Introduction : aesthetics in the age of consumer culture. Some terms -- Attention and distraction : the billboard as mural form -- Fascination; or, enlightenment in the age of neon light -- Poetry, replication, late capitalism : Octavio Paz as concrete poet -- Lygia Clark, at home with objects -- Conclusion.

Botanical preparations used by shamans in rituals for divination, prophecy, and ecstasy contain widely different psychoactive compounds, which are incorrectly classified under a single denomination such as “hallucinogens,” “psychedelics,” or “entheogens.” Based on extensive ethnopharmacological search, I proposed a psychopharmacological classification of magic plants in 1979. This paper re-evaluates this taxonomy in the context of consciousness research. Several groups of psychodysleptic magic plants are proposed: (1) hallucinogens—psilocybin mushrooms, mescaline cacti, dimethyltryptamine snuffs, and the synthetic ergoline lysergic acid diethylamide induce strong (...) perceptual changes, affective intensification, and cognitive enhancement. Their ethnobotanical uses include long lasting divination rituals, prophecy, and sacramental practice. (2) Trance-inducers—ergoline Convolvulaceae and South American Banisteriopsis produce quietness, abstraction, lethargy, mild sensorial and cognitive changes, and salient visual imagery changes used in trance rituals and specific divination practices. (3) Cognodysleptics—marijuana (tetrahydrocannabinol) and other terpene-containing plants induce changes in thought, imagination, and affective functions and are used in short-term divination or oneiromancy. (4) Deliriants—tropane-containing Solanaceae, wild tobacco, and Amanita muscaria (muscimol) induce a delirium characterized by dim and clouded consciousness, stupor, confusion, disorientation, perception distortion, difficulties in recollection, anxiety, irritability, excitation, and behavioral disorganization employed in sorcery, purification, or exorcism rituals. The core mental effects required for a drug to be used in shamanistic rituals include light-headedness, enhanced imagery, and experience intensification. This constellation was the reason why, in his classification of psychoactive compounds, the pioneer German psychopharmacologist Louis Lewin established in 1924 a group of drugs under the appropriate name of Phantastica. (shrink)

We need to rethink our attitudes to the bodies of the dead in order to increase our willingness to donate organs and tissuesMy father died aged 87 on January 20, 1998. It was the day of his 42nd wedding anniversary. He been admitted to a major teaching hospital with jaundice of unknown origin. He died after a medical procedure and a delay in diagnosis and management of bleeding after the procedure. I believed it was important to understand why he had (...) died and what the underlying cause of his jaundice had been. I requested an autopsy.My father was not only the best father a person could have had, but my closest friend. The circumstances of his death were especially sad for me. I was on a plane while he was allowed to die of blood loss in intensive care over a period of hours, becoming progressively more delirious and experiencing the slow motion throes of death. I was told he had died while I was still in the air. My first thought was that I would never again see him or hear his deep chuckle. I would never again feel the gentle touch of his large hands. He would never see my daughter grow up as he had wanted to, playing, and laughing on the beach.I have witnessed many autopsies. As medical students, we had to attend autopsy each morning at 8.30 am as a part of pathology in fourth year medicine. Before this, we had two years of anatomy dissection, probing every crevice of the formalin fixed human body. I learnt an immense amount from these activities. But I also knew how gruesome the autopsy is. I knew that an autopsy would mean that my father would be dismembered. But I had no hesitation in requesting …. (shrink)

The art of living today has shifted to a continuous state of the experimental. In one of his last texts, Telemorphosis, renowned thinker and anti-philosopher Jean Baudrillard takes on the task of thinking and reflecting on the coming digital media architectures of the social. While “the social” may have never existed, according to Baudrillard, his analysis at the beginning of the twenty-first century of the coming social media–networked cultures cannot be ignored. One need not look far in order to find (...) oneself snared within some sort of screenification of a techno-social community. “What the most radical critical critique, the most subversive delirious imagination, what no Situationist drift could have done... television has done.” Collective reality has entered a realm of telemorphosis. (shrink)

Why does Deleuze rely so heavily on Spinoza and Leibniz? At first glance, his critique of representation and the traditional ‘image of thought’ seems to oppose him to rationalism. However, Deleuze says that when the ‘cry of rationalism’ is pursued until the end, rationalism becomes ‘delirious’. In such a state, it undermines the model of representation. This delirium is found in Spinoza and Leibniz's critique of generality and their conflation of essence and existence, through which they ruin the traditional (...) mediation of difference by identity and generality. However, for this rationalism to completely break with representationalism it must undergo some Deleuzian corrections. (shrink)

