This article analyses how the philosopher Piero Martinetti conceptualizes the survival of a person’s soul after death. Martinetti’s stance is strongly influenced by the philosophy of Plotinus. Martinetti shows that the relation between singularity and multiplicity is expressed in human beings as two different and complimentary perspectives: a fundamental identity in the atemporal dimension of the intelligible life of the spirit and a dynamic tension in the empiric order of the spatio-temporal becoming. Both dimensions express themselves in a (...) finalistic way, attracted from the One who operates in them as a force of harmonization and concentration. The One as Omnitudo realitatis is the cornerstone of Martinetti’s position in regards to the survival of the individual soul after death: a concentration that happens mysteriously, because it transcends the ability of the human mind to understand it – yet, it certainly happens. ≪One thing only we know: what is worth living will live.≫. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:“Bodyheartminding” (xin 心): Reconceiving the Inner Self and the Outer World in the Language of Holographic Focus and FieldRoger T. Amesin body consciousness: a philosophy of mindfulness and somaesthetics, Richard Shusterman expands upon a professional oeuvre in which his exploration of the phenomenon of “body consciousness” has effected nothing less than a somatic turn in the contemporary Western philosophical narrative.1 But his contribution does not end there. (...) Over the past two decades, the reach and influence of his “somaesthetics” has been extended to the gates of China. Indeed, it has become a theme engaged by scholars of China’s indigenous philosophical traditions, thus providing an opportunity for a further edifying conversation between the Chinese and Western philosophical traditions.2 And it is this conversation, as it has been inspired by Shusterman’s work, that I propose to join in this short essay.In Body Consciousness, Shusterman tells the story of how John Dewey advances the pragmatic project of not only understanding the body better, but indeed of applying the Alexander Technique as his way of using his own body properly.3 Just as Dewey has been a prominent resource for Shusterman in his development of somaesthetics, for Dewey in turn, it was William James’s Principles of Psychology that was a self-confessed inspiration for the development of his own evolving interpretation of pragmatism.4 Indeed, one way of reading Dewey’s philosophical career and his thirty-seven-volume opus is that it is a sustained effort to take the radical “stream-of-consciousness” insights developed in James’s Principles to their logical, systematic conclusion. In pursuing this project, while appreciative, Dewey is at times impatient with James’s dualistic lapses in which he continues to separate individuals from community, mind from body, emotions from intellect, agents from actions, and theory from practice. Dewey takes these unfortunate reversions to old ways of thinking as serving only to confound James’s holistic doctrines of pure experience and radical empiricism. Given Dewey’s own postulate of [End Page 100] immediate and continuous empiricism, one way of tracking his journey from having been inspired by James’s biological naturalism to achieving his own philosophical coherence is to register his unrelenting aversion to dualism in any form.But Dewey himself was not always consistent in this respect. Shusterman gives an account of the early neo-Hegelian Dewey who, affirming the familiar transcendent conception of soul we associate with idealism, unsurprisingly embraces a clear soul and body dualism. And in spite of the philosophically mature Dewey’s best efforts to think “process,” he has no choice but to use both a language and a grammar freighted with substance ontology that resists his more holistic insights. On occasion, even while trying to remain consistent in his thinking, Dewey seems to fall victim to terminology that if not dualistic is at best ambiguous. Dewey’s struggle against this problem of equivocation is particularly apparent in some of the language he appeals to in attempting to put the Humpty Dumpty of mind and body together again. In his effort to register the irreducible continuity and inseparability of the nonanalytic abstractions we differentiate as body and mind—the ontological givenness or “hadness” of “bodyminding”—Dewey still at times invokes terms such as “combination,” “integration,” “unity,” and so on, that take as their suppressed premise “two things becoming one.” By way of contrast, in the correlative vocabulary of Chinese process cosmology, expressions such as yinyang 陰陽, the natural/cultural and the human (tianren 天人), and knowing and doing (zhixing 知行), primacy is given to vital relationality and the continuity it entails. It is not putting two things together that is referenced with these binomials, but the deepening of the horizon of constitutive, internal relationships that transforms the two aspects of the same phenomenon qualitatively into harmonics (he 和) for yinyang, sagacity (sheng 聖) for tianren, and acting wisely (zhi 智) for zhixing. In each instance, the two aspects themselves are simply conceptual abstractions from a complex relational process. The proper and effective measure (du 度) sought in this Confucian cosmology is not quantitatively more or less of two distinct things—taking mind and body as our example—but rather a qualitative and transformative change that... (shrink)

George Berkeley maintains both anti-abstractionism (that abstract ideas are impossible) and idealism (that physical objects and their qualities are mind-dependent). Some scholars (including Atherton, Bolton, and Pappas) have argued, in different ways, that Berkeley uses anti-abstractionism as a premise in a simple argument for idealism. In this paper, I argue that the relation between anti-abstractionism and idealism in Berkeley's metaphysics is more complex than these scholars acknowledge. Berkeley distinguishes between two kinds of abstraction, singling abstraction and generalizing (...) abstraction. He then rests his case for idealism, not on the denial of the possibility of generalizing abstraction, but rather on the denial of the possibility of singling abstraction. Moreover, Berkeley's argument does not rest on a blanket rejection of all forms of singling abstraction. Rather, the fundamental anti-abstractionist assumption, for his purposes, is the claim that primary qualities cannot be mentally singled out from secondary qualities. Crucially, the claim that the existence of physical objects cannot be mentally singled out from their being perceived is not a premise in, but rather a consequence of, Berkeley's argument for idealism. Berkeley's argument therefore avoids circularity inasmuch as it appeals to the impossibility of singly abstracting one idea in order to establish the impossibility of singly abstracting another. (shrink)

Plotinus (204-70) is the founder of Neoplatonism and its most significant thinker. He shaped late antique philosophy and significantly influenced the entire metaphysical tradition of the Middle Ages, Renaissance, and German Idealism. In this volume, Jens Halfwassen presents Plotinus' life and work, as well as the most important aspects of his historical influence. Issues of key importance for the Neoplatonists-such as the interaction between Being and Thought, the ascent of the soul, and the interpretation of Plato's theory of principles-are (...) explained in detail in the course of outlining the Neoplatonic metaphysical system. The introduction outlines Halfwassen's significant contribution to the study of Plotinus, paying particular attention to the differences between the current German and Anglophone approaches to the Platonic tradition. (shrink)

Ennead VI.8 gives us access to the living mind of a long dead sage as he tries to answer some of the most fundamental questions we in the modern world continue to ask: are we really free when most of the time we are overwhelmed by compulsions, addictions, and necessities, and how can we know that we are free? Can we trace this freedom through our own agency to the gods, to the Soul, Intellect, and the Good? How do (...) we know that the world is meaningful and not simply the result of chance or randomness? Plotinus' On the Voluntary and on the Free Will of the One is a groundbreaking work that provides a new understanding of the importance and nature of free human agency. It articulates a creative idea of agency and radical freedom by showing how such terms as desire, will, self-dependence, and freedom in the human ethical sphere can be genuinely applied to Intellect and the One while preserving the radical inability of all metaphysical language to express anything about God or gods. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The New Cambridge Companion to Plotinus ed. by Lloyd P. Gerson and James WilberdingBrandon ZimmermanGERSON, Lloyd P. and James Wilberding, editors. The New Cambridge Companion to Plotinus. Cambridge: Cambridge University Press, 2022. xxiv + 471 pp. Cloth, $105.00; paper, $34.99The original 1996 Cambridge Companion to Plotinus had the advantage of being one of the few systematic studies of Plotinus available and was able to recruit some of the (...) pioneers in the field to epitomize their research. In recent times, scholarship on Neoplatonism has exploded with new commentaries on and translations of Plotinus's works as well as significant studies of his Platonic predecessors and successors. Given the difficulty of following, let alone mastering, the burgeoning scholarship on late antique philosophy, The New Cambridge Companion to Plotinus is a sample of the work of current, generally younger, scholars in the field, rather than a comprehensive study of Plotinus's sources, thought, and influence.Because they address philosophical questions from a comprehensive metaphysical framework, Plotinus's treatises are difficult to group systematically. The same is true of the contributions of this volume, which elude the editors' attempts to classify them into sections. The first three essays are on historical topics. Eric Perl presents examples of how Plotinus creatively reworks material from Plato and Aristotle. Sebastian Gertz explores Plotinus's knowledge of Gnosticism, outlines his criticism of it in II.9, and speculates on whether certain criticisms were meant to apply to Christianity as well. Marije Martijn summarizes the critical reception and development of Plotinus's ideas in later pagan Neoplatonism. Little connection is made between Plotinus and the preceding Platonic and Pythagorean revivals, and nothing more is said about his reception.The order of the remaining essays is generally the inverse of Porphyry's arrangement of the Enneads, insofar as they move from the first principle downward to conclude with humanity's place in the whole. In her interpretation of Plotinus's first principle, Gwenaëlle Aubry presents the power of the One as an intermediary between it and its effects. Unlike Perl, who depicts the One as pure activity, and Gatti, who in the 1996 volume said the One is self-creative freedom, Aubry denies both freedom and activity to the One. Mauro Bonazzi and Christian Tornau both cover Plotinus's account of the divine intellect that is identical with the Forms as a response to the challenge of skepticism. Bonazzi begins with the Middle Platonic debate over Plato's first principles, while Tornau works upward from how our participation in Intellect enables us to judge the truth of sense perceptions. Svelta Slaveva-Griffin tries to show how Number is a metaphysical principle for Plotinus, suggesting that there is participated One posterior to the transcendent One. Michael Griffin rediscovers Plotinus's important place in the late antique development of Aristotle's logic. Griffin summarizes his criticisms of Aristotle's categories as being inconsistent with Aristotle's own logical principles, and then presents Plotinus's own categories (really more like transcendentals) of intelligible being and then of sensibles. Similarly, D. M. Hutchinsin's summary of Plotinus on the composition of sensible bodies highlights [End Page 349] Plotinus's valid probing of the relation between the predicables and the categories, even if Plotinus himself would reduce bodies to heaps or bundles of qualities. Damian Caluori insightfully reconstructs Plotinus's account of body–soul relations and operations as a synthesis of Aristotelian principles, Galen's anatomical discoveries, and his own understanding of the soul as an active intelligible reality. Plotinus is far more concerned about the distinct nature of bodily reality than he is often given credit for. Transcending the narrow historical focus of this volume, Pauliina Remes meditates upon and praises Plotinus's contributions to the philosophical problem of self-knowledge. Riccardo Chiaradonna ably summarizes III.7 "On Eternity and Time," but with no comments on the significance of Plotinus's teachings. James Wilberding questions whether Nature, which is the aspect of the World-Soul at work in giving the cosmos its life and form, should be considered its own level of reality (hypostasis). Jan Opsomer summarizes Plotinus's idiosyncratic teaching that matter, despite ultimately originating from... (shrink)

