FramesIn 1934 the Belgian artist René Magritte painted a room with a view. On an easel in front of the window stands a painting depicting the very piece of landscape blocked from sight. Magritte named his painting La Condition Humaine (“The Human Condition”), which is quite apt, for the life of everyone is determined by windows, doors, mirrors and many other frames. Indeed, to avert anxiety, one actually cultivates social behavior born of the fear of being “outside the frame.” (...) Because of this apprehension, we organize all reality into a series of preestablished frames. (shrink)

The article deals with Béla Tarr’s longest film Sátántangó and examines relations between image, time and ways of looking, comparing it to Lászlo Krasznahorkai’s 1985 eponymous novel on which the film was based. It reveals connections between episodes and shots in Sátántangó that lead to a conception of time that passes extremely slowly. It is recurrent—leading toward similar, repetitive situations—but at the same represents an inability to change. The image in this film is often conceived as it is mediated and (...) Tarr frequently uses compositions involving ways of looking through some kind of optical device or a window. The only way of accessing reality is to look at it when there is no real opportunity, will or ability to intervene and change it. In this sense the article shows the relationship between the image of the fictional world of Sátántangó, inhabited by passive and demoralized characters, and the world of the film spectator and his or her relation to film image as such. (shrink)

continent. 1.1 (2011): 60-67. At the beginning of Martin Heidegger’s lecture “Time and Being,” presented to the University of Freiburg in 1962, he cautions against, it would seem, the requirement that philosophy make sense, or be necessarily responsible (Stambaugh, 1972). At that time Heidegger's project focused on thinking as thinking and in order to elucidate his ideas he drew comparisons between his project and two paintings by Paul Klee as well with a poem by Georg Trakl. In front of Klee's (...) Saints from the Window and Death of Fire —though we wouldn’t absolutely understand what we were seeing—he writes, “we should want to stand…a long while.” In a similar manner, of Trakl’s poem “Septet of Death”—although it is likely we are unsure in what we hear—Heidegger states that, “we should want to hear…[it] often.” Heidegger further states that in appreciating these, “we “should abandon any claim that [they] be immediately intelligible” (1). So also we must we approach, Heidegger continues, the realm of theoretical physics, in which the difficult work of Werner Heisenberg, be listened to “without protest” and without “any claim that he be immediately understood.” These works, like his own project, merit the time they take to be originally (mis)understood. But this is not necessarily true for philosophy, Heidegger advises, because, “That thinking is supposed to offer ‘worldly wisdom’ and perhaps even a ‘way to a blessed life’” (1). Philosophy is in the unique position of being both abstract (what do we talk about when we talk?) and at the same moment, useful. There are demands that it make sense, that it be, grounded, immediate, and most importantly, rational. Heidegger draws these comparisons between the works of Klee and Trakl and Heisenberg not to claim that philosophy is totally irresponsible. He does not claim that the poet, the painter, nor the physicist have acted irresponsibly. Rather, he would say, they are rising to the highest levels of intelligibility, though it is perhaps an intelligibility that is commonly unavailable to us. In Trakl’s case, as we shall see, mastery is the end result of difficult words. Instead, Heidegger seems be making pleas: for a period of uninterrupted unintelligibility (pure unintelligibility); and that there is a time (that time is now) when, “thinking is…placed in a position which demands of it reflections that are far removed from any useful, practical wisdom” (1-2). Heidegger argues that philosophy requires a period of time in which, instead of focusing on the practical—or even on the worldly—the discipline draw its “determination” instead from the place of painting and poetry and physics. In doing so, “we should have to abandon any claims to immediate intelligibility” (2). But Heidegger doesn’t offer this as a way out. We still have to turn up, we “still have to listen, because we must think what is inevitable, but preliminary” (2). The point for Heidegger, is not to listen to a series of propositions, but instead to “follow the movement of showing” (2). I. … Maybe we're here only to say: house, bridge, well, gate, jug, olive tree, window— at most: pillar, tower … but to say them, remember, oh, to say them in a way that the things themselves never dreamed of existing so intensely.… Rainer Maria Rilke, “The Ninth Elegy” There is little more fundamental, preliminary, in the world than language. We use language, in the form of speech, constantly, whether we are saying anything or not. “Man speaks,” Heidegger writes, and goes on to describe in his essay “Language” (2001) the constant speaking that we do. “We are always speaking, even when we do not utter a single word aloud, but merely listen or read, and even when we are not particularly speaking or listening but are attending to some work or taking a rest” (187). Speaking is expression, an utterance of something internal. It is a recognition of a world. It is a way of communicating thought and it is an activity that we all do, inevitably. Speaking separates the human from the animal world, and despite advances in primatology that seek to give ‘voice’ to primates and other non-human animals, it can safely be said that our form of communication—what we call speech and know as language—is the most advanced, the most complicated. We use it to present and represent the world around us; through actual utterances (vocalization) or through the written word or through ‘unvoiced thoughts’ and dreams. We use language, but more specifically speech—naming—to transmit moods, thoughts, desires, aversions, and feelings. These expressions, mere utterances, nearly always find a source in words, whether spoken or not. Heidegger writes that this common view of language means “that only speech enables man to be the living being he is as man. It is as the one who speaks that man is—man” (187). Speaking then—utterance—surrounds us constantly, whether in the form of careful thought—in the form of an academic paper, say—or in the half mutterings and forgotten thoughts of a nearly remembered dream. Like scaffolding, the apparatus of speech sustains and explains the world, making, in a sense, the world rational, making it apparent. When we speak, we describe, and in doing so, name the world. We use words, through this process of naming, to interpret and sustain the world we see, and the world we imagine. Like Rilke’s naming of jug, and bridge, and window, and stream, we describe—and inscribe upon—the world through an activity of naming. Are we here, perhaps, to name? Is it possible not to name? Is it possible to regard and to view and to look around without naming what we see? Is it possible to feel—to experience—world without giving utterance to that feeling, that process? Sadness, grief, joy, ecstasy, hunger, thirst. Desk, light, room, pen, book, world. White, black, tomorrow, today. Each of these words is a name given to a thing I see in front of me, or a concept that I imagine (in the case of tomorrow or world). What arises in my mind has already existed. If I imagine it, it is named. The word for ‘tomorrow’ and ‘desk’ and ‘light’ precedes me, and precedes my concept of it. The idea of it is already pre-informed, and I must, in a certain sense, bend my ideas to it. When I imagine a table, I imagine my own table (or I imagine an idea of table) but that imagining must follow certain general rules; while, perhaps, it might not always require four legs and a horizontal surface, it must, at least not be, say, a pool of water, or a pile of excrement. It must have some tableness to it to be a table. It must, with Heidegger, table. Otherwise, speech is reduced to gibberish. For Heidegger however, the discussion of language points to something deeper than its “scientific and analytic” study as a communicative device. Indeed, Heidegger seeks to understand language not in reference to man or woman, not as an utterance of humanity, but in reference to itself. In doing so he abandons the conversation—that is, he casts away the traditional arguments surrounding philosophy of language; that it is a means of expression; that it is a human activity; and that it is somehow a representation of something that is—in order to seek to understand language as language, on its own terms. Heidegger is not a philosopher of language, but a philosopher of world, of being. Despite these “correct ideas” holding sway “over the whole field of the varied scientific perspectives on language…they ignore completely the oldest natural cast of language” (191). What is this “oldest natural cast of language? It is the act of language itself. Language is language and language speaks. “Most often,” Heidegger writes, “and too often, we encounter what is spoken only as the residue of a speaking long past” (195). Speech, as we normally encounter it, is like Echo herself calling out to Narcissus, doomed to repeat what has already been said, a mere remnant of what was once language, a trace left behind in the gathering silence of becoming. In both the essay “Language” and in his three lecture course “The Nature of Language” (1982), Heidegger attempts to unpack the seeming tautology of language as language. In each, he focuses on poetry as a way out, or into, a true discussion of the oldest natural cast of language. Poetry is pure speech. In poetry, language is brought to language and language speaks ( Die Sprach spricht ). In the act of poetry, the act of pure speech, the poet names (on the surface not different from how I name this table, this computer) but in the poet naming, the naming does not “hand out titles,” “apply terms,” but rather the naming is a call, a calling forth of entities that bring them into their own, allow them to take their place purely, without compromise. This calling, Heidegger (2001) states, “here calls into a nearness. But even so the call does not wrest what it calls away from the remoteness, in which it is kept by the calling there. The calling calls into itself and therefor always here and there—here into presence, there into absence” (196). II. Window with falling snow is arrayed, Long tolls the vesper bell, The house is provided well, The table is for many laid. Wandering ones, more than a few, Come to the door on darksome courses. Golden blooms the tree of graces Drawing up the earth’s cool dew. Wanderer quietly steps within; Pain has turned the threshold to stone. There lie, in limpid brightness shown, Upon the table bread and wine. Georg Trakl “A Winter Evening” Heidegger is often given short shrift as an abysmally difficult writer, as one that makes no sense and is needlessly difficult. In doing this though, we forget sometimes his eloquence, his simple beauty in writing. Of the above opening stanza, “Window with falling snow is arrayed/ Long tolls the vesper bell.” he writes (2001), This speaking names the snow that soundlessly strikes the window late in the waning day, while the vesper bell rings. In such a snowfall, everything lasts longer. Therefore the vesper bell, which daily rings for a strictly fixed time, tolls long. The speaking names the winter evening time (197). The speaking names the winter evening time. It is almost impossible to comment on that one line by Heidegger. It is as though it must exist on its own completely, without elucidation—as though in front of it we must stand as we do in front of a painting by Klee, that is, we must abandon any claim . Silent and devoted. The speaking of the poem here is not clearly different from common speech ( rede ) yet there is, via Heidegger, an invitation to experience that auracular quality of light and stillness that a gentle, dusk tinged snowfall gives; words evoking a quality so clear, so poignant that, in a sense, Heidegger’s work, at this moment, has been done. But what does this naming accomplish? What does the call call? Remember, it is not the poet that calls, but the naming which calls. The poet has only brought the words forward; it is now the words— snow, vesper bell, window— that take new life in the pure language of the poem. Entities are called forth into presence, like the speaking that names the winter evening time. Not to be present amongst us now, however; naming ‘table’ in the poem does not place it in front of us in this room. Rather, the naming places entities into a gathering which is also a sheltering. The naming brings them to be. In an act of appropriation, things come to be purely as their own, unimpeded by a predetermined expectation. They are called to themselves into an arrival. In Being and Time (1962), Heidegger famously describes the movement between present-at-hand and ready-to-hand in his analysis of the hammer, and of equipment in general. This analysis is already known, if not always clear, to most readers of Heidegger. Briefly, a hammer is ordinarily zuhanden or ready-to-hand; it is part of the background of the world, equipment used and never thought about, like this desk, this sheet of paper, this room. Our interaction with it is temporary and it is historically different for each entity and each relation. We need a hammer, we use a hammer. If all goes according to plan, the hammer remains ready-to-hand; it remains, in a sense, undisclosed and certainly unobtrusive. Our world is undisturbed by the hammer. Only when the hammer or the car or the computer is broken (or sometimes unused or unrecognized or missing) does it intrude into our world, become conspicuous as an object present-at-hand, or vorhanden . In this case, we reach for the hammer, it is broken and we suddenly notice it’s being, broken though it is. The thing which was always ready to hand—handy—is suddenly abstract, something to be examined, if only in its absence or disfunction. This can be exhibited for all entities, and it is important to note that in this analysis the zuhanden / vorhanden split is not restricted to a specific form of constructed material; zuhanden does not refer to the car, and vorhanden the sunset. No entity is ever exclusively ready-to-hand or present-at-hand; they are instead, interpenetrated with each others mode of being, one informing the other in a way that both brings things forth into the world—discloses is the word Heidegger chooses—and at the same time conceals them. As one mode is coming to be so another mode is withdrawing. This flux and movement between modes is precisely what brings the world forward, and what makes it manifest. It exists beyond where we tread and before man took dubious control of the world. We go to find a book or turn on the computer and it is missing or broken and we become aware of the object, as though for the first time. We walk to the water to glimpse the sunset and miss it, or it is less than stellar; in the sunset’s grayness, we become aware of it’s being sunset. The thing is disclosed in its withdrawal. Echoing Heraclitus, we can say that as something is coming to be, it is already becoming something other. Of similar importance to the fact that things are never all of one, or all of the other, they are also never alone. The hammer is never a single object, but is in relation always to the whole. Heidegger (1962) states, Equipment—in accordance with its equipmentality—always is in terms of its belonging to other equipment: ink-stand, pen, ink, paper, blotting pad, table, lamp, furniture, windows, doors, room. These ‘Things’ never show themselves proximally as they are for themselves…What we encounter as closest to us…is the room; and we encounter it not as something ‘between four walls’ in a geometrical, spatial sense, but as equipment for residing…it is in this that any ‘individual’ item of equipment shows itself. Before its does so, a totality of equipment has already been discovered (97). Equipment resides—dwells—in its relations, in its proximal being to other beings. Within the structure of totality, a series of relations is always occurring. The hammer is on the workbench in the carpenter’s hand in the workshop in the village under the sky and under the sun. It doesn’t stop there. Equipment surrounds us and the focus is not on what it does, or what one does with it—the carpenter with the hammer, the writer with laptop—but with the fact that it is. Equipment occurs in relation and is always occurring around us overhead, underfoot, by the stream and in the city. There is a constant exchange of relations happening, and as this occurs, so the world occurs, so the world both discloses and withdraws, into and out of itself. In a very real sense, language is also equipment. It is the thing that we use most often without thought, it is ready-to-hand (except when it’s not.) As we re- cognize the world around us, as we offer names for things and make lists, we are using language much like we might use a hammer, that is, bluntly. Most of the time it is invisible and we draw on it without wondering how we are going to say something. When language does intrude, it does so in an awkward moment, that moment when we can’t remember the right word, when we forget a phrase. At that second, it “speaks itself as language,” it reveals itself as malfunctioning equipment, and we “undergo” an experience with language, in Heidegger’s famous formulation. Language is not a tool anymore that we use to bludgeon an object, but something instead that we submit to, that we experience. In “The Nature of Language,” Heidegger (1982) writes, But when does language speak to us as language? Curiously enough, when we cannot find the right word for something that concerns us, carries us away, oppresses or encourages us. Then we leave unspoken what we have in mind and, without rightly giving it a thought, undergo moments in which language itself has distantly and fleetingly touched us with its essential being (59). The poet’s words become themselves, become appropriate, only when they no longer function in the prosaic world; they instead intrude as they come to be. Language itself brings itself to language. Names, like the entities they indicate, are always becoming something else. As noted above, language, through the poet, has brought forth entities from words previously “known.” I thought that I knew snow, but through Trakl’s re- presentation of the word, language calls forth a new image of snow, indeed calls forth snow itself. The vesper bell tolls longer, the table is for many laid. In bringing forth things , language has brought the world to presence. In everyday naming, word occludes world, preventing, in its everydayness, its coming forth, its disclosing. But what is this world that word has been brought forth into? In the same way that language speaks, world worlds. World, left alone, un-interfered with, comes into itself. It worlds. Again, this sounds like a tautology, but it is essential to Heidegger’s thought (and in my mind is more of a “god killer” than Nietzsche.) One of the most overlooked (and under-appreciated) aspects of Heidegger is his later examination and enthusiasm for the “fourfold,” or the system through which things come to be, through which things thing in a world worlding. The fourfold is the interaction of earth and sky, mortals and gods. Things come to be in the interstices and gathering of the fourfold. The fourfold provides both a place of being, and a sheltering, a place to dwell. Heidegger writes that “the things that were