I learned very early, perhaps even before 1933 and certainly after Hitler’s huge success at the time of his election to the Reichstag, of Heidegger’s sympathy toward National Socialism. It was the late Alexandre Koyré who mentioned it to me for the first time on his return from a trip to Germany. I could not doubt the news, but took it with stupor and disappointment, and also with the faint hope that it expressed only the temporary lapse of a great (...) speculative mind into practical banality. It cast a shadow over my firm confidence that an unbridgeable distance forever separated the delirious and criminal hatred voiced by Evil on the pages of Mein Kampf from the intellectual vigor and extreme analytical virtuosity displayed in Sein und Zeit, which had opened the field to a new type of philosophical inquiry.Could one question the incomparable impression produced by this book, in which it immediately became apparent that Heidegger was the interlocutor and equal of the greatest—those very few—founders of European philosophy? that here was someone, this seemed obvious, all modern thought would soon have to answer? Emmanuel Levinas has been professor of philosophy at the École Normale Supérieure Israélite de Paris and at the University of Paris I . Among his books that have been translated into English are Totality and Infinity, Ethics and Infinity, and Otherwise Than Being or Beyond Essence. Paula Wissing, a free-lance translator and editor, has recently translated Paul Veyne’s Did the Greeks Believe in Their Myths? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Melancholy and the Therapeutic Language of Moral Philosophy in Seventeenth-Century ThoughtJeremy SchmidtThe concept of melancholy comprehended a wide range of characteristics and conditions in seventeenth-century European culture, from the brooding introspection of the genius and the scholar to a condition of delirious and delusory madness.1 Its central and most immediately identifiable characteristic, however, was the excessive and unreasonable nature of its symptomologically defining emotions of fear and sorrow. (...) As Robert Burton noted out in The Anatomy of Melancholy (1621), the melancholic condition was commonly taken to be "a kind of dotage without fever, having for his ordinary companions fear and sadness, without any apparent occasion."2 The presence of a pervasive and unreasonable sense of fear and sorrow invariably solicited the melancholic label. Indeed, melancholic emotions were the primary substance of melancholic dotage; the ravings of the melancholically mad and their frequent obsession with a single idea were often driven by an overwhelming feeling of fear and sorrow.3The concept of melancholy as a mental disorder involving these specific emotions had coalesced under the gaze of medical observation in ancient Greece, and the melancholic condition was thought by many medical theorists of classical [End Page 583] antiquity to be caused by a physiological surfeit of black bile, the Greek word for which was melancholia.4 Western medicine, profoundly influenced by the Greek medical tradition, continued to diagnose and treat melancholic disturbance as a physical distemper well into the nineteenth century. Yet the kind of mental anguish which early medical observers labeled melancholic bore a striking resemblance to forms of emotional disorder whose point of origin was thought to be the mind itself. Various traditions of classical moral philosophy sought to treat disorders of the mind that unchecked emotion could create primarily by directing, ordering, and correcting the thought of the sufferer. Where the melancholic condition displayed qualities of the emotions as these were represented and analyzed by moral philosophers it was viewed as susceptible to philosophical treatment and insight.5Early modern English writers, no less than classical writers, thought it appropriate to apply to cases of melancholy therapies derived from the philosophic endeavor to define and achieve peace of mind. Burton argued explicitly in The Anatomy of Melancholy for the rightful authority of the philosophical "physician of the soul" in the treatment of melancholy; and the conceptual similarity of melancholy to moral diseases of the soul which provided the basis for this authority is evidenced in the works of several seventeenth-century moralists, as well as in the writings of the influential seventeenth-century physician and natural philosopher Thomas Willis on melancholy and the passions. Willis noted that melancholic emotions were structured and caused by the judgments of the mind rather than by the force of physiological dysfunction alone. His recognition of the importance of the mental aspects of melancholy provided the basis for his prescription of moral therapies for the government of the mind in addition to therapies for the body. Moreover, his writing on the passion of grief displays the ability of moral philosophical language to represent melancholic-like states as problems of the moral life, to be engaged through rational meditation and control.The importance of moral philosophy in understanding and treating melancholy has been largely ignored in current scholarship in the history of psychiatry and madness, which has concentrated on early modern medical concepts of mental disorder that traced its origins to the body. The historian of psychiatry and "madness" Roy Porter has, for instance, referred to Willis's medical writings as evidence for the "thoroughgoing somatic grounding of disorders of thought, feeling and behavior" that he alleged to have dominated the era's medical [End Page 584] conceptualization and treatment of madness.6 While Michel Foucault insightfully noted that Willis's ostensibly chemical account of the nature of melancholy was in fact "a phenomenology of the melancholic experience," he dismissed out of hand the relevance of classical moral philosophical language to the early modern treatment of madness, asserting the complete absence of moral treatments of madness until the end of the eighteenth century.7 In analyzing Willis's writing he thus failed to note the broader moral philosophical... (shrink)

There at least three ways of thinking about rationality: instrumental, substantive, and intentional. By far, the instrumental account is most influential. This essay proposes that intentional rationality can provide substantive accounts with room to breathe, and in a way that is facially distinct from instrumental accounts. I suggest that the intentionality of a judgment is made up of what it is about and the orientation through which it is judged, while irrationality is the subversion of a strict supporting connection between (...) the judgment and its corresponding set of coordinated attitudes (reasons). It follows that irrational intentionality is made up of episodic states where a judgment is subverted because of a misalignment between what it is about and the way the judge is oriented towards its contents. Four examples of irrational intentionality are considered: passivity towards ends, constitutive ignorance towards facts, delirious paranoia towards objects, and a disjunctive orientation towards categorizations. (shrink)

: Jennifer Radden argues that there cannot be delusional pain in depression, putting forward three arguments: the argument from falsehood, the argument from epistemic irrationality, and the argument from incongruousness. Whereas delusions are false, epistemically irrational, and incongruous with the person’s experience, feeling pain from the first-person perspective cannot be false or irrational, and is congruous with the person’s experience in depression. In this commentary on Radden’s paper, we share her scepticism about the notion of delusional pain, but we find (...) the arguments from falsehood and incongruousness ultimately unconvincing, given that delusions are not always false or incongruous. Rather, we develop the argument from epistemic irrationality, suggesting that, although some aspects of pain may exhibit informational plasticity and other characteristics shared by mental states that can be assessed for their rationality, the sensory component of pain does not. Keywords: Delusion; Pain; Epistemic Irrationality; Incongruousness; Falsity; Depression Riassunto: Jennifer Radden sostiene che non può esserci dolore delirante nella depressione, proponendo tre argomentazioni che si basano sulla falsità, l'irrazionalità epistemica e l'incongruenza. Mentre i deliri sono falsi, epistemicamente irrazionali e incongruenti con l'esperienza della persona, provare dolore in prima persona non può essere falso o irrazionale ed è congruo con l'esperienza di una persona che è depressa. In questo commento all’articolo di Radden, condividiamo il suo scetticismo nei confronti della nozione di dolore delirante, ma troviamo le argomentazioni basate sulla falsità e l’incongruenza in ultima analisi non del tutto convincenti, dato che i deliri non sono sempre falsi o incongrui. Piuttosto, sviluppiamo l’argomentazione basata sull’irrazionalità epistemica, suggerendo che, sebbene alcuni aspetti del dolore possano esibire plasticità e altre caratteristiche condivise da stati mentali che vengono valutati per la loro razionalità, la componente sensoriale del dolore non lo fa. Parole chiave: Delirio; Dolore; Irrazionalità epistemica; Incongruenza; Falsità; Depressione. (shrink)