Ennead I.1 is a succinct and concentrated analysis of key themes in Plotinus' psychology and ethics. It focuses on the soul-body relation, discussing various Platonic, Aristotelian, and Stoic views before arguing that there is only a soul-trace in the body (forming with the body a "compound"), while the reasoning soul itself is impassive and flawless. The soul-trace hypothesis is used to account for human emotions, beliefs, and perceptions, and human fallibility in general. Its problematic relation to our rational (...) powers, as well as the question of moral responsibility, are explored. Plotinus develops his original and characteristic concept of the self or "we," which is so called because it is investigated as something common to all humans (rather than a private individual self), and because it is multiple, referring to the reasoning soul or to the "living thing" composed of soul-trace and body. Plotinus explores the relation between the "we" and consciousness, and also its relation to the higher metaphysical entities, the Good, and Intellect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Four Philosophical Models of the Relation Between Theory and PracticeEstelle R. JorgensenSince music education straddles theory and practice, my purpose is to sketch the strengths and weaknesses of four philosophical models of the relationship between theory and practice. I demonstrate that none of them suffices when taken alone; each has something to offer and its own detractions. And I conclude with four suggested ways in which (...) the analysis can be helpful to music teachers and those interested in their work.Clarifying what is meant by theory and practice raises a nest of conceptual problems. Concerning theory, it may be tempting to equate the terms "theory" and "philosophy." Among their shared properties, these terms deal with conceptual and abstract entities that, from the Enlightenment at least, have been held to be distinct from the phenomenal world. They also clarify ideas and distinguish one concept from another. Among their different purposes, the object of philosophy is the asking of questions in a search for wisdom or truth whereas theory is formulated for explanatory purposes, especially within the frame of scientific propositions that can be refuted through empirical observations. The tests of philosophy are, therefore, those of symbolic logic evidenced in principles such as [End Page 21] internal consistency, correspondence with evidence (deductive, inductive, or analogical), and coherence within a unity or whole. Although logical criteria may also be important in formulating and testing theory,1 it is tested and refuted primarily through means of qualitative descriptions and quantitative assessments of observable phenomena.Regarding practice, one is also confronted with an ambiguous construct that may be interpreted descriptively (what is done in the phenomenal world or taken to be the general state of affairs) or normatively (what is desirable or ideal). There is also the distinction between the practice of a seasoned performer and practice in the sense of striving towards the mastery of a competent and expert practice. In this regard, Vernon Howard distinguishes between "practice" (or the skills exemplified by proficient or expert performers) and "practise (or acquiring the level of mastery of proficient or expert performance)."2 For him, the ambiguous and paradoxical nature of artistic practice highlights the complexity of degrees of attaining mastery of skills or exemplary practice and the diverse array of skills ranging from habit to critical thinking involved in the practice of any art. Although each practice is distinguished by its own belief systems, rituals, expectations, and commonsense, boundaries between differing practices are sometimes "soft" or fuzzy, as one seeps into another.3 Consequently, it is often difficult to distinguish one from another at the margins where one practice becomes another.DichotomyThe notion of theory and practice as independent or a dichotomous relationship between the phenomenal world on the one hand and the mind and spirit on the other has its roots in the ancient world. For Plato, the world of "appearances," referring to the phenomenal world understood by imagination (eikasia) and belief (pistis), should be distinguished from the higher, abstract "intelligible world" grasped through thinking (dianoia), knowledge (episteme), and intelligence (noesis).4 René Descartes' later bifurcation of the inner and outer worlds and inversion of Platonic values and understandings resulted in the ascendancy of careful and deliberate observation of the phenomenal world over philosophical reflection.5 His ideas helped to set the stage for the Enlightenment and the Industrial, Scientific, and Information Revolutions. Empiricism, science, and technology gradually displaced philosophy as primary ways of knowing the phenomenal world and understanding the nature of mind, human cognition, feeling, and being. Making hard-boundaried distinctions between within and without one's self, the phenomenal world and the world of spiritual things, and theory and practice were important insights. These distinctions provided for limits on the sorts of ways in which truth could be known. Reasoned deliberation [End Page 22] and imaginative thought have particular usefulness in the world of theory while sensory perception and careful observation are especially useful in the phenomenal world of practice. So while the scholar might speculate about phenomena, observational tools are also useful in coming to know and understand them. Reason and observation each have particular strengths, and it ought not be assumed that philosophy or scientific observation... (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This essay interprets the meaning of one of the cards in aTarot deck, "The Magician," in the context of process philosophy in the tradition of Alfred North Whitehead. It brings into the conversation the philosophical legacy of American semiotician Charles Sanders Peirce as well as French poststructuralist Gilles Deleuze. Some of their conceptualizations are explored herein for the purpose of explaining the symbolic function of the Magician in the world. From the perspective of the logic of explanation, the (...) sign of the Magician is an index of nonmechanistic, mutualist or circular, causality that enables self-organization embedded in coordination dynamics. Its action is such as to establish an unorthodox connection crossing over the dualistic gap between mind and matter, science and magic, process and structure, the world without and the world within, subject and object, and human experience and the natural world, thereby overcoming what Whitehead called the paradox of the connectedness of things. The Magician represents a certain quality that acts as a catalytic agent capable of eliciting transmutations, that is, the emergence of novelty. I present a model for process∼structure that uses mathematics on the complex plane and the rules of projective geometry. The corollary is such that the presence of the Magician in the world enables a particular organization of thought that makes pre-cognition possible. (shrink)

Plotinus' Treatise V.1 comes closer than any other to providing an outline of his entire spiritual and metaphysical system, and as such it may serve to some degree as an introduction to his philosophy. It addresses in condensed form a great many topics to which Plotinus elsewhere devotes extended discussion, including the problem of the multiple self; eternity and time; the unity-in-duality of intellect and the intelligible; and the derivation of intelligible being from the One. Above all, it shows (...) that the so-called "three hypostases"--soul, intellect, and the One--are best understood not as a sequence of three things additional to one another, but as three levels of possession of the same content, so that each lower level--soul in relation to intellect and intellect in relation to the One--is an "image" and "expression" of its superior. Plotinus exhorts the human soul to overcome its alienation from its own true nature and its divine origin by first recognizing itself as superior to the body and the same in kind as the animating principle of the entire cosmos, and then discovering within itself the still higher levels of reality from which it derives: intellect and, ultimately, the One or Good, the supreme first principle of all things. To do so the soul must redirect its attention inward and upward to become aware of the divinity which is always within it but from which it is distracted by the clamor of the senses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Four Philosophical Models of the Relation Between Theory and PracticeEstelle R. JorgensenSince music education straddles theory and practice, my purpose is to sketch the strengths and weaknesses of four philosophical models of the relationship between theory and practice. I demonstrate that none of them suffices when taken alone; each has something to offer and its own detractions. And I conclude with four suggested ways in which (...) the analysis can be helpful to music teachers and those interested in their work.Clarifying what is meant by theory and practice raises a nest of conceptual problems. Concerning theory, it may be tempting to equate the terms "theory" and "philosophy." Among their shared properties, these terms deal with conceptual and abstract entities that, from the Enlightenment at least, have been held to be distinct from the phenomenal world. They also clarify ideas and distinguish one concept from another. Among their different purposes, the object of philosophy is the asking of questions in a search for wisdom or truth whereas theory is formulated for explanatory purposes, especially within the frame of scientific propositions that can be refuted through empirical observations. The tests of philosophy are, therefore, those of symbolic logic evidenced in principles such as [End Page 21] internal consistency, correspondence with evidence (deductive, inductive, or analogical), and coherence within a unity or whole. Although logical criteria may also be important in formulating and testing theory,1 it is tested and refuted primarily through means of qualitative descriptions and quantitative assessments of observable phenomena.Regarding practice, one is also confronted with an ambiguous construct that may be interpreted descriptively (what is done in the phenomenal world or taken to be the general state of affairs) or normatively (what is desirable or ideal). There is also the distinction between the practice of a seasoned performer and practice in the sense of striving towards the mastery of a competent and expert practice. In this regard, Vernon Howard distinguishes between "practice" (or the skills exemplified by proficient or expert performers) and "practise (or acquiring the level of mastery of proficient or expert performance)."2 For him, the ambiguous and paradoxical nature of artistic practice highlights the complexity of degrees of attaining mastery of skills or exemplary practice and the diverse array of skills ranging from habit to critical thinking involved in the practice of any art. Although each practice is distinguished by its own belief systems, rituals, expectations, and commonsense, boundaries between differing practices are sometimes "soft" or fuzzy, as one seeps into another.3 Consequently, it is often difficult to distinguish one from another at the margins where one practice becomes another.DichotomyThe notion of theory and practice as independent or a dichotomous relationship between the phenomenal world on the one hand and the mind and spirit on the other has its roots in the ancient world. For Plato, the world of "appearances," referring to the phenomenal world understood by imagination (eikasia) and belief (pistis), should be distinguished from the higher, abstract "intelligible world" grasped through thinking (dianoia), knowledge (episteme), and intelligence (noesis).4 René Descartes' later bifurcation of the inner and outer worlds and inversion of Platonic values and understandings resulted in the ascendancy of careful and deliberate observation of the phenomenal world over philosophical reflection.5 His ideas helped to set the stage for the Enlightenment and the Industrial, Scientific, and Information Revolutions. Empiricism, science, and technology gradually displaced philosophy as primary ways of knowing the phenomenal world and understanding the nature of mind, human cognition, feeling, and being. Making hard-boundaried distinctions between within and without one's self, the phenomenal world and the world of spiritual things, and theory and practice were important insights. These distinctions provided for limits on the sorts of ways in which truth could be known. Reasoned deliberation [End Page 22] and imaginative thought have particular usefulness in the world of theory while sensory perception and careful observation are especially useful in the phenomenal world of practice. So while the scholar might speculate about phenomena, observational tools are also useful in coming to know and understand them. Reason and observation each have particular strengths, and it ought not be assumed that philosophy or scientific observation... (shrink)

My essay focuses on the relation between consciousness and reality. I argue, following Georg Cantor, that consciousness is a potential infinite driven by care to invest itself in the world historically. As human beings develop an authentic sense of self they are driven by good faith to postulate an Absolute infinite, which, following Spinoza, we may call God. Thus God, as the Absolute infinite, constitutes our reality, which I characterize as implicate information explicating itself through time. (...) To live authentically is to recognize the nature of God and commit to Him through faith. Faith means to understand one’s self as a potentially infinite consciousness attempting to authentically participate in, and understand, the Absolute of God. (shrink)

Unger’s Problem of the Many seems to show that the familiar macroscopic world is much stranger than it appears. From plausible theses about the boundaries of or- dinary objects, Unger drew the conclusion that wherever there seems to be just one cat, cloud, table, human, or thinker, really there are many millions; and likewise for any other familiar kind of individual. In Lewis’s hands, this puzzle was subtly altered by an appeal to vagueness or indeterminacy about the the boundaries (...) of ordinary objects. This thesis examines the relation between these puzzles, and also to the phenomenon of vagueness. Chapter 1 begins by distinguishing Unger’s puzzle of too many candidates from Lewis’s puzzle of borderline, or vague, candidates. We show that, contra Unger, the question of whether this is a genuine, as opposed to merely apparent, distinction cannot be settled without investigation into the nature of vagueness. Chapter 2 begins this investigation by developing a broadly supervaluationist account of vague- ness that is immune to the standard objections. This account is applied to Unger’s and Lewis’s puzzles in chapters 3 and 4. Chapter 3 shows that, despite its popularity, Lewis’s own approach to the puzzles is unsatisfactory: it does not so much solve the puzzle, as prevent us from expressing them; it cannot be extended to objects that self-refer; it is committed to objectionable theses about temporal and modal metaphysics and semantics. Chapter 4 develops a conception of ordinary objects that emphasises the role of identity conditions and change, and uses it to resolve both Problems of the Many. This allows us to diagnose the source of the puzzles: an overemphasis on mereology in contemporary material ontology. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