named, thus called, gather to themselves sky and earth, mortals and divinities. The four are united primally in being toward one another, a fourfold.” The poet has called, through the act of pure naming, things to come forth. In the purity of the fourfold—that is, when that is all that there is, when there are no other distractions, definitions, things—entities themselves can come to be. It is important to note that Heidegger is not saying that there are four formal things in the world, autonomous entities unto themselves. He is not evoking a pre-Socratic formula as to what makes up the world; instead, the four mirror each other constantly. (Heidegger calls this the ‘mirror-play.’) They interpenetrate in the same way that the modes of being of things interpenetrate themselves. There is no discrete exclusivity in being or the fourfold. What makes up things is not a precise recipe of the four main components; what makes up things is the action of the fourfold coming together, the movement of the fourfold which is a becoming. Heidegger (2001) writes that “this gathering, assembling, letting stay is the thinging of things.” And he later adds that “thinging, things are things. Thinging, they gesture—gestate—world” (197). Language brings the world to be. It works not again as a recipe added to things, but instead it is a bridge, or more precisely, a relation. Language relates world to thing, brings world to thing. In a sense, it does not say anything; rather it allows, or calls in its movement. Heidegger (2001) writes that, The intimacy of world and thing is not a fusion. Intimacy obtains only where the intimate—world and thing—divides itself cleanly and remains separated. In the midst of the two, in the between of world and thing, in their inter, division prevails: a dif-ference (199). It is in this inter that language prevails. Language is difference, it is the differential aspect between world and thing that brings world to thing. In the final stanza of Trakl’s poem “The Winter Evening,” Trakl evokes this difference in the second line when he writes, “Pain has turned the threshold to stone.” Christopher Fynsk, in his essay “Noise at the Threshold,” draws attention to this point when he writes “it is the figure of the threshold that is language itself, inasmuch as language is defined as the articulation of difference by which difference comes about” (25). Language, as used in the pure language of the poem, draws together world and thing, bridging relation between entity and world. The calling of language calls world to thing, world to being. Heidegger (2001) describes this difference as unique; “of itself, it holds apart the middle in and through which world and things are at one with each other” (200). III. Neither reading nor writing, nor speaking—and yet it is by those paths that we escape what has been said already, and knowledge, and reciprocity, and enter the unknown space, the space of distress where what is given is perhaps not received by anyone (99). Maurice Blanchot The Writing of Disaster So far, we have allowed Heidegger to put forward what language does, how it functions as a relation and how it operates as a threshold, as a bridge. What interests me is what happens beyond language, beyond the relation. What happens to the thing without the naming, without the poet, or even without the everyday chatter—Fynsk calls this ‘noise’—intruding on being? If language allows things to become by bringing thing to world, what happens when we remove this bringing, this threshold turned to pain? In “The Nature of Language,” Heidegger examines the work of the poet Stefan George, specifically “The Word”: Wonder or dream from distant land I carried to my county’s strand And waited till the twilight norn Had found the name within her bourn— Then I could grasp it close and strong It blooms and shines now the front along… Once I returned from happy sail, I had a prize so rich and frail, She sought for long and tidings told: “No like of these depths unfold.” And straight it vanished from my hand, The treasure never graced my land… So I renounced and sadly see: Where word breaks off no thing may be. That final line, “Where word breaks off no thing may be” is evoked on nearly every page of Heidegger’s essay. It is the line to which he returns over and over and bears repeating. Where word breaks off no thing may be. Where naming ends, no thing. We can interpret this in two ways (at least.) Where word—naming—breaks off, then there is nothing . Or, as I choose to read it, where word breaks off no thing may be. In this I see a hint forward, a marker left behind by Heidegger. What could this look like? What does no thing look like? Like a zen koan ( there is no mirror ) it is as thrilling and horrifying as contemplating what preceded the Big Bang. Because language as naming wasn’t always here; we weren’t always here. One or maybe two aspects of the fourfold (depending on your view of gods) were not always here, and there is no guarantee that we will always be around. What then? Heidegger (1982) describes the landscape that the poet finds, “It names the realm into which the renunciation must enter: it names the call to enter into that relation between thing and word which has now been experienced” (65). The poet, in renouncing, allows for the “may be” of “where word breaks off no thing may be.” This “may be” becomes “a kind of imperative, a command which the poet follows, to keep it from then on.” No thing is lacking. Where word breaks off, there may be, a totality, a completion. If we place the emphasis on may be , we make it affirmative, make it positive. One allows it. No thing is where the word, that is the name, is lacking. If we remove then (if we can remove) the word, the name, than that is where no thing is, that is where no thing may blossom, enrich, belong, become. What is no thing? Heidegger writes that “thing is anything that in any way is.” And just after this he writes that the “world alone gives being to the thing.” But what happens if there is no word? Word, in this formulation can be seen as an enframing, a challenging of language. By naming, by drawing a perimeter around an object, we hold it, by its definition (that is a brick) to an ordered future. If we borrow from Heidegger’s essay “The Question Concerning Technology” (1993) the idea of this standing-reserve of an ordered future, we see that “everywhere everything is ordered to stand by, to be immediately on hand, indeed to stand there just so that it may be on call for a further ordering” (322). What happens if there is no naming of the thing? Silence perhaps. Stillness. We can name—and do name—that which we know. We equate knowledge with knowing the name of something. A brick is a brick, a hammer is a hammer, the universe is the universe. By naming a thing, we create, and draw its parameters, the parameters of the thing, not as thing thinging in the fourfold, but as blunt object apparent. In the four dimensions relatively available to us, we observe (and name) that the brick takes up possibly six by four by two inches and is, in the sense that it currently occupies this time slot. It fulfills its destiny, its being, its brickness, it bricks . But what happens when we remove the name for this brick. We no longer know what to call this no-thing (if indeed we can even arrive at the point of uncalled calling.) In fact the it (this brick) is no longer a thing in the sense that by not naming—by removing the name—it still occupies the same dimension but is indiscernible from the world. It simply is , un-reliant, un- needed by me. By removing the subject (me) from it (the brick) do I not then also remove the object—or at least the duality objectifying it? Why is this important? Why does this matter? I have not really removed anything. I have not changed any thing , per se . The brick still occupies the same space in geographic and temporal dimensions. I have literally not even touched the brick sitting on my desk. But what I have done is removed the name, removed the word (the bridge, according to Heidegger) and in this (again, if this is even possible) there is something vertiginously liberating, not only for me (and my way of thinking) but also for the brick itself. Like the poet who calls the thing forward, by refusing to name, by avoiding any thing that demands me to name it, I release the thing into the fourfold. I am no longer challenging the thing to be there for me ; I do not en frame it through language. Rather I, in an act of extreme responsibility, am refusing the challenge. By refusing the name (refusing to name) one allows, (or no one allows no thing) the brick to be all things , to manifest its manifold being, to incorporate all things into its thinging . It becomes, quite literally, every thing . Because, in its infinite manifestness, it incorporates everything; the mud that gave it its current being, the water that formed the mud, the sun, the stars, the universe and it also allows it to become mud again, to become landfill, to become again, water and sun and stars and universe in an endless, infinite cycle of coming to be some thing (else). Perhaps this is what Heidegger is suggesting when he talks about the stillness at the end of his essay, “Language” (2001): The dif-ference stills particularly in two ways: it stills the things in thinging and the world in worlding. Thus stilled, thing and world never escape from the dif-ference. Rather, they rescue it in the stilling, where the dif-ference is itself the stillness (206). It is in this stillness that I can imagine a gellasenheit (here I mean both “releasement in the Heideggarean sense, as well as Meister Eckhart’s use of the term meaning “letting the world go and giving oneself to God”) of thing and world, a releasing into the stillness and silence of no thing beyond where word breaks off. It is here where I may no longer be, and yet no thing is, but may be. (shrink)

