In this paper we examine some proposals to disprove the hypothesis that the interaction between mind and matter causes the collapse of the wave function, showing that such proposals are fundamentally flawed. We then describe a general experimental setup retaining the key features of the ones examined, and show that even a more general case is inadequate to disprove the mind-matter collapse hypothesis. Finally, we use our setup provided to argue that, under some reasonable assumptions about consciousness, such hypothesis is (...) unfalsifiable. (shrink)

Oases have served as sacred landscapes and sources of ritual plants in arid regions of the Old and New Worlds. We evaluate the Jesuit mission oases of the Baja California peninsula for their role in agrobiodiversity persistence, and extend theories of sacred landscapes and biodiversity conservation to agricultural species and practices. Jesuit missionaries on the peninsula introduced a suite of crops species and agricultural and water management systems that persist in the oases and have become an integral part of the (...) cultural and religious identity of the peninsula. The sacred landscapes of the oases are defined by elements of the Jesuit mission systems, such as water capture systems and irrigation canals, stone field borders and terraces, field gardens or huertas, groves of olive trees and date palms, and multi-tiered agroecosystems. Sacred practices—including pilgrimages, religious rites, and Catholic-based community celebrations—depend on the integrated “landscapes” of the oases and on the ritual use of wild and cultivated oasis plant species. We propose that some, though not all, of the peninsula oases may be considered as sacred landscapes responsible for maintaining heritage crop species, biodiversity, and traditional farming and foodways practices. (shrink)

Offers a philosophical appraisal of secularization in light of re-emergence of religion in the past several decades. This book explores the adequacy of classical theories of secularization, as well as what might be offered in their place. It asks the question to what extent philosophy itself has nourished and inspired these kinds of prophecies.

This article examines the historical representation of the Jinshin Rebellion as a foundational event in the Nihon shoki and other eighth-century Japanese texts. Focusing on the differences between two alternative stories of Tenmu’s departure from the Ōmi capital to Yoshino, I argue that the Nihon shoki contains traces of several competing historical narratives that are the expression of a historical process: the political struggles over the historical record and the representation of Tenmu’s legitimacy in the early eighth century when the (...) Nihon shoki was being compiled. (shrink)

In The Things We Mean, Stephen Schiffer defends a novel account of the entities to which belief reports relate us and to which their that-clauses refer. For Schiffer, the referred-to entities—propositions—exist in virtue of contingencies of our linguistic practices, deriving from “pleonastic restatements” of ontologically neutral discourse. Schiffer’s account of the individuation of propositions derives from his treatment of that -clause reference. While that -clauses are referential singular terms, their reference is not determined by the speaker’s referential intentions. Rather, their (...) reference is determined in a top-down manner—in Schiffer’s words, “by what the speaker and audience mutually take to be essential to the truth-value of the belief report.” While this accounts for a deep disanalogy between belief reports and other relational propositions—a disanalogy emphasized by Schiffer—I argue that the proposal runs into trouble when we consider the case of de re belief. I close by showing how a modification of Schiffer’s approach—one differing in essential ways from the theory developed in Things—is capable of handling these difficulties. (shrink)

In his recent article Should Trees Have Standing? Revisited" Christopher D. Stone has effectively withdrawn his proposal that natural objects be granted legal rights, in response to criticism from the Feinberg/McCloskey camp. Stone now favors a weaker proposal that natural objects be granted what he calls legal "considerateness". I argue that Stone's retreat is both unnecessary and undesirable. I develop the notion of a "de facto" legal right and argue that species already have de facto legal rights as statutory beneficiaries (...) of the "Endangered Species Act of 1973." I conclude that granting certain nonhuman natural entities legal rights is both more important and less costly that Stone and his critics have realized, and that it is not Stone's original proposal which needs rethinking, but the concept of interests at work in the Feinberg/McCloskey position. (shrink)

La romancière ne sait pas de quoi relèvent les apparitions d’OVNI, mais elle aime le « point de bascule entre le présent et le possible » qu’offrent les rendez-vous mensuels des ufologues parisiens. Un dispositif poreux, proche de celui qu’elle met en place dans l’écriture pour imaginer ses histoires.