One of the first comprehensive treatments of Deleuzian thought. There is always something schizophrenic about logic in Deleuze, which represents another distinctive characteristic: a deep perversion of the very heart of philosophy. Thus, a preliminary definition of Deleuze's philosophy emerges: an irrational logic of aberrant movements. —from Aberrant Movements In Aberrant Movements, David Lapoujade offers one of the first comprehensive treatments of Deleuzian thought. Drawing on the entirety of Deleuze's work as well as his collaborations with Félix Guattari, from the (...) “transcendental empiricism” of Difference and Repetition to the schizoanalysis and geophilosophy of Anti-Oedipus and A Thousand Plateaus, Lapoujade explores the central problem underlying the delirious coherence of Deleuze's philosophy: aberrant movements. These are the movements that Deleuze wrests from Kantian idealism, Nietzsche's eternal return, and the nonsense of Lewis Carroll; they are the schizophrenic processes of the unconscious and the nomadic line of flight traversing history—in short, the forces that permeate life and thought. Tracing and classifying their “irrational logics” represent the quintessential tasks of Deleuzian philosophy. Rather than abstract notions, though, these logics constitute various modes of populating the earth—involving the human as much as the animal, physical, and chemical—and the affective, mental, and political populations that populate human thought. Lapoujade argues that aberrant movements become the figures in a combat against the forms of political, social, philosophical, aesthetic, and scientific organization that attempt to deny, counter, or crush their existence. In this study of a thinker whose insights, theoretical confrontations, and perverse critiques have profoundly influenced philosophy, literature, film, and art over the last fifty years, Lapoujade invites us to join in the discordant harmonies of Deleuze's work—and in the battle that constitutes the thought of philosophy, politics, and life. (shrink)

The art of living today has shifted to a continuous state of the experimental. In one of his last texts, _Telemorphosis_, renowned thinker and anti-philosopher Jean Baudrillard takes on the task of thinking and reflecting on the coming digital media architectures of the social. While “the social” may have never existed, according to Baudrillard, his analysis at the beginning of the twenty-first century of the coming social media–networked cultures cannot be ignored. One need not look far in order to find (...) oneself snared within some sort of screenification of a techno-social community. “What the most radical critical critique, the most subversive delirious imagination, what no Situationist drift could have done... television has done.” Collective reality has entered a realm of telemorphosis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 565-566 [Access article in PDF] Kai Hammermeister. The German Aesthetic Tradition. New York: Cambridge University Press, 2002. Pp. xv + 259. Cloth, $60.00. Paper, $22.00. This history of German (or more accurately, Germanic) aesthetics surveys the tradition stretching from Alexander Baumgarten to Theodor Adorno. The author has divided his survey into three thematic parts. In the first, "The Age of Paradigms," (...) Baumgarten, Mendelssohn, Kant, Schiller, Schelling, and Hegel establish the principal approaches to aesthetics and the philosophy of art that will structure the tradition. In the second part, "Challenging the Paradigms," Schopenhauer, Kierkegaard, and Nietzsche raise critical problems with the positions of their forebears. In the final part, "Renewing the Paradigms," Cassirer, Lukács, Heidegger, Gadamer, Marcuse, and Adorno revive elements of the classical tradition for twentieth-century purposes. As one might expect, covering fifteen complex figures in a relatively short book makes for a survey primarily of the surfaces of their thought. Even so, the exercise may be useful for those with no knowledge of German aesthetics who would like a quick introduction.From the outset the author establishes a plan to consider each philosopher's work in terms of his ontological treatment of art, the epistemic role he attributes to art and beauty, and the practical functions he assigns art. In the early chapters the author dutifully addresses these matters at the end of each chapter, but from Hegel on, the author's commitment to this structure seems to wane. It becomes more difficult to discern these assessments of each philosopher as the book progresses. It is an odd feature of the book that its [End Page 565] author announces these "principles of comparison" so explicitly in the introduction, but does not consistently apply them.There is also inconsistency in the author's choices regarding whose theories to directly criticize. In some cases (with Hegel, Schopenhauer, Nietzsche, and Cassirer, for example), Hammermeister offers quite global criticisms of the philosophers' views, while in other cases (with Kant, Schiller, Schelling, Heidegger, and Gadamer) he provides very little criticism. The book does not advance a philosophical position from which to understand why some figures in this tradition, but not others, warrant sharp criticisms that on occasion (with Kierkegaard, for example) amount to blanket dismissals.The second part of the book, "Challenging the Paradigms," stands in an uncertain relationship to the first part, "The Age of Paradigms." Hammermeister advertises Schopenhauer, Kierkegaard, and Nietzsche as thinkers intent on dismantling the aesthetic-theoretical systems of their predecessors, and there is no doubt much truth in this assertion. Yet these chapters offer little in the way of explicit elaboration of precisely which views of which prior thinkers each of these rebels seeks to undermine. Schopenhauer, for example, is presented as a champion of Kantian aesthetic disinterestedness, while his delirious antipathy for Hegel is hardly discussed. Kierkegaard's famous disagreements with Hegel receive little attention, either.The third part, "Renewing the Paradigms," advances one of the author's principal claims in the book: that twentieth-century German(ic) philosophers recapitulate the sequence of positions in the classical Kant-Schiller-Schelling-Hegel development. Cassirer revives Kant; Lukács and other neo-Marxist thinkers revive Schiller; Heidegger is far more indebted to Schelling than he acknowledges. To some extent the author's proposal is a useful heuristic, especially regarding Cassirer and Lukács. With Heidegger problems begin to arise. Hammermeister argues that Heidegger shares with Schelling a view of art as a "truth-event," but this, of course, would be a view that Heidegger also shares with Hegel. When Hammermeister notes (189) that for Heidegger truth can happen in practices other than art, this strengthens a comparison to Hegel (despite the profound differences between Heidegger and Hegel), rather than to Schelling (for whom art alone is the organon of truth, at least in the System of Transcendental Idealism that Hammermeister treats as the most Schellingian of Schelling's texts).As with the author's other overarching structures for the book, the paradigm-renewal claim also loses momentum halfway through. Hammermeister appropriately presents... (shrink)