The magical number three has provided the template for this comparative study of Freudian psycho-analysis and Husserlian phenomenology. "Three" should be considered the number of dialectics; the method in the study to let three distinct thematisations succeed each other should find its legitimation in dialectics. The relationship between psycho-analysis and phenomenology as that between two dialectic theories might well call for a dialectic interpretation. It should be difficult from a straightforward and unambiguous interpretation to give full credit to (...) the rich and equivocal meaning of psycho-analysis and phenomenology. I hope to have shown in the presentation above, that it is possible by accentuating different sides of the two scientific disciplines to reach different conclusions regarding their relationship. For a full account of this relationship these different conclusions should be placed together and viewed in their internal coherence as a dialectical unity. Thus none of the three sections of the text should be considered apart from the others. In the first section of the paper, the first thematisation, I tried to spell out the discrepancies between Freud and Husserl as clearly as possible. The point of departure here was the Freudian notion of the "psychical apparatus," and Husserl's doctrine of "intentional consciousness." The models built around these central notions can be shown to have a paradigmatic meaning for the development of Freud's and Husserl's psychological projects. Conceiving the subject as psychical apparatus, Freud thought it possible to make psychology a natural science. The subject could be treated like a mechanical apparatus, that is a machine admitting the general laws of motion. - In contrast, Husserl thought psychology should depart from natural science in its scientific selfunderstanding, and join the humanities instead. Psychology's departure from natural science, Husserl found legitimized in the subject's essential character of intentional consciousness. According to Husserl, man as a conscious being could not be reduced to a thing in the natural world. On the contrary, the aprioric basis for the world should be found in intentional consciousness, which constitutes the "world" as a meaningful coherence related to the subject. Freud's and Husserl's conceptions of psychology were traced to historical roots in respectively positivism, naturalism and mechanical materialism on the one hand, and rationalism, humanism and idealism on the other. In this first interpretation the relationship between psycho-analysis and phenomenology seemed to be antithetical, the two theoretical projects representing opposite poles with regard to cartesian dualism. Although in some ways caricaturing the theories in this one-sided interpretation, I tried to show, that such interpretation is possible with bases in the texts of Freud and Husserl. The decided one-sidedness of the first thematisation should, however, be balanced by the competing interpretation in the second section of the paper. In the second thematisation, I tried to show, that both psycho-analysis and phenomenology in their concrete psychological projects went beyond their points of departure. Although Freud as a scientist of the 19th century naturally found his theoretical language in the successful natural sciences, from which his scientific career started, he decisively broke with this frame of reference in his descriptions of the pathological problems from his clinical praxis. In contrast to the abstract metapsychology of the psychical apparatus, Freud in his clinical psychology departed from mechanism in his attempts to interpret the meaning of the patient's neurotic symptom. The clinical attitude of Freud might resemble phenomenologists' openness towards the meaning of the phenomena, and the case-histories of Freud often read like clinical analyses stemming from existential- phenomenological psychiatrists. - Correspondingly, although Husserl started from the tradition of German philosophy of consciousness, also he can be seen to go beyond the premises of his wellsprings. Starting with a notion of intentionality as consciousness's active positing meaningful objects, Husserl later was led to consider a deeper level of intentionality, a "functioning intentionality," that would situate the subject in a "world" prior to any thematic perceptual act. With the notion of functional intentionality and its further development in Merleau-Ponty's philosophy of the "body-subject," phenomenology seems to have come close to the Freudian doctrine of the unconscious. From this second interpretation it seemed to follow, that a meeting between psycho-analysis and phenomenology should be possible, by cutting off the mechanistic parts from psychoanalysis and the idealistic parts from phenomenology. The hindrance for such meeting should apparently be found in the divergent theoretical prejudices stemming from the ideological climates in which the theories were hatched. None of these two apparently contradictory interpretations, that of the first and second thematisation, should, however, rule out the other. To the question which interpretation is the right one, we should answer "both... and," or perhaps better "Neither... nor." Freud and Husserl in fact held contradictory views in their explicit scientific self-understanding. On the other hand, much of the controversy was caused by theoretical prejudices not essential to the central enterprise of psycho-analysis and phenomenology. And yet, the theoretical work of Freud and Husserl should be considered in its entirety, not omitting parts that do not fit the interpretative context. Freud's mechanistic theories must be read in connection with his clinical/phenomenological psychology, Husserl's doctrine of transcendental consciousness together with his concrete analyses of the world and the body. Freud sticked to his mechanistic metaphors throughout his life, not just because mechanic materialism was his scientific point of departure, but also because he found the models of the psychical apparatus useful to picture the subject-matter of psycho-analysis, the unconscious as it is discovered by the analytic method. Correspondingly, Husserl found in transcendental idealism a metaphysical horizon apparently suited for his main theoretical project, to un-cover by phenomenological reflexion man in his free and conscious being. In this way Freud's materialism and Husserl's idealism might find their limited justification, not in the absolutistic sense set forth in the first section, but in relation to their weighting different aspects of the subject/object dialectic of man. This point of view I tried to explicate in the third section of this paper. In the subject/object dialectic Freud seems to underline man's existence as object, his being ruled by the mechanic, the irrational, the infantile, the unconscious. In contrast, Husserl underlines man's existence as subject, his free and conscious openness towards the world and the future. This difference I characterized with the notions of Ricoeur as respectively an "archeology" and a "teleology" of the subject. And yet the difference between Freud and Husserl is that of a weighting different sides of the subject/object dialectic, not of an exclusive thematisation of man as either subject or object. Freudian archaeology is supplemented by an implicit teleology, Husserlian teleology by an implicit archeology. On the background of such interpretation the relationship between psycho-analysis and phenomenology should be seen neither as the polarity of the first thematisation, nor as the synthesis of the second. Psycho-analysis and phenomenology both contradict and imply each other in a relationship that should be termed dialectical. With this third interpretation the paper ended. At last I noted that the problems raised by the controversy on the subject/object dialectic of man should not easily be solved. Instead, the question "what is man" should have to be answered continuously in a concrete historical reflextion or dialogue. Yet I think it safe to conclude, that any psychological consideration has to take into consideration, both man's archeological and his teleological features, thus not allowing the one perspective completely to rule out the other. (shrink)

This paper addresses the relation between the intelligible and the material world in the works of the Neoplatonic philosopher Damascius (ca. 460-ca. 538 AD), who uses the theory of the Platonic Ideas in order to discuss the evolution from the One to the Manifold. This relation arises through specific laws that lead to the development of a harmonious cosmic system. The vertical and the horizontal segmentation of metaphysical causes is implemented in the process of the generation (...) of the empirical world, which is nevertheless imperfect in the sense that it is an image of the metaphysical world and is subject to generation and decay. The metaphysical world constitutes a normative basis for the beings of the world of experience to the same extent in the ontological as in the aesthetic and ethical area. The vertical segmentation cannot be understood without the horizontal because in that case the generation of tangible beings, which are complex realities, would be implausible. At the same time, the horizontal segmentation without the vertical would result in inactive metaphysical causes. The simple fact that the empirical world exists excludes such alternatives. (shrink)

Purpose. Based on tracing dualistic tendencies in the history of the concept “self” formation, the paper aims to clarify in what way dualism – contradistinction of the self and sociality, in particular – is being overcome in phenomenological and hermeneutic approaches to the self. Methodology. The systematic and integrative approaches, hermeneutic, phenomenological and retrospective methods, comparative analysis, description and synthesis underlie the research conducted in this paper. Theoretical basis. The development of the concept “self” is traced (...) based on historical retrospective of its definitions. The paper shows the influence of Kantian interpretation of the self upon the contemporary approaches, presents the comparative analysis of the most recent definitions of the self and illustrates the study results on the relation of the self to the body, the world, the narration and the identity with reference to Martin Heidegger, Paul Ricoeur and Charles Taylor in particular. Originality. An integration of phenomenological and hermeneutic approaches to the self is introduced in the paper. It is argued that phenomenological and hermeneutic interpretations can be represented as complementing each other, since they share the anti-dualist perspective and interweave in description of the key aspects of the self, particularly sociality and language. Conclusion. Dualism is overcome in the contemporary interpretations of the self as it is clear from the phenomenological and hermeneutic approaches example. There is no more acute opposition between the self and the world, the self and the body, the self and the social life of a person. The self is considered as “being-in-the-world” which unfolds through intersection of different dimensions: subjectivity, body, temporality, language and sociality. Sociality provides the self with a moral framework through identity and enables conditions for person’s self-fulfillment, since the self reaches completeness only by transcending itself towards the others. The modern discovery of the self entails the need to invent a new type of solidarity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coleridge’s Intellectual Intuition, the Vision of God, and the Walled Garden of “Kubla Khan”Douglas HedleyIn his seminal work of 1917 Das Heilige Rudolph Otto quotes a number of passages as instances of the “Numinose.” Alongside those quotations from more conventional mystics, Plotinus, and Augustine, Otto refers to Coleridge’s “savage place” in Kubla Khan. 1 It is also pertinent that, when trying to define Romanticism, C. S. Lewis appeals to (...) the longing for the “unnameable something” fired by “morning cobwebs in late summer” or the “opening lines of Kubla Khan.” 2 Perhaps it is a mere coincidence that two of the most penetrating and influential scholars of religion in the twentieth century should appeal to Coleridge and his poem “Kubla Khan.” I wish to suggest reasons why the link between the imagery of “Kubla Khan” and a mystical experience of transcendence is not merely fortuitous. Indeed the connection between Coleridge’s mature writing and the imagery of the poem shows that we have good reason for seeing him as consciously writing, both as a poet and as a philosopher, within a visionary mystical tradition. I propose that it is no accident that Coleridge’s most visionary poem draws upon the central Christian image of paradise: the walled garden.This is an attempt not to interpret “Kubla Khan” but rather to suggest Coleridge’s place in the history of ideas as a Christian poet and philosopher. He is best described as an essentially speculative and mystical philosopher-theologian. 3 [End Page 115] By “speculative” I mean a theology inspired by those Church Fathers who emphasize the “vision” of God as an intellectual contemplation (speculari) of the transcendent Absolute, the prius of all being. The scholastics, the medieval German mystics, the Cambridge Platonists, and some of the German Idealists have all been influenced by such a speculative impulse. 4 Hegel uses the term “speculative” for his Dialectic. 5A philosophical or “speculative” approach to theology has invoked hostility from Tertullian onwards. Coleridge’s philosophy of religion often excited the fear of the new pantheistic German theology. John Henry Newman castigated Coleridge’s speculation as more heathen than Christian. Yet the speculative movement in theology spawned both a radical and a conservative wing, and we have to judge Coleridge’s thought in the light of the more conservative branch of nineteenth-century Idealism. D. F. Strauss jettisoned the transcendent “yonder” of traditional theology in favor of his philosophical or “scientific” approach to Christianity. Coleridge, however, could not adhere to theology of immanence; he wished to present a theology of an adamantly transcendent character.The walled garden is an eminently appropriate image of transcendence and was used as such by the fifteenth-century Christian Platonist Nicholas of Cusa, who is one of the links between Patristic theology and German Idealism. I shall draw upon his book The Vision of God as a paradigm of the sort of speculative mysticism which informs Coleridge’s metaphysics and much of his poetry. 6 Reflection upon an exotic poetic image may help us to clarify one of Coleridge’s philosophical tenets; the walled garden can be seen to symbolize that transcendent numinous reality, which the soul inchoately and barely consciously seeks and strives for.Coleridge’s “Mysticism” and the Imagery of “Kubla Khan”Richard Holmes claims that the “Kubla Khan” provides evidence of a transition in Coleridge’s interests and presents this switch from “classical and religious mythology” to the “drama of self-knowledge... the growth of consciousness and civilisation” as a key to Coleridge’s poetry. Holmes writes: [End Page 116][H]is instinct that the modern Epic subject must now centre on “the mind of man,” through “travels, voyages and histories,” shows a shift of poetic focus characteristic of the new Romantic age. The Epic could no longer draw on classical or religious mythology for the framework of its action. It must become contemporary with the world of scientific, anthropological, and psychological exploration: it must centre in some way on the drama of self-knowledge, on the growth of consciousness and civilisation. 7Coleridge would not have seen a conflict between the drama of self-consciousness and classical and religious mythology. In “Kubla... (shrink)

This volume develops a fundamentally different categorical framework for conceptualizing time and reality. The actual taking place of reality is conceived as a “constellatory self-unfolding” characterized by strong self-referentiality and occurring in the primordial form of time, the not yet sequentially structured “time-space of the present.” Concomitantly, both the sequentially ordered aspect of time and the factual aspect of reality appear as emergent phenomena that come into being only after reality has actually taken place. In this new framework, (...) time functions as an ontophainetic [H1] platform, i.e., as the stage on which reality can first occur. Events are merely the “tracks” that the actual taking place of reality leaves behind on the co-emergent “canvas’’ of local spacetime. -/- The view of time proposed here is particularly relevant to the recent debate over the “ER=EPR” conjecture targeting the relation between quantum physics and general relativity theory. The novelty of this radically different framework is that it allows quantum reduction and singularities to be addressed as inverse transitions into and out of the factual layer of reality: In quantum physical state reduction, reality “gains” the chrono-ontological format of facticity, and the sequential aspect of time becomes applicable. In singularities, by contrast, the opposite happens: Reality loses its local spacetime formation and reverts back to its primordial, pre-local shape – making the use of causality relations, Boolean logic and the dichotomization of subject and object obsolete in the process. -/- For our understanding of the relation between quantum and relativistic physics, this new view opens up fundamentally new perspectives: Both are legitimate views of time and reality; they simply address very different chrono-ontological portraits, and thus should not lead us to erroneously prefer one view over the other. -/- The task of the book is to provide a formal framework in which this radically different view of time and reality can be suitably addressed. The mathematical approach is based on the logical and topological features of the Borromean Rings, and draws upon concepts and methods from algebraic and geometric topology – especially the theory of sheaves and links, group theory, logic and information theory in relation to the standard constructions employed in quantum mechanics and general relativity, shedding new light on the problems of their compatibility. The intended audience includes physicists, mathematicians and philosophers with an interest in the conceptual and mathematical foundations of modern physics. (shrink)