In the present article, the work of contemporary English writer and screenwriter Neil Gaiman is studied from the point of view of artistic and philosophical reinterpretation of the principles of surrealism. His novels ‘Neverwhere‘, ‘Coraline‘ and the script for the film ‘Mirror mask‘are analysed, in which the interpenetration of the real and unreal world can be traced and the planes of reality and dreams are woven into one inseparable whole. It is emphasized that for the creative style of Neil (...) Gaiman game with space and time is typical: climbing the stairs out of the sewer, you can find yourself on a roof, away from home, you can go back to his door, looking through a window in the world of dream, you can see yourself sleeping. Therefore, the writer often uses the theme of dream, program for the philosophy of surrealism: the characters have dreams that are either echoes of the past or images of predicted future, reflection of dreams or the dream itself turns into a full-fledged reality that is being created by sleeping character. However, it can be noted that the approach of the writer to value of phantasmagoric worlds is changing. If in the novel ‘Neverwhere‘ the world of London below is conceptualized as an alternative to the real world, in the novel ‘Coraline‘, and especially in the movie ‘Mirror mask‘ filmed in 2005, staying in a different world helps heroes to understand the real world better and to seek that fills it with meaning. (shrink)

Creativity is the linking point between all fields of human endeavor and thought, William Anderson writes in this inspiring and far-ranging inquiry into the nature of human invention, its impact on the contemporary world, and the self-imposed limitations that shackle our creative potential. Based on his concept of the Great Memory, a shared past from which we draw energies, ideas, and images that lead us to new creations, Anderson argues that creativity is an outpouring of the conscious psyche, (...) not the realization of unconscious impulses. A poet, philosopher, and historian, he provides support for his thesis in a fascinating world tour of anecdotes, events, and images: characters from Aztec literature, the windows of Chartres Cathedral, the siege at Masada, the choreography of Diaghilev's Ballets Russes. (shrink)

The aim of this article is an attempt to diagnose the current condition of the philosophy of history, as well as to show its potential in explaining contemporary phenomena and constructing a rational image of the world. Two recent works by Steven Pinker (The Better Angels of Our Nature: Why Violence Has Declined and Enlightenment Now: The Case for Reason, Science, Humanism, and Progress) and the methodological work of Karl Raimund Popper provide a point of reference. And although the (...) works mentioned are not classed as historiosophical (even by Pinker himself), it is the author’s opinion that they fully deserve this title by showing that philosophical reflection on history is something that is sorely needed today, in an age of multiple contradictory diagnoses and radical prophecies. (shrink)

Contemporary aesthetic theory is embedded in a culture dominated by images, and so would seem to require a reversal of Plato's critique of image-making. In adopting this stance, aesthetic theory follows in the footsteps of Nietzsche, whose own project was conceived as a reversal of Platonism. But the critique of Plato that underpins these views is based on a tradition that has misconstrued some of Plato's fundamental ideas. For this reason, the standard critique of Platonism is ineffective as a (...) critical response to the culture of images. Aesthetic theory needs instead to produce a critique of the contemporary image-world based on the view that it emerges from a transformation in the paradigm of production. Images are no longer merely a part of the world that is produced, but themselves have a crucial role in the process of production. (shrink)

The vast visual coverage of the Boxer Uprising in northern China that ended with foreigners traipsing through the Forbidden City in Beijing reflects both the richly innovative image technology at the turn of the century and the international interest in events that involved many of the world’s most powerful nations. Historians and students who seek to understand the incident through the innovative technology of today can, for the first time, access primary source images in large numbers malleably displayed (...) in the digital environment. The sheer volume of images collected in one place offers powerful new insights into a history already broadly covered in analytical texts and first-person accounts. One qualitative difference from previous histories is the emergence of subjective points of view that can be conveyed in multidimensional models that juxtapose experiential recordings of the day. Harnessing the tension of contrasting viewpoints – who knew what when – enables today’s learners to see through the lenses of past participants whose understanding was limited by location, communications and, one must remember, by not knowing the outcome. Those who were besieged in the Foreign Legations did not know if they would survive; soldiers and rebels on the road to Beijing knew only the difficulties of the march; illustrations in newspaper reports overseas were coloured by politics and both national and international rivalries. Digital visual representations have the possibility of recreating the collision of experiences that allow users to move between personal records and public reporting from the time to gain a knowledge that is unmitigated by an author’s text-based presentation and conclusions. The result is as much a revolution in perception of historical events – perception-based learning – as it is in information about these events. (shrink)