These few pages will attempt to analyze the relationships created in the chronically delirious person between himself and his own biography, such as he knows and has experienced it, to which he attaches himself and which dominates him without his knowing it. A few remarks to clarify our vocabulary before getting into the development of this question. We prefer the expression “chronic deliria“, in the plural, to the word “psychosis”, used in the singular. The former term is clinical, and (...) therefore empirical, whereas the second derives from theories; and, especially, the former does not immediately imply a unity of process as opposed to the effective diversity of semiotic appearances. Moreover, the nominal adjective “psychotic“ runs the risk of both clandestinely bringing in hidden presuppositions and of re-establishing the old presumed unity with mental alienation, which had, indeed, been exorcised by J. P. Falret by the middle of the nineteenth century. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Momma taught us to keep a clean house. Dust the wood furniture every two weeks. Clean the bathrooms once a week. Wipe down the baseboards once a season (Those damn baseboards. I still got bruises on my knees from scrubbing those things). Sweep away the cobwebs—and pray that those spiders are either dead or delirious (Livin in the country don’t mean you like bugs, especially the ones with too many legs ). Didn’t matter that the house was full of stuff: Great-Grandma’s heirloom dresser, that weird Mammy salt shaker and matching Uncle Tom pepper grinder (Where the hell did Momma get those P.O.S.’s?), the outdated drapes from Belks, Dad’s favorite wooden TV tray, and that uuuuugly love seat that some crazy uncle thought was a glorious find from the Salvation Army (Momma tried to make it pretty with some pillows, but no amount of love could help that seat). Spring Cleaning meant pullin all that furniture away from the walls and holdin your breath to see what time collected in the crevices. Then you gotta be careful not to breathe out too heavy cause the dust would go flying fore you got a chance to catch it. If you didn’t, you’d quickly find out if you’re allergic to dust. Quarter cup of lemon Lysol in a bucket of steaming water and an old wash rag. Maybe two. A dust towel and citrus-scent Pledge. Me and my brothers would fight over who cleaned what. Somehow the twins always got the easy stuff: vacuuming or moving dirt around with the feather-duster. Finishing in enough time to fly down the street on their bikes with the neighborhood kids. Older sister never got off that easy. Each of my stubby fingers morphed into plump, lemon-fresh golden raisins by the time that whole damn house was done. I would finish just in time to sit with Nadine on the porch, counting the seconds til the sun turned off and the fireflies fluttered on. The craziest thing: despite all that cleaning, the house still smelled like Momma’s cookin. That Old House. Might have been some of Grandma’s and Great-Grandma’s cookin mixed in there too. Pork chops. Ham hock soaked in collards. Pinto beans and mustard greens. Corn bread and my Auntie’s famous macaroni and cheese. Didn’t matter if the oven was cold and the valve of the gas stove had been shut for days. A stranger woulda thought someone’d been slavin away in that kitchen for a week straight. No Sweet Citrus & Zest Fabreze back then. Lysol would mask the odors for a little while. Not long enough to overpower the 50 years of goodness marinated in buttermilk, kneaded with lard, and fried in Crisco that’d been embedded in the wallpaper and window treatments. All that grime—dead skin, hair follicles, Carolina clay, carpet lint, yippee-little-dog fur—was evidence of life. We were a socially-awkward newly-minted teenager, two rowdy twin boys, a multi-tasking mother, and a road-warrior father. Eventually a strangely-feline Yorkie was added to the mix. And don’t forget about the stray distant relative stopping by unannounced. No corner of that damn house was unmarked. Hand-sewn pillows in the living room that we were forbidden to breathe on somehow had tiny burnt orange paw prints on them (sneaky little dog). It drove Momma crazy. And tore up my fingernails. They still won’t grow back right. Wipe all that shit off just for it to build up again. But that house was inherited and fully paid for. No reason to move. I did move. I was ready to move on. Move up. Move out. Over that small town. Into the big city. Here the streets take on the smells of Momma’s house. Plus piss, shit, and unbathed skin. A hot day means everything cooks and stews in its own juices, making the stench 10x more intense. The apartment is another story. 11 floors up. Big, east-facing windows. Great view of the skyline dotted with some green foliage. And the great lake. Immaculate. Odorless. Not even a trace of tobacco from the previous tenant’s bad habits. No lingering scent of lemon Lysol. No street stench seeping through the window panes. No stray cat hairs. Or dog fur. Not a speck of dust. Futon. Throw pillows. Photos. Knickknacks. Bowls of fresh citrus. Cursedly-assembled desk set from IKEA. Yet the void is too big to fill. Too clean. (shrink)