D. Wulff developed a notion of post-critical beliefs as a proposal for the description of religion in the light of the progress of secularization and socio-cultural changes. According to his theory, we can situate potential attitudes toward religion in a two-dimensional space. The vertical dimension stands for Inclusion vs. Exclusion of Transcendence, and the horizontal one-for the way an individual interprets religious content: Literal vs. Symbolic. In this way, the two dimensions determine four quadrants, each reflecting a potential attitude (...) towards religion, operationalized by D. Hutsebaut in the Post-Critical Belief Scale as: Orthodoxy, External Critique, Relativism and Second Naiveté. The research presented in this paper is our attempt at fi n ding an answer to the question whether the religious attitudes determined by Wulff are related to self-consciousness types. We tested 159 adult individuals by means of the PCBS scale by D. Hutsebaut and the Self-consciousness scale by Z. Zaborowski and Z. Oleszkiewicz. The results of these tests are that the refl ective type of self-consciousness correlated positively with Orthodoxy and Second Naiveté and negatively with External Critique and Relativism. (shrink)

Translated by Drew S. Burk and Anthony Paul Smith. Excerpted from Struggle and Utopia at the End Times of Philosophy , (Minneapolis: Univocal Publishing, 2012). THE END TIMES OF PHILOSOPHY The phrase “end times of philosophy” is not a new version of the “end of philosophy” or the “end of history,” themes which have become quite vulgar and nourish all hopes of revenge and powerlessness. Moreover, philosophy itself does not stop proclaiming its own death, admitting itself to be half dead (...) and doing nothing but providing ammunition for its adversaries. With our sights set on clearing up this nuance, we differentiate philosophy as an institutional entity, and the philosophizability of the World and History, of “thought-world,” which universalizes the narrow concept of philosophy and that of “capital.” We also give an eschatological and apocalyptical cause to this end, of “times” or “ages” rather than those of philosophical practice. Last but not least, it is the Future itself in the performativity of its ultimatum that determines this end times, reversing these times from the Identity the Future accorded to it, withdrawing the thought-world from the lie of its death. Why this style of axioms and oracles, these more or less subtle distinctions, old and debased, with an appeal to the ultimata , to end times and last words? We fight to give, parallel to the concept of Hell, its new theoretical position, for its philosophical return and its non-philosophical transformation. No more so than any other word, Hell is not a metaphor here, just the Principle of Sufficient World. Every man, no doubt, has his “hell” readily available, connivance, control, conformism, domestication, schooling, alienation, extermination, exploitation, oppression, anxiety, etc. We have our little list that the Contemporaries established in the previous century in the same way one used to construct lists of virtues and vices or honors and wealth. They invented it for us without knowing it, for us-the-Futures who have as our responsibility to invent its use. In the Christian and Gnostic tradition, the struggle of the End Times takes place “on earth.” The most sophisticated of believers have it taking place in Heaven as well, above all in Heaven. The various kinds of gnosis imagine infinite falls and vertiginous highs, the vertigo of salvation. On Earth as in Heaven, a hell is available. The Marxists have the law of profit and the control of production, the class struggle Capital imposes on man. The Nietzscheans, the dull grumble of the struggle in the foundations of World and History, the domestication of man, the society of control. The phenomenologists, the capture of being, the most superficial amongst them, the age of suspicion. But all of these “hells” are taken from World, History, Society, and Religion. What we call Hell is no longer of the order of these specific and total intra-worldly generalities, it is both more singular and more universal, no longer being at all of the same order, it is the determinant Identity of these small hells strung out through history but unified here in the name of the last Humaneity. It is even found within the French idiom for hell [ enfer ], en-fer literally means “in-irons.” We are as much “in-irons” as we are “alive” [ en-Vie ]. We believe in Hell but as non-philosophers and it is even because we are non-philosophers that we can believe in it outside of any sort of religion. Hell is less mythological than ideological, it combines philosophizability with universal capital. Under what form? A single term could work for them without being a metaphor or something they would participate in by analogy, a more innovative and conjectural term than control, more universal than profit. It would denote the growing and permanent extortion of a surplus-value of communication, of speed and of urgency in change, in productivity and in work, in the pressure of images and slogans. It would be worse than solicitation, more tenacious than capture, more active and persecutory than control, softer and more insidious than a frontal attack, just as perverse as questioning and accusation, less brutal and offensive than extermination, less ritualized than inquisition, it would be soft and dispersed, instantaneous and vicious, it would be a crime without declared violence. Collusion and conformism, it would be afraid to show itself. Related to rumor, from which it borrows its infinite and tortuous ways. It is harassment. As a modernized form of Hell, perhaps harassment has a long future in front of it, of innocent torture, slow assassination, in short the fall, but radical with no way of recovering and which tolerates only salvation. THE PHILOSOPHICAL PAST OF NON-PHILOSOPHY Non-philosophy is thus Man as the utopian identity of the philosophical form of the World, a utopia destined to transform it. We still have to understand these equations, in particular that of the being-uni-versed from Man, and this book adheres to this by re-exposing non-philosophy in a different way via one of its new possibilities. It uses this opportunity to once again take up formulations that lead to objections answering certain external critics, as well as revisiting diverging interpretations specific to non-philosophers. A portion of this book is devoted to going through these theories via a strict or “lengthy” presentation of non-philosophy, and its defense against more expeditious solutions. This work of rectification is the occasion, merely the occasion, for refocusing non-philosophy on Man (the “Man-in-person,” “Humaneity”), and in a more innovative manner, on its utopian vocation established since the book Future Christ . As for this “occasion,” it is quite obvious. A school of posture, not to say a school of thought, supposes a minimum of closure from the most liberating of knowledge, a heritage, its utilization, and its no less certain dispersal. Within its development, a variety of interpretations will no doubt appear, deviations that are as much normalizations, and a struggle against this multiplication of divergent tendencies. These are perhaps not inevitable evils, especially here, merely a normal development according to the twisting paths of history. But the problem is made worse by the fact that this school of non-philosophers is that of utopia. Not the former attempts devoted to commenting on the worst authoritarian and criminal forms of the past and the present, but utopia as the determinant principle for human life, or to put it another way, of the Future as an irreducible presupposition of (for) thinking the World and History. Non-philosophers are engaged in an aleatory navigation between the respect for the most rigorous utopia, whose rules are not that of the reproductive imagination but those from the Future determining imagination itself, as well as the temptations, diversions, and remorse of history. Little by little, we will begin to understand that the Future as we understand it no longer has any temporal consistency or positive content, without being an empty form or a nothingness, but that it is foreclosed to past and present History, just as it is foreclosed to the place of places, the World, and that it is the only method for establishing the practice of thinking in a non-imaginary instance. Because it is the World and History that are imaginary and have a terrible materiality, it is not necessarily utopia. We will overlap two objectives here: the defense of non-philosophy against the (non-) philosophers that we are, only occasionally, and the introduction of philosophy to a rigorous future. Together they set out to definitively render, without any possible return to philosophical conformism or towards the facilities of the past and present, the non-philosophical enterprise understood as utopia or uchronia. Imagination and speculation, left to themselves and thus undistinguished, are quite good for participating in the grand game of History but have little value or worse for the Future which is unimaginable and unintelligible and must be maintained as such. MAN-IN-PERSON AS SUSPENSION OF THE PHILOSOPHICAL CHORA The point where philosophical resistance is concentrated is without a doubt the invention of the Name-of-Man, first name, oracular as much as axiomatic, of the determining cause for the non-philosophical posture. And that which concentrates the differends is the style of non-philosophy as identity that possesses the dual aspect, of discipline and of the oeuvre, of the theorem and of the oracle. But the real difficulty in understanding the simplicity of non-philosophy is profoundly hidden in the depths of philosophy itself. Because philosophy, from Parmenides to Derrida, even Levinas, continues to be a divided gesture, without a veritable immanence, transforming its thematic contents of transcendence in also forgetting to transform the operative transcendence in the element from which the ontology of surface is established which we will call, in memory of Plato, the chorismos. The general effect of the chora literally gives place to philosophy, demanding binding and sutures to which we will once and for all “oppose” the Man-in-person, his power of cloning, and his future being. All philosophy contains a hinter-philosophy in which it deploys its operations and weaves its tradition like an understudy of a topographical nature and in the best of cases being itself topological. Philosophy as well consists of two levels, its pre-ontological operative conditions on the one hand, and its superficial theme on the other, it too has its presupposed, but is not aware of it or erases it within the unity of appearance named Logos. Rightly, the Logos, and its flash or lightning nature, possesses a “dark precursor,” the chora, which is as much a virtual image, and philosophy, dazzled by its own lightning flash, seems to completely forget about it at the same time it sets itself up within it. Non-philosophy risks taking this same path, of confusing what it believes to be the real with its phantom double, contenting itself to working on the thematic level of philosophy, not its surface objects and its idle chatter (we stopped talking about this a long time ago and in any case they are merely simple materials for inducing a work of transformation), but the transcendence-form of its objects. In the end it risks, through precipitation, taking back up the heritage of philosophy, a heritage of a misunderstood presupposed, even more profound than the play of transcendences. This is what the imperative of the radicality of immanence meant, to treat immanence in an immanent manner, not to make a new object out of it. And from here we get non- (philosophy) and its refusal of the Platonic chorismos , symbol of all abstraction, and thus all transcendental appearance. There are no illusions. The message will leave a heritage in tattered pieces and interpretations. But it was difficult not to dispute the differend to its core. There will be complete confusion of the multiple, possible, and necessary effectuations of non-philosophy with its interpretations. The non-philosophical or human freedom of philosophical effectuation and the philosophical freedom of interpretation. Effectuations demand non-philosophy to return to zero from the point of view of its philosophical material and thus also but within these limits the formulation of its axioms , but in no way providing from the outset divergent interpretations of the aforementioned axioms. They are divergent because they do not take into account the material from which these axioms are derived within non-philosophy, and because they do not see themselves as symptoms of another vision of the World. The utterances of non-philosophy are not mathematical theorems and pure axioms, they merely have a mathematical aspect . They are, by their extraction or origin, mathematical and transcendental. And by their determined function in-Real, within non-philosophy, they are identically in-the-last-Humaneity entities which have an aspect of an axiom and an aspect of interpretation (or an oracular aspect as we say) that attempts (sometimes it is ourselves who provide the occasion) to isolate and transform, in complete freedom of interpretation. There will be an opportunity to complain about the complex character of the language of non-philosophy, an idiom saturated with classical references, sophisticated in a contemporary way. Its freedom of decision up against the whole of philosophy demands these effects of “complication” and “privatization,” as the saying goes. But it also demands fighting against the drift [ dérive ] of the pedagogical-all and the mediatic-all that leads philosophy into the shallow depths of opinion, which is the site of its impossible death. The noble idealism of “pop-philosophy” has been consumed into a “philo-reality;” against this we propose philo-fiction. Parricide, which is at the bottom of these interpretations and which we can judge as being quite fertile, although it has informed tradition, only takes place once or within one lone meaning. In regards to Parmenides, it was possible; Plato introduced the Other as non-being and language, bringing into existence the philosophical system of the World, but is it possible to repeat it again with the same fecundity in regards to non-philosophy, this time in introducing (non) religion or (non) art, still mixing them without taking into account this mixture, alternatively as a philosophical or religious resentment? If philosophy begins via a crime, it is no doubt obliged to continue down similar pathways, to the effect that the crimes of philosophy, once the founding crime has been committed, are a reaction of self-defense. It is undoubtedly from this that we get Marx’s declaration that history begins by tragedy and repeats itself or ends in farce. The preservation of rigor and fecundity is, in every respect, a psychologically difficult task within a theory such as non-philosophy. Having posited an essential objective of liberation in regards to philosophy and its services, one has often understood this objective as an authorization of providing particular interpretations of its axioms and ends up obliterating their scope. This ends up confusing, on one hand, two kinds of freedoms in regards to non-philosophy, the freedom of its interpretations and the freedom of its effectuations. On the other hand, any defense of “principles” against precipitated interpretations is immediately taxed with a will to orthodoxy, a prohibitive objection when we are dealing with, as is the case here, a heretical theory of thought. Nevertheless, it is time to stop confusing heresy as the cause of thought with an ideology of heresies, which is certainly not at all our object, but rather a form of normalization. As for the “disciplinary” aspect, which is not the only aspect, it demands something other than philosophical “answers to objections,” a precision in the definition and use of its procedures in the formation of utterances, since non-philosophy is neither a supplementary doctrine interior to philosophy nor a vision of the world but one whose priority is a “vision of Man,” or rather Man as “vision” that implies a theory and a practice of philosophy. In the end, struggle is only one aspect of non-philosophy, not its whole or telos, struggle coming only from its materiality. In particular, if the discipline of non-philosophy is inseparable from struggle, it is not a question of reducing the monomaniacal obsession of its “marching orders.” This would reduce its complexity and kill its indivisibility, deploying it in a “long march” and a form of Maoization whose philosophical presuppositions no longer have any pertinence here, a case of the One and the Two, which are now cloned and no longer tied together. More generally, non-philosophy is a complex thought composed of a multitude of aspects, which is to say, unilateral interpretations, of a philosophical origin but reduced by their determination in-the-last-instance . The “liberalism” of non-philosophy is merely one of the aspects of which it is capable, not an essence. Similarly, it is only capable of having a “Maoist” aspect. Let us generalize. The weakness of non-philosophy is due to a specific cause, the determination-in-the-last-Humaneity of a subject for the World. Everything that has a right to the philosophical city can be said about it in turn and in a retaliatory mode since Man contributes nothing of himself that Man takes from the World. We can consider non-philosophy as being pretentious, absurd, idealistic, empty, materialistic, formalistic, contradictory, modern, post-modern, Zen, Buddhist, Marxist; it endures or tolerates, perhaps “appeals” to, or at least renders possible, sarcasms, ironies, and insults without even talking about the misunderstandings, partly for the same reason as psychoanalysis. All of this goes beyond simple “deviations.” They are its aspects, which is to say, its “unilateral” philosophical interpretations in both senses of the word, being either sufficient coming from the mouth of philosophers, or reduced to their absolute dimension of sufficiency and totality in the mouths of non-philosophers, and both times due to the weakness and strength of Man-in-person as their determination only in-the-last-instance. The non-philosopher is certainly not a Saint Paul fantasizing about a new Church. The non-philosopher is either a (Saint) Sebastian whose flesh is pierced with as many arrows as there are Churches, or a Christ persecuted by a Saint Paul. What is engaged in here is the practice of retaliation. A negative rule of the non-philosophical ethics of outlawed discussion by way of argumentation (the sufficient is you, the orthodox one is always you, you are the fashionable one, and when a master you are someone else) that is founded on the confusion of effectuations of non-philosophy and of its overall interpretations. Retaliation is the law but as with any too-human law, it must acquire a dimension that displaces it, or rather emplaces it and takes away its authority but not all of its effectiveness. If the non-philosopher is only authorized by himself, which is to say by philosophy but limited by the Real-of-the-last-instance, its critique of other non-philosophers can merely be retaliatory under the same conditions, only by the Real limited in-the last-instance. THE TREE OF PHILOSOPHICAL SAINTLINESS The thematic horizon or material of these debates is in the relationships between philosophy, religion as gnosis, and non-philosophy. It is inevitable, regarding non-philosophers in general (whether they are non-philosophers by name or simply its neighbors) that we often end up evoking Marx’s Holy Family and imagining, arranged on the neighboring branches of the tree of philosophy and annexed, sometimes abusively, to non-philosophy, authors who would quite evidently and quite rightly refuse this label. So it is that we find, for example, a Saint Michel, a Saint Alain, a Saint Gilles 1 without even mentioning the youngest who aspire as well to the freedom of “saintliness” and who make their muted voices heard here. If there is a Holy Family of non-philosophers, it extends completely beyond these three, provided that the sectarian spirit can save us. This book is organized in the following manner: To begin, in order to recall the essential part of the problematic, we have organized a Summary of Non-Philosophy , a vade-mecum of notions and basic problems, in a classical style. Secondly, there is Clarifications On the Three Axioms of Non-Philosophy , designed to posit their proper use as much as to elucidate their meaning. Thirdly, an analysis of Philosophizability and Practicity , both being extreme constituents of philosophical material or the contents of the third axiom. Fourthly, the heart of this work: Let us Make a Tabula Rasa of the Future or of Utopia as Method . Fifthly, we have a theoretical outline of a non-institutional utopia, The International Organization of Non-Philosophy, L’Organisation Non-Philosophique Internationale, (ONPHI) already created in practice but under the conditions of possibility and functioning from which here we put into question “de jure,” thus not without a perplexity concerning “facts,” in any case, without the capability of “getting to the bottom of things.” Sixthly, an essay characterizing The Right and the Left of Non-Philosophy , a brief topology of several philosophizing and normalizing positions of proponents or tenants of this problematic. Seventhly, Rebel in the Soul: A Theory of Future Struggle , a systematic discussion starting from a confrontation of non-philosophical gnosis and non-religious gnosis to the extent that they pose, posed or perhaps still will pose themselves as rivals to non-philosophy in a mixture of fidelity and infidelity. Despite the fact that it can also be read as putting non-philosophy into perspective: it pits against a standard Platonism two contemporary appropriations of Gnosticism. On the basis of the paradigm of Man who never ceases to come as the Future-in-person, each one of these moments strives to reestablish not the “true” non-philosophy and its orthodoxy, but the minimal conditions to respect in order to allow for its maximum fecundity. And in order to bring about one of the last possibilities of its development, making explicit Humaneity as a utopia-for-the-World. In introducing these considerations in the form of a “testament” and “ultimatum,” we want to indicate two things: First, that this is the last time we will intervene in order to caution non-philosophers against the temptation of returning and looking backwards towards philosophy. Only a disillusioned nostalgia for the former World and its traditions barely remain permissible to us.… Secondly, that non-philosophy is also a sort of ultimatum for considering one’s life and transforming one’s thought from the perspective of a uni-version rather than a conversion. Man as future is this ultimatum in action, not an impatient self-proclaimed genius, and philosophy is his testament. It is obviously the ultimatum that determines this testament as “old” with a view towards a life that is, itself, non-testamentary. In and of itself, the “old” can never bear a veritable eschaton. Thus, this book intersects according to the logic of this paradigm, under the sign of the ultimate or “last” as future, philosophy as testament and cautionary note for maintaining the non-philosophical oeuvre as “future” or “utopian.” We will see that between these two dimensions it cradles a theory of struggle. In the end, this book envisions non-philosophers in multiple ways. It inevitably sees them as subjects of knowledge, most often academics insofar as life in the world demands, but above all as close relatives of three great human types. The analyst and political militant are quite obvious, for non-philosophy is close to psychoanalysis and Marxism insofar as it transforms the subject in transforming philosophy. Here again, one must have a sense not of certain nuances but of aspects (of the interpretations, albeit unilateralized) and not in order to construct a simple proletarization or militarization of thought as theory. To be rigorous, rather than authoritarian or spiteful, is its task. And lastly, non-philosophy is a close relative of the spiritual but definitely not the spiritualist. Those who are spiritual are not at all spiritualists, for the spiritual oscillate between fury and tranquil rage, they are great destroyers of the forces of Philosophy and the State, which are united under the name of Conformism. They haunt the margins of philosophy, gnosis, mysticism, science fiction and even religions. Spiritual types are not only abstract mystics and quietists; they are heretics for the World. The task is to bring their heresy to the capacity of utopia, and their utopia to the capacity of the paradigm. NOTES We will recognize allusions, and sometimes references, to closely related or distant themes, but which are related, in the work of Michel Henry, Alain Badiou and via the representative of “non-religious” gnosis of a Platonic origin, in Gilles Grelet. It goes without saying that these discussions are current and local, neither concerning the ensemble of doctrines nor prejudging the eventual evolution of certain amongst them. This concerns defining certain proximities with non-philosophy (rather than adversaries which in some sense they are) and typological and emblematic differends (rather than conflicts with a certain author). (shrink)