In the following essay we shall try to show how a society uses the notion of “Foreigner,” how the image which it creates of something extraneous to it is only secondarily a means of conceiving the world, a would-be scientific approach to big problems, but is essentially an ideology for its own internal use and forms an integral part of a political play which takes place within the society itself. We thought that the example of ancient Greece, and particularly (...) of Athens, might present a particularly interesting field for analysis, since for two centuries it had the problem of the Persian Empire's vicinity—a problem which the Greek thinkers and politicians never stopped studying, each following his own point of view; the variations of which seem to us extremely instructive. (shrink)

Romanticism was the first period in art history that explicitly started to question the possibilities of a direct understanding of Nature and of achieving concrete and exact knowledge of it or of the “outside” world. In many cases, it can even be interpreted as a direct counter-tendency to the Enlightenment¢•s concept of domestication and domination of Nature. In this paper it is argued that many window- and cave representations of Romanticism, especially in Northern Romanticism, are strongly connected with (...) the differentiation of inside and outside, thus the main affirmation and message of these pictures is the inaccessibility of Nature, and this influences the composition, appearance and interpretation of the works. (shrink)

(2013). THE FABRIC OF THE WORLD: deleuze on fetishism and generative time images. Angelaki: Vol. 18, No. 2, pp. 127-141.

Devoted to the late Paul Virilio (1932–2018) and in the advent of debates surrounding the Anthropocene and in light of corresponding changes to conceptions of scale and image, this paper attempts to extrapolate a Virilian pedagogy of the image. It is Virilio’s work which remains timely and singularly fecund in this area and it is for this reason that it may help to shape a new pedagogy of scale and image. This may allow us to better grasp the decentring of (...) human conceptions of time and space as we come to better understand the vastness of cosmological space and time. To demonstrate this, his work is read in tandem with Félix Guattari’s work on ecosophy and Bernard Stiegler’s work on negentropy to show how Virilio’s critique of the diminishment of perspective diverges from their respective approaches to forge an arresting pedagogy of the image vis-à-vis geographical and ecological conceptions of Earthly spatial and temporal scale. The perceived poverty of Earthly perspective is read in the light of a scalar perspectivism which understands the enormity of the universe and humanity’s microscopic place within it. As Virilio is concerned with the changes in scale which manifest with the onset of globalization, the question arises as to how an applied dromology (that is the philosophy of speed) may work alongside both Guattari’s schizoanalytic and ecosophical research and Stiegler's pharmacology of the image in a way that mounts a robust and unique critique of the mental pollution of the image as such. Here the pedagogical implications are significant as the diminishment of world perspective for Virilio – a consequence of the singular global time of capital – devastates our understanding of the cosmos. This understanding of the poverty of scale and perspective is contrasted with a multiscalar approach to the world, which is itself searching for a philosophical and pedagogical response to the reduction of the world to nothing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 127.4 (2006) 607-611MuseSearchJournalsThis JournalContents[Access article in PDF]Reviewed byPaul Allen Miller University of South Carolina e-mail: pamiller@sc.eduThomas Habinek. The World of Roman Song: From Ritualized Speech to Social Order. Baltimore: Johns Hopkins University Press, 2005. x + 329 pp. Cloth, $52.It has become increasingly evident that the texts we study from ancient Rome are embedded objects, implicated in a rich field of symbolic systems and (...) corporeal practices. The image of the poem as an isolated aesthetic object has become untenable as the field has become dominated by concepts of intertextuality, performativity, social construction, and self-fashioning. The text in books like Tony Corbeill's Controlling Laughter (Princeton 1996) is less an object than an action. Thomas Habinek's The World of Roman Song represents an attempt to make good on the promise of these developments by rethinking the entirety of Roman literature as an embedded social process of "song," of marked speech, that stands at the origins of the Roman social order. Ritual hymns, funereal laudations, convivial play, and comedic performances become so many moments in the constitution of what it means to be Roman, even as conflicts between center and periphery, masculine and feminine, vir and cinaedus are both played out and resisted in the various genres that constitute the world of ritualized speech and its formal derivatives.Any such sweeping endeavor brings with it both a necessary boldness—asking us to rethink the history of Roman culture from a new perspective—and the danger of reductiveness. For the most part, these are dangers that Habinek manages skillfully to skirt through a combination of fine-grained philological analysis and a sophisticated, but never overbearing, theoretical apparatus. The World of Roman Song features close readings of the usage of words such as cano, carmen, dico, ludus, convivia, and sodalis, from their earliest attestations through their appearance in later imperial literature. It also deploys an intellectual armature that draws upon contemporary anthropology, Frankfurt-school Marxism, object-relations psychoanalysis, and the theories of Bourdieu, Bakhtin, and Bataille. Yet, as we shall see, the very methodology that makes this sweeping [End Page 607] and important survey possible—the examination not of texts but of lemmata to trace the memes of Roman self-constitution through formalized language—leads to certain unavoidable distortions. Complex textual systems become reduced to exemplary moments of embeddedness. This reduction is an enabling gesture that like any mode of analysis, however, ultimately produces its own limit.For this reader, the heart of the book is to be found in chapter 4, "Song and Play." Here Habinek traces the relation between three primary sets of terms: dico, dictum, and implicitly dictator, meaning to make an authoritative statement; cano, canto, and carmen, meaning to perform a song (carmen) of one's own (cano), or to repeat that of another (canto), so as to establish a relation between the singer and the constituted social, and ultimately cosmic, whole, via ritualized speech; and ludo, ludus, and lusus, referring to scripted or formalized movements of the body. Thus a poetic ludus, such as that described in Catullus 50 between the poet and Licinius Calvus, would refer not so much to the acts of song (carmina) to which the game of composition gave rise as to the formalized interchange and embodied practice of writing capping verses in different meters in a convivial setting. The previous chapter, "Song and Speech," had established the difference between loquor and dico, with the former referring to unmarked speech and the latter to the making of statements that the speaker asserts as authoritative and hence true. It is thus possible for the terms cano and dico to overlap and those of ludo and cano as well. Nevertheless, the ultimate dream of aristocratic Roman manhood (and, as any number of feminists would point out, of patriarchy as a whole) is for carmen—the ritualized speech that constitutes the community as a living unity—to assume the status of dictum, authoritative speech freed from the... (shrink)