What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. This title explores the possibilities and parameters of a postmodern imagination freed from the philosophical responsibilities of fiction, fact, and replication of lived experience. Mobilizing an array of scholars and contemporary artists, this study examines postmodern thinking through the lenses (...) of identity and visual culture. Speculative, critical, and always creative in its approach, "In Praise of Nonsense" focuses on theories of disappearance, irony, and nonsense, where the pleasures of the imaginary give rise to artistic inspiration. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 565-566 [Access article in PDF] Kai Hammermeister. The German Aesthetic Tradition. New York: Cambridge University Press, 2002. Pp. xv + 259. Cloth, $60.00. Paper, $22.00. This history of German (or more accurately, Germanic) aesthetics surveys the tradition stretching from Alexander Baumgarten to Theodor Adorno. The author has divided his survey into three thematic parts. In the first, "The Age of Paradigms," (...) Baumgarten, Mendelssohn, Kant, Schiller, Schelling, and Hegel establish the principal approaches to aesthetics and the philosophy of art that will structure the tradition. In the second part, "Challenging the Paradigms," Schopenhauer, Kierkegaard, and Nietzsche raise critical problems with the positions of their forebears. In the final part, "Renewing the Paradigms," Cassirer, Lukács, Heidegger, Gadamer, Marcuse, and Adorno revive elements of the classical tradition for twentieth-century purposes. As one might expect, covering fifteen complex figures in a relatively short book makes for a survey primarily of the surfaces of their thought. Even so, the exercise may be useful for those with no knowledge of German aesthetics who would like a quick introduction.From the outset the author establishes a plan to consider each philosopher's work in terms of his ontological treatment of art, the epistemic role he attributes to art and beauty, and the practical functions he assigns art. In the early chapters the author dutifully addresses these matters at the end of each chapter, but from Hegel on, the author's commitment to this structure seems to wane. It becomes more difficult to discern these assessments of each philosopher as the book progresses. It is an odd feature of the book that its [End Page 565] author announces these "principles of comparison" so explicitly in the introduction, but does not consistently apply them.There is also inconsistency in the author's choices regarding whose theories to directly criticize. In some cases (with Hegel, Schopenhauer, Nietzsche, and Cassirer, for example), Hammermeister offers quite global criticisms of the philosophers' views, while in other cases (with Kant, Schiller, Schelling, Heidegger, and Gadamer) he provides very little criticism. The book does not advance a philosophical position from which to understand why some figures in this tradition, but not others, warrant sharp criticisms that on occasion (with Kierkegaard, for example) amount to blanket dismissals.The second part of the book, "Challenging the Paradigms," stands in an uncertain relationship to the first part, "The Age of Paradigms." Hammermeister advertises Schopenhauer, Kierkegaard, and Nietzsche as thinkers intent on dismantling the aesthetic-theoretical systems of their predecessors, and there is no doubt much truth in this assertion. Yet these chapters offer little in the way of explicit elaboration of precisely which views of which prior thinkers each of these rebels seeks to undermine. Schopenhauer, for example, is presented as a champion of Kantian aesthetic disinterestedness, while his delirious antipathy for Hegel is hardly discussed. Kierkegaard's famous disagreements with Hegel receive little attention, either.The third part, "Renewing the Paradigms," advances one of the author's principal claims in the book: that twentieth-century German(ic) philosophers recapitulate the sequence of positions in the classical Kant-Schiller-Schelling-Hegel development. Cassirer revives Kant; Lukács and other neo-Marxist thinkers revive Schiller; Heidegger is far more indebted to Schelling than he acknowledges. To some extent the author's proposal is a useful heuristic, especially regarding Cassirer and Lukács. With Heidegger problems begin to arise. Hammermeister argues that Heidegger shares with Schelling a view of art as a "truth-event," but this, of course, would be a view that Heidegger also shares with Hegel. When Hammermeister notes (189) that for Heidegger truth can happen in practices other than art, this strengthens a comparison to Hegel (despite the profound differences between Heidegger and Hegel), rather than to Schelling (for whom art alone is the organon of truth, at least in the System of Transcendental Idealism that Hammermeister treats as the most Schellingian of Schelling's texts).As with the author's other overarching structures for the book, the paradigm-renewal claim also loses momentum halfway through. Hammermeister appropriately presents... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deleuze and the Schizoanalysis of Feminism ed. by Janae Sholtz and Cheri CarrJami Weinstein (bio)Janae Sholtz and Cheri Carr, eds., Deleuze and the Schizoanalysis of Feminism London: Bloomsbury Publishing Plc., 2019, 304 pp., ISBN 978-1-3500-8042-3Deleuze and the Schizoanalysis of Feminism is a timely, ambitious, and wonderfully diverse collection of essays that aims to forge a new feminist methodology. Described as a “delirium” with the potential to “unleash new (...) ideas, new desires, and new imaginings” (Sholtz and Carr, 1), the editors adopt Deleuze and Guattari’s schizoanalysis as the basis for this methodology. They argue that this juxtaposition of feminist theory and schizoanalysis might synthesize and advance research on notions like becoming-woman, rhizomatics, deterritorialization, assemblage, immanence, and material vitalism (2) that have propelled feminist work on Deleuze and Guattari over the last several decades. Moreover, in the volume’s critical reevaluation of schizoanalysis, it strives to reimagine “the philosophical, ethical, aesthetic, and political” (1) by incorporating the evolution of feminist thought since Deleuze and Guattari’s time. The volume is, indeed, important reading for feminist continental philosophers in search of fruitful applications of Deleuzo-Guattarian thought to a wide, intersectional diversity of feminist theory.Citing Buchanan and Colebrook’s Deleuze and Feminist Theory (2000) as the origin of a productive and less skeptical feminist engagement with their work, the volume aims to advance a new generation of feminist Deleuzo-Guattarian thought that departs from a radically heterogeneous, schizoanalytic foundation [End Page 192] asking, “what can philosophical concepts do?” (2). The editors also mention the recent uptake of schizoanalysis as a methodology by reference to the Schizoanalytic Applications series in which the volume is published. There, its application “to contemporary issues and uses in critically oriented and socially engaged philosophical approaches” (4) is explored in a variety of otherwise targeted collections. They suggest that the relevance of schizoanalytic methodology “to feminist theory can be similarly situated in providing a new lens for critical and social engagement,” which the volume explores under the guise of discovering what this “new encounter” between feminism and schizoanalysis “might yield” (4). Thus, the collection is a dual-pronged, dynamic investigation, where one trajectory investigates the potentials for forging a feminist schizoanalytic framework and the other considers the ways that feminism might nuance or reshape the contours of schizoanalysis that were established across Deleuze and Guattari’s collaborative works (1).Furthermore, the editors cite the publication of Guattari’s Schizoanalytic Cartographies (2013) as additional inspiration. And it is, indeed, in part from Guattari’s visionary work that the joint project with Deleuze—including the articulations of schizoanalysis in Anti-Oedipus, Kafka, and A Thousand Plateaus— came into being (see: Guattari 2006). As Stephane Nadaud explains, their collaboration was designed to “counter... despotic, solitary enunciation—with their own collective one,” which transcends the Cartesian “unity of our ego—the famous I that thinks, and therefore... the cogito” (Guattari 2006, 19). It is, thus, curious that the volume’s title omits Guattari’s name (though other books in the series include it) and that contributors make scarce reference to his individual work. For, it is the very process of their collaboration, which entails their essential duality and the schizoanalytic becoming-imperceptible of their respective individualities, that becomes an archetype for schizoanalytic praxis.The aforementioned delirium, which is at the heart of schizoanalysis, originates from the split or break implied by the “schizo,” meaning that schizoanalysis seeks to locate then mobilize these breaks toward the creation of delirious, impersonal subjectivities. Merging desire and delirium, which he considers “in a deep sense” indistinguishable, Deleuze emphasizes that “desire-delirium is by its nature a libidinal investment of an entire historical milieu, of an entire social environment” (2004, 275). The schizoanalysis process, according to the editors, thus aspires to be a liberatory short-circuit of the rigidly enclosed “Oedipal constraints on the unconscious,” which, in turn, decouples “the unconscious libidinal investment[s]... from the preconscious investments of class and interest” (Shultz and Carr, 4). This echoes Deleuze and Guattari’s well-known invocation: “Destroy, destroy. The task of schizoanalysis goes by way of destruction— a whole scouring of the unconscious, a... (shrink)