Este artículo presenta el descubrimiento del sistema de neuronas espejo, que muestran que los mecanismo neuronales revelan que los humanos estamos «cableados” para la empatía, con lo que la moralidad tendría así sus raíces en la biología. Se argumenta que esta base científica tenderá a influir la opinión pública contribuyendo a disolver nuestras creencias actuales que nos llevan a la destrucción recíproca. La pregunta pendiente, se señala, es por qué no actúa la empatía a nivel social, formulándose propuestas de respuesta (...) desde la influencia cultural sobre lo biológico. (shrink)

Educating the Virtues David Carr Routledge, 1991. Pp. 304. ISBN 0?415?05746?9. £35. The Philosophical Theology of St Thomas Aquinas By Leo J. Elders E. J. Brill, 1990. Pp. 332. ISBN 0?04?09156?4. $74.36. The State and Justice: An Essay in Political Theory By Milton Fisk Cambridge University Press, 1990. Pp. x + 391. ISBN 0?521?38966?6. £10.95 pbk. Perspectives on Language and Thought: Interrelations in Development Edited by S. A. Gelman and J. P. Byrnes Cambridge University Press, 1992. Pp. xii + 524. (...) ISBN 0?521?37497?9. £50. Aristotle's First Principles By T. H. Irwin Oxford University Press, 1989. Pp. xviii + 702. ISBN 0?198?24717?6. £17.50 Pbk. Truth and Eros: Foucault, Lacan, and the Question of Ethics By John Rajchman Routledge, 1991. Pp. 155. ISBN 0?415?90380?7. £10.99. Logical Forms By Mark Sainsbury Blackwell, 1991. Pp. 408. ISBN 0?631?17777?9. £11.95. Form and Transformation. A Study in the Philosophy of Plotinus By Frederic M. Schroeder McGill?Queen's University Press, 1992. Pp. xiv + 136. ISBN 0?7735?1016?8. £34.95. Did The Greeks Believe Their Myths? An Essay on the Constitutive Imagination By Paul Veyne, translated by Paula Wissing The University of Chicago Press, 1988. Pp. 161. ISBN 0?226?85434?5. £8.75 Pbk. What is Philosophy? By Dietrich von Hildebrand Routledge, 1991. Pp. lvii + 242. ISBN 0?415?02584?2. £12.99. (shrink)

Los autores abordan el desafío de integrar la medicina convencional, la medicina psicosomática, y la medicina alternativa, necesario, según señalan, no sólo por razones clínicas y económicas, sino por el desafío de crear una teoría comprehensiva que integre la riqueza de datos aparentemente disparatados y teorías de la salud y la enfermedad en un todo organizado. Se trata de llegar a una medicina integrada. En este trabajo los autores identifican ocho visiones fundacionales sobre la naturaleza, cada una de las cuales (...) genera hipótesis diferentes acerca de la naturaleza y de la medicina, y han conducido a tres diferentes conceptos de medicina. El artículo aborda cómo el conocimiento de tales hipótesis puede alcanzar el objetivo de integrar la medicina. (shrink)

The Differenzschrift is Hegel’s first distinctively philosophical work. Traditionally, the chief significance of the work has been said to be its announcement of the breach between Fichte and Schelling. The purpose of the present paper is to move from this proximate perspective to a systematic-teleological perspective. From the latter perspective we can see that it is in the Differenzschrift that Hegel not only criticizes and comprehends the work of his immediate predecessors but also constructs the conceptual-hermeneutic frame which makes his (...) critique possible.Essentially Hegel argues that philosophy-as-science advances by means of text and commentary, but its advance is not continuous. Its history is characterized by violent, epoch-making leaps, which must be viewed as necessary organic constituents of telic progress. The impulse or force behind this telic advance is the concrete historical situation, in Hegel’s words, “the need of the times.”. (shrink)

Exlibris der Ägyptenrezeption und Ägyptomanie: Zur Sammlung des Gutenberg-Museums in Mainz. By Kirsten Konrad. Philippika, vol. 90. Wiesbaden: Harrassowitz Verlag, 2015. Pp. 488, illus. €78.

