a disjunctive obligation to perform one of the otherwise obligatory actions or the other. Against this commonly received view, it is demonstrated that although Kant's ought-can principle may avoid logical inconsistency, the principle is (...) incompatible with disjunctive obligation in standard deontic logic, and that it entails paradoxically that none of the conflicting dilemma actions will in fact occur. The principle appears to provide the only plausible safeguard against deontic antinomy, but cannot be admitted because of its collision with considered moral judgments. (shrink)