The Roman years of Tommaso Campanella were made possible by the protection and patronage of the pope Urbano VIII Barberini. Campanella composed from 1627 to 1631 three series of lengthy Commentaria on the Poemata, the book of Barberini’s Latin poems. What are the Commentaria? This complex, full-length bunch of manuscripts is often dismissed as pure flattery or as another strange, slightly delirious fruit of the exalted mind of the prophet-monk. We think instead that the Commentaria were seen by Campanella (...) as a new start for his philosophical system, furthermore shedding on it a new light: the light of a system, and the reassuring clarity of a pedagogy. Moreover, with the “Collegio Barberino” project, strongly tied to the Commentaria, Campanella tries to lay the foundations of a new educational system fitted for the new Rome and the cultural needs of the 17th-century élite. (shrink)

This paper seeks an urban poetics under the pressures of flux, polyglot babble and the rise of technoculture. In so doing it traces the intertwinements of aesthetics and politics as they manifest over the last 150 years. Charles Baudelaire’s poetry is characterised as a delirious response to the delirium of capitalist modernity, in which ‘words rise up’, as he puts it, but it is a also a barometer, which measures the degrees of entwinement of aesthetics and revolutionary politics in (...) the subsequent years, for one in Walter Benjamin’s interpretation in the 1930s and in the wild translations of the poet by Sean Bonney in 2008 in the collection ‘Baudelaire in English’. (shrink)

A disturbing portrait of a society deliriously dreaming itself as eternal, instantaneous, and infinite. At least for the time being, we humans are still finite and mortal--but death isn't what it used to be. As the body is technologically extended in space and time, we are split between our finitude and our doubled presence in a limitless web of signs, an "immortal" world of information. After Death offers a penetrating philosophical diagnosis of our contemporary condition, describing not only an anesthesia, (...) but an amnesia in which the compulsions of a hyper-present colonize both past and future, prevailing over any sense of duration, becoming, or appreciation of the "thickness of the real. "Are we living in a kind of counterfeit eternity in which we are effectively already dead?". Against the anxiety of the constant present, how can we hope to return to the experience of being in time and facing death. After Death is a disturbing portrait of a society deliriously dreaming itself as eternal, instantaneous, and infinite. (shrink)

The central idea of this paper is that Michel Foucault and Søren Kierkegaard are unexpected allies in the investigation into the relation between madness and reason. These thinkers criticize reason’s presumption of purity and call into question reason’s isolation from madness. Strategies of indirect communication and regard for paradox from Kierkegaard’s nineteenth-century works find new ground in Foucault’s twentieth-century archaeological undertaking as Foucault illuminates “both-and” moments in the history of madness, uncovering points where rationalism paradoxically conceives of madness or where (...) madness is not unreasonable. Furthermore, for both thinkers, form and content meet, as Kierkegaard and Foucault’s occasionally “delirious lyricism” (in the phrase of Dominick LaCapra) exemplifies the intertwining of logical and illogical forces. (shrink)

: The notion of a delusion occupies a central place in psychotherapy. The presence of delusional thinking in a patient is often regarded as indicative of psychosis. And yet, the nature of a delusion is still widely disputed. The difficulty of defining a delusion has proved so difficult that some prominent authors have declared the task impossible. The aim of this paper is to offer a characterisation of delusional systems of thought. In this paper is argued that delusions, unlike scientific (...) explanations and the explanations generally offered by common sense, fail to minimise that which requires explanation. In the first part of the paper, difficulties with extant accounts will be discussed. In the following parts, the author’s own account of delusional thoughts will be developed and some difficult cases considered. It will be argued that delusions differ from more typical beliefs in the number of things that they leave unexplained. Delusions, unlike those beliefs we typically see as rational, bring about an increase in the number of things requiring explanation. Keywords: Delusions; Epistemology; Analysis; Explanation; Rationality Aspetti epistemologici del pensiero delirante Riassunto: La nozione di delirio occupa una posizione centrale nell’ambito della psicoterapia. La presenza del pensiero delirante in un paziente è considerata spesso come un indice di psicosi. E, tuttavia, la natura del delirio non è ancora oggetto di ampio accordo tra gli studiosi. La difficoltà nel definire il delirio si è mostrata talmente ostica che diversi importanti studiosi hanno dichiarato questo compito impossibile. Lo scopo di questo lavoro è quello di offrire una caratterizzazione dei sistemi di pensiero delirante. Si sosterrà che i deliri, diversamente dalle spiegazioni scientifiche e da quelle offerte generalmente dal senso comune, non riescono a ridurre quanto necessita di una spiegazione. Nella prima parte del lavoro, saranno discusse le difficoltà degli approcci correnti. Nelle parti seguenti verrà proposto l’approccio dell’autore ai pensieri deliranti e verranno presi in esame alcuni casi complessi. Si sosterrà che i deliri si distinguono dai casi più tipici di credenza per il numero di cose che lasciano senza spiegazione. I deliri, diversamente dalle credenze che tipicamente consideriamo irrazionali, determinano un incremento del numero di cose che richiedono una spiegazione. Parole chiave: Delirio; Epistemologia; Analisi; Spiegazione; Razionalità. (shrink)