Siedlungskammer Kilikien: Studien zur Kultur- und Landschaftsgeschichte des Ebenen Kilikien. By Susanne Rutishauser. Schriften zur Vorderasiatischen Archäologie, vol. 16. Wiesbaden: Harrassowitz Verlag, 2020. Pp. xiii + 212, illus. €88.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Coleridge, Schiller, and Aesthetic EducationGary PetersColeridge, Schiller, and Aesthetic Education, by Michael John Kooy. New York: Palgrave, 2002, 241 pp.Who reads Friedrich Schiller today? With the Aesthetic Education of Man struggling to remain in print in the English-speaking world (at least in the UK, from where I am writing this) it would seem fewer and fewer readers are prepared to engage with (or be educated by) this once (...) influential aestheticization of the world; and as for Marcuse on Schiller, or the young(er) Frederic Jameson on Schiller and Marcuse, they, too, seem to be speaking from another era, an ancient time when the humanist utopian promise could still be taken seriously. Promises are made to be broken, of course, especially the promesse de bonheur, but are we right to feel betrayed by the assorted Schillerians who so passionately raised our hopes, only to fall silent when they were so comprehensively dashed? Perhaps betrayal is putting it too strongly, but the fact remains that we seem to have ended up with a notion of aesthetic education that educates nobody, not even those within art education who need it more than most. But then perhaps the whole notion of aesthetic education as a promise is itself fundamentally flawed, the product of a political reading—the politicization of the aestheticization of the world—that casts the lessons of the aesthetic into the future rather than engaging with the event of the artwork as it erupts in a "now," which is aporetic in the extreme, and thus ill-equipped [End Page 119] to radicalize the unradic1al mind or mobilize the immobile.Clearly, Michael John Kooy reads Schiller today, but, having said that, it is never made entirely clear who he is writing for. Indeed, we may ask, does he have much of an audience at all or is he speaking too long and too late into the vacuum left by the collapse of humanist optimism? His own position is an interesting one, as both a literary theorist and a philosopher; one of the real strengths of the book is Kooy's pursuit of philosophical ideas in the body of Schiller's and Coleridge's dramatic and poetic work, often to good effect, but, to ask the question again, who is listening? Philosophers? Writers? Professional academics or the nonacademic audience that one would assume was always the intended beneficiary of the concept of aesthetic education?To attempt to think around some of these questions, without necessarily trying to answer them, we might start by considering who the philosophical audience for this book might be. My guess is that the philosophy of education, the subgenre of philosophy that might benefit from an aesthetic education itself, will be largely deaf to the message running through these pages. Long dominated by an ethical, religious, and liberal political agenda, the philosophy of education in its hegemonic Anglo-American guise has never made much room for the aesthetic, particularly in its "continental" radical incarnation—far too woolly, idealist, utopian, far too "arty." So, not much of an outlet here, but, having said that, the recent Anglo-American fascination with the very "continental" notion of Bildung might prove to be a fruitful point of contact, and Kooy does devote some useful pages and a substantial epilogue to a discussion of this thorny subject. There is a problem here, however, in that while Kooy is excellent when thinking through the dissonance between the teleological purposiveness of Schiller's and Coleridge's conceptions of universal history, so important to their notion of aesthetic education as a cultural model, and the very different self-substantiating autonomy of Bildung, he is much less engaged with the more fundamental pedagogical issues that arise within the particularity of the teaching encounter: How is the necessary autonomy of aesthetic education to be taught without thereby jeopardizing that very autonomy? It is at this point that a philosophical audience (one engaged in continental philosophy, that is) might have expected a more thorough account of the deeply problematical relationship between the Schillerian notion of aesthetic education and the aesthetics to be found in Kant's Critique of Judgement, its acknowledged source. This is not... (shrink)