This paper deals with Hobbes's theory of optical images, developed in his optical magnum opus, ‘A Minute or First Draught of the Optiques’, and published in abridged version in De homine. The paper suggests that Hobbes's theory of vision and images serves him to ground his philosophy of man on his philosophy of body. Furthermore, since this part of Hobbes's work on optics is the most thoroughly geometrical, it reveals a good deal about the role of mathematics in (...) Hobbes's philosophy. The paper points to some difficulties in the thesis of Shapin and Schaffer, who presented geometry as a ‘paradigm’ for Hobbes's natural philosophy. It will be argued here that Hobbes's application of geometry to optics was dictated by his metaphysical and epistemological principles, not by a blind belief in the power of geometry. Geometry supported causal explanation, and assisted reason in making sense of appearances by helping the philosopher understand the relationships between the world outside us and the images it produces in us. Finally the paper broadly suggests how Hobbes's theory of images may have triggered, by negative example, the flourishing of geometrical optics in Restoration England. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Air of Liberty:A Transatlantic PerspectiveKieran M. Murphy (bio)"En somme le rôle du critique serait sans cesse de faire de l'air dans le plein du monde mais non pas forcement de faire du vide."—Roland Barthes"Dèyè mòn, gen mòn" ["Behind mountains, there are mountains"]—Haitian proverbThe phrase "I can't breathe" has become a worldwide rallying cry against injustice. Ben Okri deems "I can't breathe" the "mantra of oppression" that should "spark (...) the real change our world so desperately needs." He attributes the phrase's remarkable impact to how it taps into our primal fear of suffocation, encouraging empathy for "seemingly insignificant people." He also brings attention to how, as a slogan, "I can't breathe" subverts institutional racism through poetic means: "Not even William Shakespeare, Walt Whitman, James Baldwin or Toni Morrison at their most eloquent came out with anything as simple in the genius of its truth as: 'I can't breathe.'" This truth is airborne: "'I can't breathe' suddenly equates racism with the deprivation of air, which is what it always was." The chokehold of racism emerged with the transatlantic slave trade and, Okri concludes, has been ever since the prohibition of breathing "freedom."The powerful convergence of poetics and politics in the slogan "I can't breathe" comes from its essential truth: the aerial nature of freedom. More than just a concept or metaphor, freedom is also something you breathe. Freedom is a kind of concept-image that depends on our intimate, life-sustaining relationship with the atmosphere. "I can't breathe" brings attention to this relationship to help redress the failure of our institutions to bestow freedom equally.The aerial nature of freedom is even more apparent in the related slogan "the air of liberty." References to "the air of liberty" occurred frequently during the French Revolution to convey the origin of the "human rights" that have become the bedrock of our democratic institutions. Today, these human rights continue to exert their legal weight for the defense of equality. Yet, when confronted with the evasive mechanism of institutional racism, they keep falling short. This predicament is partly due to [End Page 200] their supposed airtight foundation. "The air of liberty" offers a window to the turbulent time when human rights sprang conspicuously from the atmosphere, that we can reopen to shift the focus from the legal to the aerial origin of freedom. This strategy unleashes historical winds that swept across the Atlantic world, including a critical undercurrent from the Haitian Revolution that prefigured the "I can't breathe" movement and its critique of the white chokehold on freedom. Click for larger view View full resolutionFigure 1.Detail of Jean-Jacques-François Le Barbier, Déclaration des droits de l'homme et du citoyen, circa 1789 (Source: Wikimedia Commons)The best-known depiction of the 1789 Declaration of the Rights of Man and of the Citizen (Fig. 1) portrays the origin of liberty in a scene unfolding in the sky. Spreading its light and dissipating the clouds of error, the Enlightenment's eye of reason levitates like an aerostat. Its liberating power illuminates the law symbolized by a winged figure pointing to the tablets below containing the articles proclaiming that "men" are born free and equal. Despite the prominence given to the eye of reason, it is in the atmosphere in which it elevates that we must look for the elemental spring of liberty.References to the aerial nature of liberty most intriguingly surfaced in contemporary debates concerning the universality of the Declaration of the Rights of Man. The revolutionary and abolitionist Jacques Pierre [End Page 201] Brissot characterized the 1791 slave rebellion that ravaged the colony of Saint-Domingue (now Haiti) as a fight for a purer, healthier air. In a speech delivered the same year at the National Assembly, he argued that, following the storming of the Bastille and the Declaration of the Rights of Man, the "atmosphere" of inequality hovering over the plantations of Saint-Domingue had become noxious not only for the enslaved but also for the troops that France might dispatch to restore order in the colony... (shrink)

The reception of the heliocentric theory of Nicolaus Copernicus in Jewish thought of the 17th-century period is a good exemplification of the issue concerning the formation of the relationship between natural science and theology, or more broadly: between science and religion. The fundamental question concerning this relationship, which we can ask from today’s perspective of this problem, is: How does it happen that claims of a scientific nature, which are initially considered from a religious point of view to be incompatible (...) with the religious view of the world, are later accepted as possible to agree with this image of reality and are assimilated by a given religion? Based on the reception of the Copernican image of the universe by two representatives of Jewish philosophy in the 17th century—David Gans and Joseph Solomon Delmedigo—it is possible to trace this process and pose the thesis that it takes place according to two strategies. Within the framework of the first one, represented by Gans, in a situation of incompatibility between the scientific and religious images of nature, a scientific theory is sought that explains the observed phenomena and, on the other hand, satisfies the religious claims. Finding such a theory solves the problem of the incompatibility mentioned above of images of the world, gives the theory credibility from the religious point of view and constitutes an argument for its correctness. The second strategy, represented by Delmedigo, consists in refraining from pursuing a direct, immediate, and unequivocal reconciliation of the two images of the world while at the same time recognizing a properly justified scientific theory as correctly describing and explaining the phenomena occurring in nature. Consequently, the apparent incompatibility between the scientific and the religious worldview demands either a reformulation of religious statements in such a way as to remove this incompatibility or the restriction of the meaning of religious statements to the strictly religious and moral sphere, without the ambition to speak about nature. In either case, however, it is already a task for the representatives of the religion concerned who, when confronted with adequately justified scientific claims, to avoid exposing their religion to the accusation that its claims are unreasonable and anachronistic, undertake the task mentioned above of modifying or limiting the scope of their statements. It seems that in the representatives of Jewish thought and Judaism, who are the successors of Gans and Delmedigo, generally speaking, the second strategy has prevailed in this version, in which one abandons the claim of religion to statements about the material world at the price of a significant divergence of the paths of science and religion. Consequently, it treats them as different narratives, describing and explaining two separate spheres of reality. (shrink)

"What is the original of an image, whether beheld in the imagination or the world?" Where do the images in our imagination come from? These images, Eva Brann reminds us, are not what they themselves display. They feign or imitate or copy what they seem to stand for. Ms. Brann turns and returns to a consideration of the nature of these images using words, their etymology, and their capacity to prompt image-making in her adventure in tracking (...) down the ultimate source of our inner images. (shrink)

This thesis aims to clarify the intrinsic characteristics of ‘image’ of everything for the image in the society of the fourth industrial revolution by the phenomenological dimention based on Merleau-Ponty’s phenomenology, and to clarify the value of image, the intrinsic characteristics of ‘painting-image’, ‘photo-image’ and ‘film-image’. It will reveal that ‘thing-image’, ‘artifact-image’, ‘digital image’, ‘robot-image’ become the images for society of humanities by these clarifications. The image of everything is ‘appearance-image’ to reveal itself, ‘expression-image’ from the phenomenological, ontic point (...) of view, and ‘image-being’ as ‘being as image and being image’ from the phenomenological, ontological point of view. The augmented reality-image is the image of fusion of virtual image+real image+body-subject image. Things-images in the world of Internet of Things(IoT) become things-images of digital communication. Painting-image, photo-image, film-image are text-images. The painting to paint a correspondence of perceptive phenomena and natural affairs themselves means the painting of the image to fuse the diverse images on horizon-image of natural affairs themselves by the multilateral, intentional vision. The sense of the intentional photo-image, the meaning of being of body-subject, and the facticity and singularity of object itself of photo shoot reveal the intrinsic characteristics of photo-image. The film-images in film manifest the intrinsic characteristics of the connective flesh between them mutually. Finally, it is necessary that the value of the intrinsic characteristics of image in the society of the fourth industrial revolution becomes the value for the righteous personality. (shrink)