According to the thesis of powerism, our world is pervaded by causal powers which are metaphysically basic. The aim of this paper is to defend the existence of the self, defined as a substantial entity, and its mental powers. This claim, which may seem a bold one, should not be deemed as inconsistent with scientific evidence. In fact, this approach does not ignore empirical knowledge, but is not bound only to it in order to understand entities, properties, and (...) the relationship between them. Aristotelian powerism may show that the self, as the subject of one’s mental acts, is a substance that has an essential nature. Firstly, we shall analyze the immediate evidence we have in support of the existence of the self as a substantial entity. We will show that the self is a substance because it possesses an essential character, i.e. an individual essence. We will take into account the Aristotelian perspective of substance, trying to show how the presence of a necessary property that makes every subject identical to itself and the phenomenal features of one’s private experience point to the existence of a substantial entity that corresponds to the self. Secondly, we will try to justify the adoption of a metaphysical theory of causation based on powers, analyzing it in comparison with the main competing theories, namely hypotheticalism and nomism. Then, we shall proceed to show the causal properties of the substance in question, namely the mental powers. In fact, thirdly, we will embrace the thesis of powerism by defending the existence of a set of mental powers that should be attributed to the self. We will describe the main features of mental powers and we will show that they are conceivable as the pure intentional acts we perform by directing an intentional state towards an intentional object. In this way we show how a classic problem of philosophy of mind, relevant to science as well, can be addressed in an original way by a metaphysical approach involving powers. (shrink)

If self-determination enables one to know truths and rule oneself, then it’s central to metaphysics and ethics because metaphysics concerns truths, and ethics grasps good actions requiring self-rule. Aristotle and Mencius agree about the relation between metaphysics and ethics. Nevertheless, closer examination shows differences in their conceptions of the self, how it knows truths, the nature of truth, and the effectiveness of the wise/virtuous on the world. Given the significance of self-determination to theory (...) and practice, comparing Mencius’s and Aristotle’s views illuminates it and the challenges for each author’s view. (shrink)

I use Plotinus to present absolute divine simplicity as the consequence of principles about metaphysical and explanatory priority to which most theists are already committed. I employ Phil Corkum’s account of ontological independence as independent status to present a new interpretation of Plotinus on the dependence of everything on the One. On this reading, if something else (whether an internal part or something external) makes you what you are, then you are ontologically dependent on it. I show that this account (...) supports Plotinus’s claim that any entity with parts cannot be fully independent. In particular, I lay out Plotinus’s case for thinking that even a divine self-understanding intellect cannot be fully independent. I then argue that a weaker version of simplicity is not enough for the theist since priority monism meets the conditions of a moderate version of ontological independence just as well as a transcendent but complex ultimate being. (shrink)

Although recent scholarship has begun to clarify Porphyry’s position on the first principle in its distinction from that of Plotinus we must be careful not to gloss over the crucial ramifications of Porphyry’s developments. The Plotinian One is beyond Being, and thus beyond all relation and difference. In his attempt to understand how such a principle can be productive of all else that follows from it, Porphyry considers the Plotinian One in both its transcendent and creative aspects, introducing (...) the notions of difference and self-relation within the One itself. Porphyry’s modifications of Plotinus’s doctrine, however, result in a first principle having a character utterly distinct from what Plotinus envisioned, and from what I believe Plotinus would have accepted. Because Porphyry’s first principle is relational, it loses its decisive Plotinian character as absolutely transcendent. This distinction between the first principles of Porphyry and Plotinus has important ramifications for each of their philosophical itineraria, and further strengthens the status of Plotinus within the Neoplatonic tradition. Plotinus is a unique thinker within the Neoplatonic tradition, and we must be careful not to equate Neoplatonism with Plotinus, when in fact, it is Plotinus who against both his own predecessors and successors often stands alone. (shrink)