The name of Michel Foucault is most commonly associated with words such as power, knowledge, discourse, archaeology, and genealogy. However, in his final public lectures delivered prior to his death in June 1984 at the Collège de France from 1981 to 1984 and at the University of California at Berkeley in 1983, Foucault turned his focus to another word, parrhesia, a Greek term ordinarily translated into English by “candor, frankness; outspokenness or boldness of speech”. The parrhesiastes is the one who (...) uses parrhesia, i.e., the one who speaks the truth. This paper is about Foucault’s choice of parrhesia as the topic of his final lectures and what the articulation of these lectures tells us about truth telling in a specific academic context. It will consider Foucault’s treatment of parrhesia with respect to the specific practice of Foucault’s articulation of this work in the specific formal settings in which it occurred at the Collège de France and the University of California at Berkeley. The objective here is to consider Foucault’s lectures as potential examples of parrhesia and address the question of whether or not is possible to “speak the truth,” in the Greek sense of the term, within the institutional constraints of academic discourse. (shrink)

The following reflections are intended as a preliminary to a more extended and in-depth series of case studies, focused analyses of actual artworks, and the issues arising from their particularity within what will be described here as a Heideggerian post-aesthetic aesthetics. The essay is not written from the perspective of a professional or academic philosopher or of a practising artist (even though I am one), neither fields of which have sufficiently engaged with the existential and aesthetic predicament sketched out below. (...) Thus, the attraction of both Heidegger and Blanchot is not just related to their well-known discussions of inbetween-ness, but, more essentially, to the peculiarly in-between location of their own thought and trajectory of thinking: Heidegger from "out of" philosophy "drawn" towards art; Blanchot from within the space ofliterature towards the exteriority of ontological thinking. The intention is to identify similarities and differences in their thought, but this is only perceived as relevant to the extent that it allows an initial reassessment of a de-subjectivized existential and aesthetic mode of thinking that has been largely abandoned by academic philosophy and art practice alike (albeit for very different reasons). If nothing else, the hope is that a different voice might be heard in the clamorous exchange between philosopher and artists, one that is sensitive to the complex predicament of the artist in a post-Heidegerrian world, and which above all remains faithful to the project of the artist and the artwork in the face of the philosophical valorization of "Art". Las siguientes reflexiones se presentan como preliminares a una serie de estudios de caso mas extensos y profundos, analisis focalizados de obras de artes reales, y los temas que surgen de sus particularidades dentro de lo que se describira aqui como una estetica heideggeriana post-estetica. El ensayo no esta escrito desde la perspectiva de un filosofo profesional o academico ni de un artista operante (aunque yo lo soy), ninguno de cuyos campos se ha comprometido suficientemente con el dilema bosquejado mas adelante. Asi pues, la atraccion de Heidegger y Blanchot no solo tiene que ver con sus bien conocidas discusiones sobre la inbetween-ness, sino, mas esencialmente, con la ubicacion particularmente in-between de su propio pensamiento y trayectoria del pensar: Heidegger desde "fuera de" la filosofia "sacado" hacia el arte; Blanchot desde dentro del espacio de la literatura hacia la exterioridad del pensar ontologico. La intencion es identificar similitudes y diferencias en su pensamiento, pero esto solo es percibido como relevante en la medida en que permite una reevaluacion de un modo de pensar existencial y estetico des-subjetivado, que ha sido ampliamente abando-nado por la filosofia academica y la practica del arte (aunque por razones distintas). Sin mas pretensiones, la esperanza es que se pueda escuchar una voz diferente en el intercambio clamoroso entre el filosofo y los artistas; voz que es sensible al complejo dilema del artista en un mundo post-heideggeriano, y que sobre todo permanece fiel al proyecto del artista y a la obra de arte frente a la valorizacion filosofica del "Arte". (shrink)