Aim: This study explores experiences of patients suffering from Korsakoff’s syndrome. It contributes to improved reflection on the value of patient knowledge. Background: An ethics of care perspective states the importance of moving to patients in their vulnerable state of being, and to figure out patients’ individual needs necessary to provide good care. The information given by patients suffering from Korsakoff’s syndrome might be mistaken, invented and even not true. The value of these patients’ experiences and knowledge had not been (...) researched to date. Method: Data from six in-depth interviews were analysed concurrently through the constant comparative method. Ethical considerations: The principles of voluntariness, confidentiality and anonymity were respected during the research process. Findings: Four important themes within patients’ knowledge emerged: health condition, involuntary admission into the nursing home, the daily routine and interpretation of the caring abilities of healthcare professionals. The findings show that our respondents were able to provide a window into their inner perspective. Conclusion: This study deepens our understanding of the value of patient knowledge in situations where patients see the world in a different manner as do healthcare professionals. The conversations revealed personal subjective knowledge which our respondents create and live by. Healthcare professionals are encouraged to discover and affirm the understandings of these patients, and not be prepossessed due to the diagnosis or general nursing home rules. Understanding patients’ unique knowledge through appreciation of the complexity and richness of different views on the situation can assist to give a more humane response to individual needs and pain. Health staff in healthcare institutions are encouraged to evaluate the – unintended – effect of rigidly applied nursing home rules, and the government is challenged to rethink its policy about care, and provide more resources permitting relational care that nurtures the dignity of patients suffering from Korsakoff’s syndrome. (shrink)

Among the many works devoted to Copernicus's five hundredth anniversary, the article published here, by the German scientist H.-J. Treder, occupies a special place in the world literature on this subject thanks to its depth of analysis of Copernican concepts. Its author, a member of the Academy of Sciences of the GDR and Director of the Potsdam Astronomical Observatory, is known for his works on Einstein's relativity and gravitation theories. His understanding of Einstein's theory is entirely in accord with (...) the viewpoint advanced in my book The Theory of Space, Time, and Gravitation [Teoriia prostranstva, vremeni i tiagoteniia] , and he cites it repeatedly. In particular, we ascribe major and fundamental significance to the fact that Einstein's gravitation equations require for their solution certain limiting conditions which Einstein's theory, however, does not provide. In order to fill this theoretical gap, it is necessary to introduce certain supplemental hypotheses of a geometrical character concerning space as a whole. Treder very ingeniously demonstrates the similarity between these hypotheses and the ideas of Copernicus. (shrink)

On the 10th of April, 2019 the Event Horizon Telescope Collaboration presented the first image of the black hole. The image was obtained with a planet-scale array of eight ground-based radio telescopes. The observation relied on a technique called very long base interferometry which synchronises telescope facilities around the world. The image of a black hole together with the recent detections of gravitational waves confirms one of the most intriguing predictions of Einstein’s gravity theory, namely, the existence of black (...) holes. I will provide more details on this remarkable observation and explore its consequences for our understanding of nature. The physical reality of black holes is strongly supported by recent advances of astronomy. I claim that this fact is the key to understanding the relation between our world and the world of mathematics. (shrink)

The essay articulates a rhapsodic reflection on the place of images, their surfacing, and the invisible that sustains them. By way of introduction, it focuses on (1) the initial scenes of Pasolini’s Medea (1969). Following this spellbinding sequence, it addresses (2) the abiding philosophical attraction to the phenomenon of dreams and visions. This will lead to (3) the story of a momentous flight from the Eastern Mediterranean to the Western coast of Italy, sometime during the VI century BCE. One (...) of the outcomes of this event was the founding of Velia, Elea in Attic Greek. These meanderings take us to the periphery of the region “we” call “the West.” More precisely, they point to the periphery of a certain received way of thinking and may contribute to unsettle it. For what begins to emerge from this rhapsody is an unusual profile of the most celebrated pre-classical thinker: Parmenides. (shrink)

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

The Mahāyāna ideal isaprati $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} \underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{t} $$ hā-nirvā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n} $$ a — liberation with a basis in neithersa $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ sāra nornirvā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n} $$ a, that is to say, neither in the conventional world nor in the true nature of all things (Nagao 1981). Through the consecration proceedings ayidam, Buddha, or Bodhisattva is established insa $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ sāra. Through the employment of the mirror in the consecration ritual, thatyidam, Buddha, or Bodhisattva participates in the actual nature of all things (...) as they are — unestablished, devoid of own nature, like reflected images in a mirror. If the mirror does not resolve the paradox of consecrating the unconsecratable, it holds up a mirror to the impossible mystery of transcendent immanence. (shrink)

Guided by photographer Jeff Jones's sure and well-developed vision, Arctic Sanctuary leads the reader on a remarkable journey that few of us will ever take in real life: a trek deep into Alaska's Arctic National Wildlife Refuge. By turns celebratory and contemplative, emotionally evocative and beautifully fierce, this collection of lyrical essays and stunning panoramic photographs pays homage to a vast and remote land that remains untamed by technology and undisturbed by human development. A rare window into a (...) class='Hi'>world that is whole, ecologically intact, and still driven by ancient evolutionary energies, Arctic Sanctuary invites us to examine our own ideas of the wilderness ethic in the modern world. (shrink)

The present paper is a kind of selective summary of my book The Genesis of Yogācāra-Vijñānavāda. [1.–2.] It deals with questions of origin and early development of three basic concepts of this school, viz., the ‘idealist’ thesis that the whole world is mind only or manifestation only, the assumption of a subliminal layer of the mind, and the analysis of phenomena in terms of the “Three Natures”. [3.] It has been asserted that these three basic concepts are logically inseparable (...) and therefore must have been introduced conjointly. [4.] Still, from Vasubandhu onward treatises have been written in which only one of the three concepts is advocated or demonstrated to be indispensable, without any reference to the other two being made. Likewise, in most of the earlier Yogācāra treatises, the three concepts occur in different sections or contexts, or are even entirely absent, as vijñaptimātra in the Yogācārabhūmi and ālayavijñāna in the Mahāyānasūtrālaṁkāra and Madhyāntavibhāga. [5.] It is therefore probable that the three concepts were introduced separately and for different reasons. [5.1.] As regards the concept of the “Three Natures”, I very hypothetically suggest that it was stimulated by the Tattvārthapaṭala of the Bodhisatvabhūmi. [5.2.1.] In the case of ālayavijñāna, I still think that my hypothesis that the concept originated from a problem emerging in connection with the “attainment of cessation” holds good and has not been conclusively refuted, but I admit that Prof. Yamabe?s hypothesis is a serious alternative. [5.2.2.] An important point is that in the Yogācārabhūmi we come across two fundamentally different concepts of ālayavijñāna, the starting point for the change being, probably, the fifth chapter of the Saṁdhinirmocanasūtra. [5.3.] As for ‘idealism’, we may have to distinguish two strands, which, however, tend to merge. [5.3.1.] The earlier one uses the concept cittamātra and emerges as early as in the Pratyutpanna-buddha-saṁmukhāvasthita-samādhi-sūtra in connection with an interpretation of visions of the Buddha Amitāyus. [5.3.2.] The later strand introduces the concept vijñaptimātra and seems to have originated in the eighth chapter of the Saṁdhinirmocanasūtra in connection with a reflection on the images perceived in insight meditation. [5.3.3.] In texts like the Mahāyānasūtrālaṁkāra, concepts from other Mahāyānasūtra strands become prominent in this connection, and it is only in the Mahāyānasaṁgraha that the use of vijñaptimātra is finally established. (shrink)