In recent years there has been increasing evidence that an area in the brain called the cortical midline structures is implicated in what has been termed self-related processing. This article will discuss recent evidence for the relation between CMS and self-consciousness in light of several important philosophical distinctions. First, we should distinguish between being a self and being aware of being a self. While the former consists in having a first-person perspective on the (...) world, the latter requires the ability to explicitly represent one's own perspective as such. Further, we should distinguish between being aware of oneself "as subject" and being aware of oneself "as object." The focus of existing studies investigating the relation between CMS and self has been predominantly on the ability to think about oneself, while the more basic aspects involved in being a self have been neglected. However, it is important to widen the scope of the cognitive neuroscience to include the latter, not least because this might have important implications for a better understanding of disorders of the self, such as those involved in schizophrenia. In order to do so, cognitive neuroscience should work together with philosophy, including phenomenology. Second, we need to distinguish between personal and subpersonal level explanations. It will be argued that although it is important to respect this distinction, in principle, some subpersonal facts can enter into constitutive conditions of personal-level phenomena. However, in order for this to be possible, one needs both careful conceptual analysis and knowledge about relevant cognitive mechanisms. (shrink)

Despite our common self-conceptions, we philosophers have our myths, heroes, and guiding narratives. Our work may emphasize conceptual clarity and deductive arguments, but these more sober and discursive elements of our work always occurs within the context of a broader, often implicit, and frequently illusive orientation, within the scope of some particular vision of our vocation, our history, and our place within the contemporary world. These visions are meta-philosophical: they precede and frame philosophical work, and they engender the (...) most intractable philosophical disputes. Thus, for the sake of self-knowledge and rational discussion, we should constantly struggle to articulate and scrutinize these myths and narratives. Which predecessors do we continue to read? Why? What repeated stories and anecdotes generate our common and competing identities? What do past episodes in the history of philosophy mean, and how do they direct our current endeavors? Like every community, we philosophers sustain our collective work through stories, through the celebration of our heroes, and through repeated reference to paradigmatic arguments and texts. We should reflect upon these sustaining elements of our community, even if this requires modes of thought that lie beyond conceptual analysis, deductive argument, and the careful interpretation of canonical texts. -/- In this paper, I excavate and criticize the contours of one narrative that still guides us, the common celebration of Kant’s critical philosophy as a radical, farsighted, disruptive, irresistible, and irrevocable break with the religious and metaphysical dogmatism of its age. In Section 2, I briefly sketch two complementary versions of this narrative, the accounts provided by the Hegelian philosopher Eduard Gans and by the poet Heinrich Heine. Drawing various parallels with the French Revolution, these thinkers significantly overemphasize the skeptical, destructive, anti-metaphysical, anti-religious and historically discontinuous aspects of Kant’s critical philosophy, which they portray as the inauguration of a new and robust philosophical movement, one that rapidly vanquished its intellectually beleaguered and reactionary opponents. In Sections 2–4, I then turn to consider three of the more active and vociferous opponents of the Kantian movement: Basilius von Ramdohr, Friedrich Nicolai, and Ludwig Heinrich von Jakob. Contrary to the standard version of events, these men had little sympathy for metaphysics, religion, rationalism, and dogmatic certitude. In fact, they principally opposed the Kantian movement as the unwelcome resurgence of an outdated form of quasi-religious enthusiasm, as a form of philosophical Schwärmerei that threatened to appropriate the banner of reason and hinder the progress of enlightenment. -/- Drawing upon a wide range of late eighteenth-century German texts on the dangers and varied manifestations of Schwärmerei, I reconstruct Ramdohr’s, Nicolai’s, and Jakob’s vision of the Kantian movement. I argue that the charges of philosophical Schwärmerei highlight three meta-philosophical disputes that pitted these anti-Kantians against many proponents of the Kantian movement. These disputes involved: (a) the social role of the philosopher and her relation to the general public; (b) the place of internal and/or private experience within the open and polyphonic domain of public discourse; and (c) the merits of philosophical systematicity, technical neologisms, and more hermetic versions of semantic holism. -/- A consideration of these meta-philosophical disputes allows us to position Kant’s critical philosophy more accurately within its historical context, to highlight its significant continuities with the intellectual assumptions of the Berlin Enlightenment, those assumptions that largely inform Ramdohr’s, Nicolai’s, and Jakob’s attacks on the so-called Kantian movement. These continuities then reveal the meta-philosophical distance between Kant and “the Kantian movement”, between the texts of the critical philosophy and the projects of Karl Leonhard Reinhold and Johann Gottlieb Fichte. This challenges the traditional account. We often celebrate Kant’s critical philosophy as a radical break with the past, as the inauguration of new and fundamentally modern assumptions, which were then developed and elaborated by the post-Kantian Idealists. By contrast, I argue for a series of complex, ambivalent, and often unintended breaks: while occasionally celebrating his intellectual achievements as an epochal “Copernican Revolution”, Kant largely remains true to the guiding assumptions and philosophical values of his age, only occasionally deflecting them in minor but portentous ways. By contrast, while Reinhold and Fichte at least initially proclaimed their fidelity to the “spirit” – if not the letter – of Kant’s philosophy, they nonetheless managed to release a new and strange philosophical spirit, a potent, quasi-secularized, and post-Enlightenment form of Schwärmerei. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Plotinus and the Parmenz'des B. DARRELL JACKSON IN 1928 E. R. DODDSARGUED that the first two hypotheses of Plato's Parmenides are the primary source of Plotinus' doctrines of the One and of Nous. I Dodds' main evidence was a list of parallels between the Parmenides and the Enneads? He argued further that the Neoplatonic interpretation of the Parmenides as positive metaphysics was neo-Pythagorean in origin. Several Plotinus scholars (...) have accepted and extended Dodds' view of the importance of the Parmenides for Plotinus. This group includes ]~mile Br6hier, ~ A. H. Armstrong, 4 Hans-Rudolf Schwyzer, 5 and Paul Henry. n But Dodds' position is by no means universally accepted. Elmer O'Brien has recently argued that the Plotinian One was derived ultimately from Philo and mediated to Plotinus through Albinus and Numenius. 7 He says that Dodds' case, though good, is not convincing. It. A. Wolfson has been the great advocate of the Philonic origin of Plotinus' views. According to Wolfson, the doctrines attributed by Plotinus to Plato are not Plato's but mainly Philo's. 8 Others see Plotinus in varying degrees of dependence upon Plato. Philip Merlan holds that Plotinus is more in debt to the immediate successors of Plato and to Aristotle's interpretation of Plato than to the Platonic writings themselves. 9 C. J. de Vogel sees Plotinus as dependent upon Plato for a hierarchy of being which was accepted and elaborated by various middle Platonists and Gnostics. 1~According to de Vogel, the Parmenides wus not importan% in this hierarchy tradition, n In this article I shall re-examine Dodds' position. I believe the case for Plotinus' dependence upon the Parmenides can be strengthened. I shall try to do this by examining the systematic relation of Plotinus' thought to the Parmenides. Dodds x"The Parmenides of Plato and the Origin of the Neoplatonic 'One'," The Classical Quarterly, XXII (1928), 129-142. 2Ibid., 132 f. *In the introductions to Enneads V.3 (esp. pp. 43 f., 46 f.), V.5 (pp. 87 ft.), VI.4-5 (pp. 161163,165-168),and VI.7 (pp. 49, 60) in his Bud~ edition and translation of the Enneads (Paris, 1931-38). 4The Architecture of the Intelligible Universe in the Philosophy of Plotinus (Cambridge, at the University Press: 1940), pp. 14-28. In his article "Plotinos", Vol. 21, pt. 1 of Paulys Real-Encyclopgdie der Klassischen Altertumswissenschaft, 1951, cols. 552-554. eIntroduction to the second edition of Stephen MacKenna's translation of the Ennead.~ (New York: Pantheon Books Inc., n. d.), pp. xli-xliv. Elmer O'Brien (ed. and trans.), The Essential Plotinus (New York: Mentor, 1964),p. 15. 8"Albinus and Plotinus on Divine Attributes," Harvard Theological Review, XXXXV (1952), 115. 9From Platonism to Neoplatonism (2n ed. rev.; The Hague: Martinus Nijhoff, 1960). 10"On the Neoplatonic Character of Platonism and the Platonic Character of Neoplatonism," Mind, LXIII (1953), 43-64. 11Ibid., 58. [3]5] 316 HISTORY OF PHILOSOPHY considered only parallel terminology. I shall in addition look at parallel argumentation and conclusions. Furthermore, since Dodds accounts only for Plotinus' first two hypostases, I shall consider the relation of the third hypostasis (soul) to the Parmenides. My primary interest is not the source of Plotinus' interpretation of the Parmenides but the way he carries that interpretation out. TM The former issue has often been focal in the literature on this subject. ~8It is certain thay many of the ideas used by Plotinus were already in circulation. But it is equally certain that in his combination of these ideas of a hierarchy, of transcendence, etc., Plotinus is original. I shall argue that this originality of combination is largely determined by an interpretation of the Parmenides. I should add that I am not concerned with whether Plotinus' interpretation is correct. ~4 In the following pages I shall attempt to show three things: (1) how Plotinus explicitly interprets the Parmenides, (2) to what extent he draws upon the language of the Parmenides, and (3) to what extent Plotinus' system may be understood by its relation to the Parmenides. I. Plotinus' Interpretation of the Parmenides The obvious place to begin an analysis of Plotinus' relation to the Parmenides is Enneads V... (shrink)

Kant's philosophy must be understood nonnaturalistically and anti-psychologistically. Self-consciousness must be interpreted as preceding the distinction between different persons. Kant departs from the traditional idea that I thoughts are always mediated by a certain specific I sense or conceptualization of oneself. At the same time the so-called paradoxes of self-consciousness are resolved. The possibility of a pre-personal self-consciousness is what links the way all objects are given to finite beings to the way they are conceptualized by (...) those beings. It serves as the unifying basis for intuitions and concepts. Intuitions and concepts of objects are connected by their relation to a numerically identical self. ;The subject construed impersonally provides the frame for any possible experience and is one in the same in all possible experience. As such it can never be experienced as a distinct entity. It is the condition under which it is possible to have a point of view at all. One must be in a position to become conscious of the numerical identity of this logical subject of all representation if is to be possible to communicate indeed to compare and contrast representational contents at all. ;Self-consciousness is inherently empty and yet also necessarily in relation to contents of consciousness. This means that its numerical identity can only be sustained if all potential contents of consciousness present themselves to the self in such a way that they sustain the possibility of consciousness of the self as having a discrete empirical identity. Kant's argument in the First Analogy and the Refutation of Idealism fulfills this demand for a correlate to the numerical identity of pre-personal consciousness in the data presented to self-consciousness spatio-temporally. We must view self-construction and construction of objects existing outside of us as part of a single process which presupposes an impersonal self-consciousness. (shrink)

This article first refines the question of Kant's relation to Hume's skepticism, and then considers the evidence for Kant's attitude toward Hume in three contexts: the A Critique, the Prolegomena, and the B Critique. My thesis is that in the A Critique Kant viewed skepticism positively, as a necessary reaction to dogmatism and a spur toward critique. In his initial statement of the critical philosophy Kant treated Hume as an ally in curbing dogmatism, but one who stopped short of (...) what was really needed: a full critique of reason, to establish the boundaries of metaphysical cognition. Kant found fault with Hume's analyses of cognition and experience, and specifically his failure to see the crucial importance of synthetic a priori cognition in metaphysics. In particular, he held that Hume's empiricist account of cognition could neither explain the synthetic a priori cognition actually found in mathematics and natural science, nor provide a principled account of the limits on what can be known--and what can be thought--through the pure concepts of the understanding. According to Kant, Hume therefore failed in his attempt to determine the limits of metaphysics, whereas Kant succeeded because his transcendental philosophy provided a thorough account of cognition, its structure and limits. In the Prolegomena and the B Critique Kant distinguished his position more sharply from Hume's. He also adopted a more negative attitude toward "skeptical idealism" than before; but he attributed such skepticism to Descartes, not Hume. Prior to the B Critique Kant did not see Hume as attacking natural science or ordinary cognition. In none of the three works was Kant's main aim to "answer the skeptic." His primary aim was what he said it was: to firmly establish the boundary of metaphysics, by discovering the elements of human cognition and fixing its proper domain. His purported discoveries about the limits of metaphysical cognition meant that the traditional objects of metaphysical knowledge, God, the soul, and the world as it is in itself, are unknowable, hence that traditional metaphysics itself is impossible. Besides settling the possibility or impossibility of metaphysics, his findings would also prevent the illegitimate extension of principles of sensibility to God and the noumenal self, an extension that would threaten the metaphysics of morals by incorrectly denying the thinkability of noumenal freedom, and that might otherwise lead to "materialism, fatalism, atheism, and freethinking unbelief" (B xxxiv). (shrink)