This book offers a detailed look at Guattari's working methods in transdisciplinary experimentation from the time of his youth to his final years.His youthful adventures in the post-war Youth Hostels movement, decisive contact with institutional pedgagogy and the mentor figures of Fernand Oury and his brother Jean, give rise to an extraordinary penchant for organizational innovation in his life at Clinique de La Borde in Cour-Cheverny, France, and collective forms of expression manifested in publishing ventures and diverse collaborative research formations.Guattari's (...) highly original and hitherto neglected theories of a-signifyng semiotics and minor cinema are explored in depth with reference to the political goals of the critique of infoculture and the molecular revolutionary tendencies that are released in the search for a people to come.Guttari's engagement with eco-politics and art practices displays his originality as a political thinker and is firmly grounded on his exporation of how subjectivity is produced inlate capitalism.Guattari's ground-breaking conception of transversal politics is fully explored in relation to Michel Foucault's sense of the concept and its role in global political theory. (shrink)

In this essay, I review two earlier anti-Semitic propaganda films of 1939, to wit, Robert and Bertram, and Linen from Ireland. I begin by rehearsing some of Abram de Swann’s analysis of genocide and then discuss in greater detail a classic sociological analysis written during WWII by Hans Speier. Speier distinguished three broad kinds of war of increasing ferocity: instrumental war, agonistic war, and absolute war. While the first two sorts of war are relatively constrained, in absolute war the in-group (...) regards the out-group as inherently evil, and consequently the goal of such a war is to exterminate the out-group, with no limitation on methods. I suggest in the piece that the focus of these films is precisely to get the audience to view Jews as three different things: different (not Germans as “Aryans” are supposed to be); disgusting (loathsome, somehow degenerate); and dangerous (a threat to Aryan Germans by their very nature). I cover both films, pointing to the scenes that are crafted to engender in the audience exactly these feelings. To help explain how the various scenes manipulate the audience to push the regime’s Anti-Semitic narrative, I use Robert Cialdini’s theory of the use of psychological mechanisms in marketing. (shrink)

The significance of this article is in its deconstruction of the criminal insanity defence in a meta-legal critical context. The article’s objective is to critically review beliefs that the insanity defence was designed solely for public protection from insane violent people, or, for criminal deterrence. Arising from the long and continued use of the Roman Law concept of non compos mentis, the question arises as to what has become of the practical meaning of the term “insanity”, when used as a (...) defence. The article tries to show that the defence of insanity is a public act of judicial denunciation against the accused, while the accused may have no effective responsibility for the crime. Argument begins with a critical discussion on the character of common-place denunciation as an appeal to public agreement. Then, it follows how the idea of “manifest criminality”, of the 1800s, might be cognate to modern ideas of “manifest madness”, linking into the origins of the English special verdict of insanity. This will allow a short critical analysis of the M’Naghten Case. Argument is completed with analysis of a psychologists’ expert construct of insanity and its relationship to jury perception. The article will suggest strongly that arguments based on the common law rules of insanity tend to expose juries more to denunciation of the accused, than to a reasoned account of the nature of his insanity and to the defects in his responsibility. Duly persuaded jurors would tend to acquiesce and participate in the denunciation of an accused person, whose unusual and unhealthy behaviours emanated from his sufferings by dint of his unbearable circumstances. (shrink)

Die Lebermodelle aus Boğazköy. By An de Vos. Studien zu den Boğazköy-Texten, Beiheft 5. Wiesbaden: Harrassowitz Verlag, 2013. Pp. 274, 56 plts. €76.

In this article I revisit the relationship between Immanuel Kant and the Marquis De Sade, following not Jacques Lacan but Pierre Klossowski. In the process I suggest that Sade's work is marred by a series of antinomies that prevent him from stating a pure practical libertine reason and leave his view purely theoretical.