Historically, in Aesthetics, auratic object turned toward the study of the sensibilia and of the acts of perception, of imagination and of memory. Among the sensibilia that offer themselves to be apprehended by subjects and cultural communities, some objects of symbolic value have taken here on a special role: artworks. If it is not possible to build a unified canon of Art that is universally accepted as valid, aura is in Art the link between the symbol’s power of allusion and (...) a symbolic idea of form. This symbolic idea of form has the visible and the invisible always simultaneously present and mediated. The artistic “form” is not a mimetic image, but it is, as Kant will say, an aesthetic idea not reducible to the word.So, when Merleau-Ponty writes about the eye and visibility, he shows how painting is an “interrogation” of the invisible through the visible: but this interrogation always begins with a unitary body, with the «delirious and secret genesis of the aspects of our body».We can then conclude that the artistic auratic object bring us beyond the “illusionism” of vision, back to the “metaphysical” significance of artistic image: to an invisible Being made of contingencies, reversibility, of living and lived bodies. Here, the “form” of objects is inseparable from the “total experience” of our embodied senses: our perception is the capacity to unite all of our sensory experiences into a “single auratic world”. (shrink)

Erwin Straus nourished his spirit on "Act psychology", "Gestalt psychology" and "Husserlian phenomenology" in Berlin and Göttingen, and has renewed his engagement with these problems in Lexington without renouncing his commitment to a tradition to which he has remained always faithful. It is in the realm of the psychology of perception that Erwin Straus - as did the analyses of Bergson, Gestalt psychology, and the phenomenology of Husserl - made his point of departure for his critique of sensationistic empiricism and (...) of the sensory psychophysiology from Johannes Miller to Wundt... The guiding idea of Erwin Straus, as Merleau-Ponty has so profoundly made explicit, is that the sphere of sensing, the sense of the senses, is discovered to be the constitution of the very corporeity of experience, the latter being capable of being lived only in and by a living body. As abstract an sophisticated as this primordial description of the phisical body might be insofar as it is the object and subject of phenomenology, it appears to me to be the only possible, or more simply, the only one which allows us to formulate a general law of the temporal organization of the existent, that is to say, of the human being in the proper constitution of his own becoming. The phenomenology that I have just outlined founds the system of reality as the very form of conscious being, and the organization of the psychical body as the constitution of the ego. Four theses within this framework relating perceptual and hallucinatory activity are : hallucination is virtual in perception, and that it is, as Ernest Hartman recently stated, an "ubiquitous capacity" immanent to this "psychical apparatus" of which Freud spoke, and which I prefer to call "the psychical body". That hallucinatory difficulties are real difficulties and not a simple difference of intensity between the image and sensation. The pathogenesis of hallucinations can only be theorized according to the Jacksonian model of negative and positive ; and There is a fundamental distinction between the diverse forms and levels of delirious or psychotic hallucinatory activity and hallucinatory images. (shrink)