Macmurray provides a conceptual and personal reference point around which we can locate a tradition of social humanism that unfolds from the British idealists to the communitarians. Some communitarian themes appear in the thought of the idealists: these include a vitalist analysis of behaviour, a 'thick' view of the person, and a positive concept of freedom defined in relation to others. Macmurray developed these themes and introduced others largely as a result of reworking idealism so as to come to (...) terms with the crisis of reason associated with the First World War. He rejected objective idealism with its concept of absolute mind for a personal idealism that incorporated an action-based metaphysics. Doing so prompted him to adopt other communitarian themes: these include an appeal to friendship and love, a contrast between society and community, and an appeal to religion to transcend the limits of justice. While contemporary communitarians have inherited much from philosophers such as Macmurray, they have also developed the tradition of social humanism. Philosophers such as Sandel, Taylor and Walzer have done so through grappling with the implications of multiculturalism for the idea of a cosmopolitan community. Ethical socialists like Tony Blair and Raymond Plant have done so through grappling with issues such as a decline in solidarity as it influences the welfare state. (shrink)

In discussions concerning intersubjectivity the notion of expression has come to play a part of increasing significance. Expression shifts our point of departure away from subjectivity as something mysterious hidden within the body to subjectivity as altogether embodied and embedded in the world. In this article I engage writings by Maurice Merleau-Ponty to argue that expression is essentially something that happens in a communicative space in between self and other while at the same time giving rise to (...) both. I show how locating expression in a shared space between self and other is a way of emphasizing that self and other are not only expressive of selfhood, but are also expressed by one another and emerge in relation to one another. I point to this understanding of expression as a way of recognizing that there is both a fundamental reciprocity and asymmetry between self and other. (shrink)

This paper describes the lifeworld of one individual, Ann, in an attempt to elucidate the existential impact of early stage multiple sclerosis. Drawing on Ann's own reflections captured in a relatively unstructured interview, I construct a narrative around her first year of living with the diagnosis. Then, existential-phenomenological analysis reveals how Ann's life - lived in and through a particular body and lifeworld context - is disrupted. The unity between her body and self can no longer be taken (...) for granted. The existential possibilities inherent in her lived body are diminished and have to be renegotiated. Her sense of identity, project, relations with others and present/future plans are threatened. Ann's illness is encountered in the context of her life activities and relationships. This is the intertwining of body, self and world. To live with multiple sclerosis is to experience a global sense of disorder - a disorder which incorporates a changed relation with one's body, a transformation in the surrounding world, a threat to the self, and a change in one's relation to others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 21.1 (2001) 95-99 [Access article in PDF] The Distinction between ego (e) and ego-Self (e/S): Notes on Religious Practice Based upon Buddhist-Christian Dialogue Yagi Seiichi Toin University The Goal of Religious Practice We cannot see the transcendent as an object. Nor is it the case that the transcendent and the human are two separated realities that are united afterwards. When the Self (...) (Christ in me--Gal. 2:19-20) reveals itself to and in the ego (Gal. 1:16), the ego becomes aware of the Self, which is divine--human or transcendent--immanent. This is called enlightenment.In enlightenment, the ego (hereafter: e) does not vanish.When the Self (hereafter: S) appears to and in the ego, the ego (now a relatively independent part of S) becomes the function of S. The ego, understanding itself as the knot of inner and outer reality, plays the role of the reason of the whole body, the center of which is S. In this case we represent such a person as e/S. e/S is the subjectivity of the religious life. D.T.Suzuki and one of his disciples, Ryomin Akizuki called e/S the "individual qua trans-individual." 1 In enlightenment, e/S as the authentic subject, which remains potential before enlightenment, is actualized or realized so that it understands itself as e/S, no more as the mere ego. In order for e/S to be realized and understand itself as e/S, egocentricity, egoism and the confusion of the verbalized reality with "reality as it is" must be overcome. This is the goal of religious practice. e/S From the point of view of interreligious dialogue,"Christ who lives in me" corresponds to "actualized Buddha-nature" or "the Formless Self" in Buddhist language, that is, the Self as we call it. 2 In the case of Paul,"Christ who lives in me" is the ultimate subject of him on the one hand, and "Christ the Son of God" is the object of his faith on the other (Gal. 2:19-20). That means: the ego of Paul that believes in the Son of God is borne by "Christ in me"; as Paul says, "Christ was revealed to and [End Page 95] in me" (Gal. 1:16). In this way, the subjectivity of Paul consists of e/S. Of S, namely, Paul is aware as e/S--neither as e, which is ignorant of S, nor as S. It is impossible for S to exist alone. Egocentricity and Egoism The distinction between e and e/S is of fundamental importance to our theme. e means in this essay the mere ego that is ignorant of S.When it becomes aware of S we represent it as the ego of e/S. e is egocentric and egoistic. It goes without saying that the ego-centered "I" driven by desires produces immorality and social anomies. The biblical word for this is sin, the transgression of the Law.But there is another problematic concerning e, namely egoism, which can be at work even in the effort to attain a high level of morality. We understand the egoistic ego as follows: the ego is to itself the only reality that concerns and moves it. It posits itself solely on itself apart from the relation to others and to S. By itself it projects itself and strives to realize itself. It can, among others, set up its own ideals and pursue their realization. It can, for example, conceive the moralistic ideal that seems to be the reverse of immorality and social anomie. Indeed, it can succeed in controlling egocentricity so that it seems to have attained perfect morality. In reality, it is interested only in its own moral perfection, not in the person encountered (moralistic egoism). Such e is illustrated in Luke 18:9-14 and described in Romans 7:7-24. Egoistic ego must die to itself and must be freed from egoism. (In Romans 6, for example, Paul does... (shrink)

The concept of self has preeminently been asserted (in its many versions) as a core component of anti-reductionist, antinaturalistic philosophical positions, from Descartes to Husserl and beyond, with the exception of some hybrid or intermediate positions which declare rather glibly that, since we are biological entities which fully belong to the natural world, and we are conscious of ourselves as 'selves', therefore the self belongs to the natural world (this is characteristic e.g. of embodied phenomenology and (...) enactivism). Nevertheless, from Cudworth and More’s attacks on materialism all the way through twentieth-century argument against naturalism, the gulf between selfhood and the world of Nature appears unbridgeable. In contrast, my goal in this paper is to show that early modern materialism could yield a theory of the self according to which (1) the self belongs to the world of external relations (Spinoza), such that no one fact, including supposedly private facts, is only accessible to a single person; (2) the self can be reconstructed as a sense of “organic unity” which could be a condition for biological individuality (a central text here is Diderot’s 1769 Rêve de D’Alembert); yet this should not lead us to espouse a Romantic concept of organism as foundational or even ineffable subjectivity (a dimension present in Leibniz and made explicit in German idealism); (3) what we call 'self' might simply be a dynamic process of interpretive activity undertaken by the brain. This materialist theory of the self should not neglect the nature of experience, but it should also not have to take at face value the recurring invocations of a better, deeper “first-person perspective” or “first-person science.”. (shrink)

This book draws upon the phenomenological tradition of Husserl and Heidegger to provide an alternative elaboration of John McDowell’s thesis that in order to understand how self-conscious subjectivity relates to the world, perception must be understood as a genuine unity of spontaneity (‘concept’) and receptivity (‘intuition’). Thereby it clarifies McDowell’s critique of Donald Davidson and develops an alternative conception of perceptual experience which gives sense to McDowell’s claim that self-conscious subjectivity is so inherently in touch with its (...) world that scepticism about the latter must be incoherent. It also develops a more accurate, historically oriented critique of the metaphysics constraining one to construe perceptual experience in ways which misrepresent how self-conscious subjectivity bears upon the world. It shows that many of McDowell’s meta-philosophical views are implicitly Husserlian and that had McDowell developed them further, he would have avoided the paradoxical meta-philosophy he adopts from Wittgenstein. In conclusion, it intimates the central weakness in Husserl’s position which takes one from Husserl to Heidegger. The book is written in terms accessible to analytic philosophers and will thus enable them to see the central differences between analytic and phenomenological approaches to intentionality and self-consciousness. (shrink)

That we exist because we inhabit a world in common, a world composed out of the relations and the impure, incessant mingling of human and nonhuman entities, is self-evident. It is betrayed at each and every step of our experience of existence. Nobody behaves as if it were impossible to form connections with other beings, nobody speaks as if he or she were isolated within a mind, and nobody acts as if reality were divided by a wall (...) separating the realms of “nature” and the “human.” The notion that we exist because of our embeddedness within networks of associations between humans and nonhumans is endlessly disclosed by our experience of the world. And yet, just as obvious is that, despite this palpability, we have... (shrink)

The claim of this paper is to present Spinoza’s view on self-esteem and positive reciprocity, which replaces the human being in a monistic psycho-dynamical affective framework, instead of a dualistic pedestal above nature. Without naturalising the human being in an eliminative materialistic view as many recent neuro-scientific conceptions of the mind do, Spinoza finds an important entry point in a panpsychist and holistic perspective, presenting the complexity of the human being, which is not reducible to the psycho-physiological conditions of (...) life. From a panpsychist point of view, qualities and values emerge from the world, in a situation similar to what could be seen in animism, or early childhood psychology, where the original distance between the mind and the exterior thing is reduced ad minima, and both can even interrelate in a confusing manner. Human reality is nevertheless a social reality, it supposes a basis for shared competencies, that we will present as grounded on the one hand of the sustaining character of the essence of the animal-man as will-to-power. Negatively speaking we all share same asocial tendencies and affects. This aspect is not only negative but it is also a will to develop and master the environment, because values have an onto-metaphysical immanent dimension in nature, not because there is an individual bottom-up will to survive, but rather a will to live in harmony with the surrounding world. On the other hand, we shall see that Spinoza understood and described perfectly the power of the mind over the power of the affects, as a co-constituting dimension, which is alienating natural dependencies, leaving an inner space for the objectification of ethical values, not related to mere compensation mechanisms. (shrink)

Gender inequalities are still persistent despite the growing policy efforts to combat them. Sexism, which is an evaluative tendency leading to different treatment of people based on their sex and to denigration or enhancement of certain dispositions as gendered attributes, plays a significant role in strengthening these social inequalities. As it happens with many other attitudes, sexism is mainly transmitted by influencing parental styles and socialization practices. This study focused on the association between parents' hostile and benevolent sexism toward (...) women and their socialization values, that are the values parents would like their children to endorse. We took both parents' and children's sex into account in the analyses. One-hundred-sixty-five Italian parental couples with young adult children participated in the study. Parents, both the mother and the father, individually filled in a self-report questionnaire composed of the Ambivalent Sexism Inventory and the Portrait Values Questionnaire. Findings showed that mothers' benevolent sexism was positively related to their desire to transmit conservation values to their sons and daughters. This result was also found for fathers, but with a moderation effect of children's sex. Indeed, the positive relationship between fathers' benevolent sexism and conservation was stronger in the case of sons than of daughters. Moreover, fathers' benevolent sexism was positively associated with self-transcendence values. Finally, fathers' hostile sexism was positively associated with conservation and negatively with self-transcendence. Limitations of the study, future research developments, and practical implications of the results are discussed. (shrink)