The traditional ascription of the Neoplatonic commentary on the De Anima to Sim­plicius has prominently been disputed by Carlos Steel and Fernand Bossier, along with J.O. Urmson and Francesco Piccolomini, among others. Citing problems with terminology, diction, cross-references, doctrine, and other features, these authors have argued that the commentary cannot have been composed by Simplicius and that Priscian of Lydia is a favored alternative. In this paper, I present some new arguments for why the traditional attribution to Simplicius is, in (...) fact, the correct one. In particular, while addressing some of the terminological facts that have also been discussed by Christina Luna, Peter Lautner, Patricia Huby, and Philippe Vallat,1 among others, I offer a more secure basis for identifying the author of the De Anima commentary with Simplicius than has so far been proposed. In place of the disputes regarding terminology, which the debate has largely centered upon, I argue that certain unique and characteristic interpretive procedures, which one only finds in the undisputed Simplician works, allow us to identify the authorship of the De Anima commentary with Simplicius securely. Further, comparison of these methodological features with the extant works of Priscian rules out the possibility of his authorship of the commentary. I also provide some suggestions for resolving a few remaining issues of cross-reference between the De Anima commentary and the rest of Simplicius’s work. Finally, I conclude with some words on how that particular form of harmonization pursued by Simplicius’s contemporaries differs from both that of the De Anima commentary as well as his other works. (shrink)

There is a certain ambiguity in Descartes’ Meditations, as there is any great sphere of endeavor. How, after all, does one bridge the gap between the autobiographical “I” of the Discourse and the Meditations, and the world of learned scholarship; the “guardians of tradition”, both religious and temporal? How does one mediate the way in which one is received by the tradition which has so eloquently been put out of play in the pursuit of one’s personal project? In short, how (...) can Descartes ensure that his pioneering work is not misunderstood; that it is not viewed as a threat to religious and national institutions?In reflecting on these questions, I believe Descartes arrived at a concept of community which sought to balance personal autonomy with institutional obligation in such a way that the scientist’s ultimate judgment was preserved, while proximately acknowledgement was made of the prevailing scientific and religious “world picture”, and only challenged obliquely.Thus, there is a certain tension in Descartes’ theorizing about community, a tension which was quite naturally carried over into his practical community relationships. Furthermore, I will argue that Descartes’ “tool” for getting around in these tension filled community situations is what I shall call his doctrine of “order and intention”. Ultimately, it is this reliance upon intentionality which throws his “balance” out of balance, and gives rise to repeated charges of “dissimulation”. How this situation came to pass, and Descartes’ tortuous attempts at resolving the emerging problems, is largely the subject of the following pages. (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / penetrates (...) the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

In the Aristotelian curriculum, De anima or the study of the soul fell under the rubric of physics. This area of study covered the vital (“vegetative”), sensitive, and rational powers of the soul. Descartes’ substance dualism restricted reason or intellect, and conscious sensation, to human minds. Having denied mind to nonhuman animals, Descartes was required to explain all animal behavior using material mechanisms possessing only the properties of size, shape, position, and motion. Within the framework of certainty provided by the (...) metaphysical foundations of his physics, he posited such mechanisms in accordance with appropriately lessened standards of certainty. As Cartesianism (or the Cartesian revolution) spread, adherents offered survey textbooks or treatises of physics to replace the corresponding Aristotelian curriculum. These books typically discussed the role of experience in physics and the appropriate standard of certainty. A comprehensive Cartesian natural philosophy needed to mechanize the offices of the Aristotelian sensitive soul, including sense perception, memory, and cognitive and appetitive responses to the environment. Descartes’ Treatise on Man (1664) offered an initial explanatory program. This chapter examines the role of experience in the natural philosophy and mechanistic psychology of Descartes’ English follower Antoine Le Grand. He offered detailed accounts of the sensory and motor mechanisms shared by human and nonhuman animals (for which he claimed “physical certainty”). These frame his Cartesian psychology. (shrink)