Historically, in Aesthetics, auratic object turned toward the study of the sensibilia and of the acts of perception, of imagination and of memory. Among the sensibilia that offer themselves to be apprehended by subjects and cultural communities, some objects of symbolic value have taken here on a special role: artworks. If it is not possible to build a unified canon of Art that is universally accepted as valid, aura is in Art the link between the symbol’s power of allusion and (...) a symbolic idea of form. This symbolic idea of form has the visible and the invisible always simultaneously present and mediated. The artistic “form” is not a mimetic image, but it is, as Kant will say, an aesthetic idea not reducible to the word.So, when Merleau-Ponty writes about the eye and visibility, he shows how painting is an “interrogation” of the invisible through the visible: but this interrogation always begins with a unitary body, with the «delirious and secret genesis of the aspects of our body».We can then conclude that the artistic auratic object bring us beyond the “illusionism” of vision, back to the “metaphysical” significance of artistic image: to an invisible Being made of contingencies, reversibility, of living and lived bodies. Here, the “form” of objects is inseparable from the “total experience” of our embodied senses: our perception is the capacity to unite all of our sensory experiences into a “single auratic world”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Objects, Exchanges, DiscourseMonique David-MénardPhilosophy is a reflection for which all unknown material is good, and we would gladly say, for which all good material must be unknown.—George Canguilhem, The Normal and the PathologicalThis paper may be presented in two ways: it is a matter of understanding, locally, how legal institutions or economic discourses, which propose models of exchange between agents in society, can take into account sexuality in the (...) way that it has been explored by psychoanalysis. It is thus a matter of following and transforming the efforts of Freud in Civilization and Its Discontents and of Lacan in his seminar, The Other Side of Psychoanalysis, in order to consider how the field of unconscious sexuality manages or doesn’t manage to develop thanks to these institutions. Inversely, it is a matter of specifying how institutional creations such as the rituals of the gift, the juridical system, or economic laws put “values” into play that implicate sexual desires. But before developing this question, I will first give some clarification about the method I will employ, or rather, offer some remarks concerning the philosophical background that this apparently “local” question presupposes.Philosophical BackgroundThis project could perhaps be said to share the same philosophical approach as that of Michel Foucault: it is not a question of constructing a system in [End Page 88] the name of an idea of truth which would be the unifying foundation (in this case, sexual and political), but rather of intervening at a neurological point in “our” situation, which demands that one determine how this “our” comes into being. The point of departure for any theoretical project is always entangled in a situation that it subsequently problematizes. Instead of masking the situation that forces us to think by the means that are proper to the system’s own constitution, the strategy that I have called “local” allows for the concepts to take into account the very situation from out of which they are produced as a theoretical framework. Deleuze wrote that an event forces us to think that which, at first, can only be felt and, more precisely, felt as a fact impossible to integrate into a ready-made set of concepts. Foucault redefined critique as the diagnosis of a present: the thinker experiences a situation in a way that puts her at a distance and displaces her. This experience is transformed into an occasion to produce knowledge as well as a practice that allows it to be “thought,” not as a subjective experience, but rather as new objects for knowledge of which this experience of distance was not merely the occasion.It has already been a long time (1990) since I showed, using Kant as an example, that the invention of a philosophy is connected to an event at once present in the texts and concealed by its very systematicity; critical and transcendental philosophy was only possible by the ingenious articulation of heterogenous factors. Deleuze called this “a contingent reason” because of the heterogeneity among the concepts that construct a philosophical problematic. For example, here, the critique of the formalism of logic is the conceptual means with which Kant transformed the event, which was for him his fascination-repulsion for a “delirious” [délirant] thinker, namely, Swedenborg, into a new concept of metaphysics, the “science of the limits of human reason” and a transcendental logic of objectivity.Conceptually, the link he would forge was that of the confrontation between the mad system of Swedenborg and the philosophical idealism of Leibniz. The logical instrument of Leibnizian criticism defined a new kind of negation, the “real conflict,” which bears this name since it introduces the determination of a real object (realer Widerstreit), in contrast to three other kinds of negation: contradiction, which, in negating that which forms within thought, negates at the same time that to which it could refer (nihil negativum); “the being of reason” like the Leibnizian god or the spirits of Swedenborg, which are not contradictory concepts, but instead concepts for which one could not find any correlate in spatiotemporal experience, such that one cannot “count them among the possible things” (ens rationis). Finally, there... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 115 analytical surveys of important Rousseau themes (though their connection with the main theme is sometimes weak) : Rousseau's attitude to love, his philosophy of language, his notion of a Golden Age and Terrestrial Paradise, and his views of personal immortality. Chapter 4 ("L'amour et le pays des chim~res") shows Rousseau recoiling from love fulfillment, "rejet6 dans I'imaginaire par l'~chec de sa passion," finding satisfaction only in (...) the imagination (hence his fear of "soiling the purity" of the beloved, with some strange consequences for his concept of personality). The chapter on Rousseau's philosophy of language is detailed and richly documented, as all these chapters are; it shows him struggling to free the theory from the grip of sensualism, and anticipating in intuitive flashes some very modern notions. Chapter 5 goes to the roots of Rousseau's almost delirious happiness when he finds Paradise in an isle that is both symbol and incarnation of attunement with vegetative nature (Freudians may see a good deal more in this). The last chapter brings together the texts on personal immortality, the certainty of which Rousseau derived from his personal need for compensatory justice, while admitting that there was no objective proof of it. Eigeldinger works strictly from the sources. Some naive expressions, an occasional lack of technique in handling the texts, a tendency towards poetic language and enthusiastic overstatement are easily compensated by his sensitivity, intellectual curiosity, and conscientiousness. His results are not unfamiliar, but it is good to have such rich material brought together and so well presented in these compact chapters. This is not an academic exercise but a work of love, and it is none the worse for it. GR~con SEBBA Emory University Kants These iiber das Sein. By Martin Heidegger. (Frankfurt a. M.: Vittorio Klostermann, 1962. Pp. 36. Paper, DM 3.80.) This little essay continues the "destruction of the history of ontology" which Heidegger originally projected as the second part of Sein und Zeit but never published under that title. The "destruction," as Heidegger readers are aware, is by no means an attempt to repudiate the metaphysical tradition of the West. Its aim instead is to re-think the question of being on a more fundamental level--to focus on the ground of being, being as such (Das Sein), rather than on this or that mode of being or on the totality of what is (Das Seiende). Hence Heidegger's claim that he is laying the groundwork for something that has never really been undertaken previously in Western thought, namely, "fundamental ontology." In Kant und alas Problem der Metaphysik (1929), Heidegger repudiated the NeoKantian interpretation of the Critique of Pure Reason by insisting that the thrust of that work is primarily ontological, not epistemological. Focusing his analysis on Kant's transcendental deduction of the categories and the doctrine of schematism in the first edition of the Critique, Heidegger argued that the transcendental imagination must stand at the center of ontological knowledge and that its subordination to the understanding in the second edition constitutes a "recoil" on Kant's part from his earlier and deeper insights. Moreover, Heidegger found in Kant the seeds of his own doctrine of temporality as the basis of human being, knowing, and acting--a doctrine from which once again Kant "recoiled." 116 HISTORY OF PHILOSOPHY These themes are echoed in the present essay, but a different portion of the Critique comes under scrutiny. In his discussion of the ontological proof for the existence of God, Kant writes: 'Being' is evidently not a real predicate, i.e., it is not a concept of something which could be added to the concept of a thing. It is simply [bloss] the placing [Position] of a thing, or of certain determinations in it. (A598,B626) Heidegger, armed with an impressive correlation of texts, finds in this passage a negative and an affirmative thesis. The negative thesis denies to being the character of a "real" predicate, but does not deny that it is a predicate in some sense. By "real" we are to understand, not actual, but having a reference to things. Thus interpreted, the negative thesis asserts that being is not... (shrink)