Kant’s transcendental idealism hinges on a distinction between appearances and things in themselves. The debate about how to understand this distinction has largely ignored the way that Kant applies this distinction to the self. I argue that this is a mistake, and that Kant’s acceptance of a single, unified self in both his theoretical and practical philosophy causes serious problems for the ‘two-world’ interpretation of his idealism.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Paradox of Subjectivity: The Self in the Transcendental TraditionJeffrey EdwardsDavid Carr. The Paradox of Subjectivity: The Self in the Transcendental Tradition. New York/Oxford: Oxford University Press, 1999. Pp. xii + 150. Cloth, $35.00.This book presents a response to contemporary attacks on the concept of the subject. Carr investigates the historical background to the criticisms of the "Metaphysics of the Subject" that are found in French (...) post-structuralist thought and in critical theories descended from the Frankfurt School. In explaining this background, he targets the widely held assumption that the history of modern philosophy can best be understood in terms of a fundamentally unified conception of the subject and subjectivity that unfolds inevitably from Descartes and culminates in twentieth-century phenomenology and existentialism. Those who share this assumption fail to recognize the significance of what Husserl (in the Crisis of European Sciences) called the "paradox of subjectivity," which derives from the necessity of understanding the knowing subject both as a subject for the world and as an object in the world.The origins of contemporary interpretations of the metaphysics of the subject are found primarily in Heidegger's thought. Carr thus devotes the first chapter of this study to the critical assessment of Heidegger's view of modern metaphysics starting with Descartes. For Heidegger, Descartes took over the dominant concept of substance from traditional ontology and transferred it to the human subject. The Cartesian subject, then, was revealed as an underlying hypokeimenon that absorbs or overpowers the world by reducing it to the representational contents of the thinking thing. Moreover, Heidegger maintained that modern thinkers did not go beyond the reductive conception of subjectivity intrinsic to the Cartesian metaphysics of substance. This Heideggerian judgment applies to the major modern thinkers. Even Kant and Husserl figure as representatives of a tradition in which "the knowing subject takes the role of substance; everything is reduced to first properties, whether as immanent in consciousness, object for the subject, or, as in transcendental philosophy, construct and product of subjective activity" (Carr, 31).In chapters 2-4, Carr argues that the Heideggerian interpretation is inadequate with respect to Kant and Husserl. In supporting this position, Carr emphasizes the close affinities between Kant's and Husserl's conceptions of objectivity for consciousness and between their portrayals of subject and self. Specifically, Carr argues (1) that both thinkers were committed to the representationalist view of cognition that is typical of other major modern philosophers; and (2) that both presented parallel, and indeed unifiable, accounts of the relationship between the transcendental and the empirical self.The key to explaining the fundamental agreement between Kant's and Husserl's transcendental theories lies in the concept of intentionality. There are, of course, significant differences between Husserl's phenomenological method and the procedure of inquiry into the possibility conditions of objective experience that Kant follows in the Critique of Pure Reason. Still, Husserl's portrayal of the intentional character of consciousness provides the basis for understanding how Kant's account of transcendental apperception and the original synthetic unity of self-consciousness grounds a non-representationalist theory of the subject's relation to a world of objects. Husserl's portrayal of intentionality also enables us to see how Kant's concept of transcendental [End Page 609] apperception allows for a description of the empirical self as something that is part of the objective world. Conversely, the Kantian distinction between the transcendental and the empirical self, or subject, sheds light on the sense of the distinction that Husserl draws between transcendental and natural reflection. In natural reflection, I "appear to myself as an empirical subject within a world to which I relate in causal-bodily and intentional [i.e., purposive]-motivational ways" (89). On the other hand, the consciousness of self at issue in transcendental reflection involves my awareness of the meaning-constituting cognitive accomplishments by which I am consciousness of the world as the horizon of possible objects and, at the same time, as something transcendent to consciousness.It is Husserl's conception of intentionality, combined with Kant's understanding of the transcendental-empirical distinction, that allows us to grasp the full significance of the paradox... (shrink)

The aim of this dissertation is to demonstrate that the very conditions which Kant argues constitute the obligation of each individual to will the actualization of the universal moral law in the world and in one's own personality lead to the overall ruin of the Kantian practical reason. To this end we investigate that feature of persons--the divided self--which gives rise to moral obligation, and the postulates, which allegedly make the fulfillment of obligation possible. ;One of the central (...) problems in Kant's critical ethics is how to account for moral obligation in terms of a self divided into noumenal and phenomenal aspects. This problem leads to a crisis when moral consciousness comes to understand the irreconcilable gulf which lies between its atemporal self and its empirical temporal self. Thus our thesis is that Kant, having established autonomy of the will on the ground of a transcendent self, fails, despite the introduction of the moral postulates, to explain the ultimate harmony of the noumenal and phenomenal aspects of the self. ;Kant attempts to preserve the autonomy of Willkur by placing its possibility in an order not subject to the "mechanism of nature." But while thus preserving the integrity of freedom, Kant makes it difficult to explain the manner in which an atemporal decision can establish virtue in the temporal personality. ;This dissertation examines the Kantian cirtique of heteronomous will and his alternative theory of autonomous will by focusing on the differences between the ethics of Kant and Hume. We then analyze in detail the problem of explaining moral obligation on the basis of a divided self. Here we criticize the Hegelian interpretation of moral consciousness with the aim of articulating the central antithesis within the divided self. ;This dissertation, in conclusion, indicates a path away from, but always in dialogue with, Kant's practical reason. We finally reject the atemporal self and the abstract universal and raise questions about any future metaphysics of morals. (shrink)

This paper aims to show that Thomas Aquinas consider the problem of evil, not only as a question of evil in itself, but in the much broader context of God’s work of creation and providential government, and thus proves that the existence of evil in the world is not a viable argument against God’s existence. For Thomas Aquinas, evil is not something, some being with its essence and nature, but it is the lack of a good that should by (...) nature be present in a being. Evil has good as its subject, object, and cause, and may ultimately have good as its effect. Such complete immersion and dependence of evil on good says that evil’s ontological status is real, but not absolute. Evil cannot exist from itself, by itself and for itself. It is in every way subordinated to the good. Such a status of evil becomes even more apparent in Aquinas’ view of the relation between evil and the absolute good that is God. God is the one who exists in the absolute sense, and evil exists only in relation to the good that is God’s creation. The decay of things is only a consequence of God creating a good world in which some beings may be deficient in good, which they sometimes are. This means that God does not want evil, but in a way allows it while providentially governing everything to the good that he is. God is so omnipotent that by allowing evil he can accomplish even greater and more numerous goods. In the work of God’s governing over the world, man occupies a special place because he is capable of a personal relationship with God. But man can also voluntarily deviate from the order and rules that lead him to union with his ultimate good which is God. Such an act is called the moral evil of guilt or sin. Thomas Aquinas finds the example and model of the victory of good over evil in the character of the righteous and innocent Job, who, thanks to the experience of a terrible evil, has realised that God infinitely transcends human cognition, being and power, and that any attribution of evil to God would be foolishness, that every denial of God’s existence because of the evil that befell him would be insane. Job realised that God’s righteousness and logos rule everything and that the ultimate victory of good is certain. (shrink)

One of the main issues that dominates Neoplatonism in late antique philosophy of the 3rd–6th centuries A.D. is the nature of the first principle, called the ‘One’. From Plotinus onward, the principle is characterized as the cause of all things, since it produces the plurality of intelligible Forms, which in turn constitute the world’s rational and material structure. Given this, the tension that faces Neoplatonists is that the One, as the first cause, must transcend all things that are characterized (...) by plurality—yet because it causes plurality, the One must anticipate plurality within itself. This becomes the main mo- tivation for this study’s focus on two late Neoplatonists, Proclus (5th cent. A.D.) and Damascius (late 5th–early 6th cent. A.D.): both attempt to address this tension in two rather different ways. Proclus’ attempted solution is to posit intermediate principles (the ‘henads’) that mirror the One’s nature, as ‘one’, but directly cause plurality. This makes the One only a cause of unity, while its production of plurality is mediated by the henads that it produces. Damascius, while appropriating Proclus’ framework, thinks that this is not enough: if the One is posed as a cause of all things, it must be directly related to plurality, even if its causality is mediated through the henads. Damascius then splits Proclus’ One into two entities: (1) the Ineffable as the first ‘principle’, which is absolutely transcendent and has no causal relation; and (2) the One as the first ‘cause’ of all things, which is only relatively transcendent under the Ineffable. -/- Previous studies that compare Proclus and Damascius tend to focus either on the Ineffable or a skeptical shift in epistemology, but little work has been done on the causal framework which underlies both figures’ positions. Thus, this study proposes to focus on the causal frameworks behind each figure: why and how does Proclus propose to assert that the One is a cause, at the same time that it transcends its final effect? And what leads Damascius to propose a notion of the One’s causality that no longer makes it transcendent in the way that a higher principle, like the Ineffable, is? The present work will answer these questions in two parts. In the first, Proclus’ and Damascius’ notions of causality will be examined, insofar as they apply to all levels of being. In the second part, the One’s causality will be examined for both figures: for Proclus, the One’s causality in itself and the causality of its intermediate principles; for Damascius, the One’s causality, and how the Ineffable is needed to explain the One. The outcome of this study will show that Proclus’ framework results in an inner tension that Damascius is responding to with his notion of the One. While Damascius’ own solution implies its own tension, he at least solves a difficulty in Proclus—and in so doing, partially returns to a notion of the One much like Iamblichus’ and Plotinus’ One. (shrink)

We must therefore begin again from the metaphysical end of the main problem. We find in Whitehead's thought a picture of the kind of world in which value is possible, in which organic relatedness and continuity between diverse elements are made possible through "participation", through the agency of God. But we find that there is contradiction between his theory of value as atomic feeling and his whole metaphysics. True to our acceptance of "objectivity", we rather conceive value (...) to be the source and goal of feeling, the "participation of reality in ideality, of individuality in community". Both the nature and function of God in the world suggest that he is the absolute value in terms of which and because of which all "relative values" are achieved. ;The problem of the relation of value and existence is one of the special problems of value-theory in general. But it is particularly central not only to axiology but also to ontology, and the relation of these two fields to one another. It is the problem of a contrast between "realms" of Being; we are asking ourselves in what ways the contrast arises and is felt, and whether it can be metaphysically overcome. ;We must begin with an analysis of the value-situation in empirical terms. Ethics, as a field of thought concerned with value-factors, may serve to present the typical problems of the relation of value to existence: the objectivity of value, arising from a consideration of the judgment and definition of value and also from the normative character of ethical principles; the apprehension of value, following upon our admission, with Hartmann, of "objectivity" to value; the realization of value, introduced by the previous two problems taken together and by the further conception of the place and function of man the subject-agent. Thus, though we begin with the "phenomena" we find we must go beyond them to the metaphysical reference which they themselves presuppose. We agree with Hartmann that value has "objectivity" and is genuinely given in and for knowledge; we do not however concur that "objectivity" necessarily implies "essentiality" in value. (shrink)

This volume presents three interviews of Yvanka B. Raynova with Paul Ricoeur with the purpose to scrutinize the complex philosophical evolution of his thought. The main question which arises, therefore, and on which are centered the two volumes is how to «think together» the difference between the issues of Ricoeur’s first works and those of his later ones, concerning the problems of the self and its relation to being, transcendence and language. Other discussed subjects are: Why philosophy (...) today? If philosophy and religion are two autonomous fields, is there a possibility of elaborating a religious philosophy within the method of hermeneutic phenomenology? What is the primary object of hermeneutics? What are the potentialities of language and its bounds, respectively the limits of interpretation? (shrink)

The purpose of this article is to examine the relationship between the formation of the self and the worldly horizon within which this self achieves its meaning. Our inquiry takes place from two perspectives: the first derived from the Nietzschean analysis of how one becomes what one is; the other from current developments in complexity theory. This two-angled approach opens up different, yet related dimensions of a non-essentialist understanding of the self that is none the less (...) neither arbitrary nor deterministic. Indeed, at the meeting point of these two perspectives on the self lies a conception of a dynamic, worldly self, whose identity is bound up with its appearance in a world shared with others. After examining this argument from the respective view points offered by Nietzsche and complexity theory, the article concludes with a consideration of some of the political and ethical implications of representing our situatedness within a shared human domain as a condition for self-formation. (shrink)