‘Methods’ and their devices have been conventionally viewed as the means through which the move from world to representation (and back again) might be reliably performed. An alternative view, perhaps most clearly exemplified by the post-ANT empirical programme of ‘material semiotics’, sees methods and devices as integral to the ways particular ‘realities’ are enacted in practices of inscription and intervention. Drawing upon this latter work, the present paper examines the role of satellite images, GIS and GPS data and (...) devices in the methods utilized in the location, identification and classification of ‘illegal deforestation’ in Brazilian Amazonia. Here we witness how efforts to render ‘deforestation’ into a stable object of knowledge, singular and coordinated, are countered by attempts to render it multiple and irreconcilable as methods and devices become entangled in the conflicts and antagonisms of social life. (shrink)

This paper is a presentation of Russian translation of the article « La Défenestration » by Marc Richir. In this paper we depict the philosophical context in which the article was written and define its place in the totality of Richir’s works. Our main goal is to help the reader to understand the features of Richir’s complex thought and to give explicit definition to the term “defenestration.” The defenestration, understood as a philosophical concept, is a process of reconsideration of major (...) phenomenological presuppositions. Thus, we distinguish three main steps of defenestration basing on Richir’s critique of previous phenomenologists: 1) the abolition of the transcendental ego as a structure external to “the world”; 2) the rejection of the universe of beings as the one and only universe people inhabit ; 3) rethinking the phenomenalisation on the basis of “nothing” as a primary universe and, therefore, overcoming the classical dualism of the sensible and the intelligible. We conclude that by analyzing systems of previous philosophers through the concept of defenestration Richir in this early work determines the direction of his future philosophical research. (shrink)

(1992). Building a future on the past: The cultural image of Niš region. World Futures: Vol. 33, Culture and Development: European Experiences and Challenges A Special Research Report of the European Culture Impact Research Consortium (EUROCIRCON), pp. 95-103.

LLMs are, in the first instance, models of the statistical distribution of tokens in the vast linguistic corpus they have been trained on. But their often surprising emergent capabilities raise the question of how much understanding of the extralinguistic world LLMs can glean from this statistical distribution of words alone. Here, I explore and evaluate the idea that the probability distribution of words in the public corpus offers a window onto the conditional structure of the world. To (...) become a good next-token predictor, an LLM has to become a good pattern completer, and the patterns laid up in language mirror the patterns embodied in the world to a considerable extent. When this is the case—and this is no empty condition—it allows LLMs to compress into their weights two distinct, but complementary forms of understanding of the world. The first form of understanding stored is an understanding of which properties tend to cluster together; I spell out this idea by drawing on Millikan’s account of a multidimensional clumpy world. The second is an understanding of the inferential structure that propositions about these property clusters tend to be enmeshed in; I spell out this idea by drawing on Brandom’s account of the isomorphism between deontic normative conceptual relations of incompatibility and consequence among commitments and alethic modal relations of incompatibility and consequence among states of affairs. On the resulting picture, word models can be world models insofar as linguistic patterns track real patterns between facts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

That Wilfrid Sellars claims that the framework of persons is not a descriptive framework, but a normative one is about as well known as any claim that he makes. This claim is at the core of the famous demand for a synoptic image that closes, “Philosophy and the Scientific Image of Man,” makes its appearance at key moments in the grand argument of, “Empiricism and the Philosophy of Mind,” and is the capstone of Sellars’ engagement with Kant in, Science and (...) Metaphysics. Whereas mere things can be subject to ought-to-be rules—e.g. a clock ought to chime on the hour—to be a person, as Sellars understands it, is to be subject to ought-to-do rules—e.g. one ought to wind one’s clocks to chime on the hour. Prima facie, though, there is more to being a person than just being subject to ought-to-do rules. For example, on at least some common ways of using ‘person’ to be a person is to have a unified consciousness, i.e. to be a single subject of a manifold of experience persisting through time. Arguably, that is what Kant takes a person to be. What I hope to show here is that it is what Sellars takes a person to be too. I.e. the exciting twist here is that as Sellars sees it being a single subject of experience persisting through time is being subject to a particular kind of ought-to-do rules, namely, those concepts-qua-inferential-rules that are the means by which we represent the world of causally-related objects existing in space and persisting through time. I take Sellars’ reasons for holding this set of theses to be essentially Kantian, and so my procedure for explicating them will be to trace a single philosophical thread through both Kant’s and Sellars’ thinking surrounding these issues. I begin with the historical problematic to which Kant’s Transcendental Deduction is intended as an answer. By what right does one apply the pure a priori concepts of the understanding? As the necessary means for representing the analytic unity of apperception, i.e. for representing oneself as the single subject of experience persisting through time. That leads to a consideration of the question of what the temporally-discursive experiences are of which one is supposed to be the single subject, and what the nature of the relation is of these experiences to such a subject. Here Sellars provides the answer. The question is ill formed. There is no relation of experiences to a subject because experiences are not themselves things. Rather, ‘an experience’ is a nominalization of the verb ‘experiencing’, which is itself a description of the act of a person. That thesis, then, brings us squarely to the question of what the framework of persons is, and why Sellars is so confident that it is an ineliminable feature of any future iteration of the synoptic image of the world. The answer to the latter question is that descriptive images themselves (scientific or manifest) are constituted by the rules that govern them, and it is only persons that can be subject to such rules. So, in the end, we return to Kant’s claim in the Transcendental Deduction that our representation of a world of causally-related objects existing in space and persisting through time is the means by which one represents oneself as the single subject of experience persisting through time. The descriptions that the scientific image provides are only possible, and necessary, because of what Kant would call their “ultimate principle”: the framework of persons. (shrink)

Through engaging interviews, testimonials, and anecdotes from photographers, curators, printers, and colleagues, Object Lesson: On the Influence of Richard Benson pays homage to a legendary figure whose name is synonymous with the evolving history and philosophy of photographic reproduction. From making platinum prints for Paul Strand and books with Lee Friedlander to his own experiments with inkjet and digital offset processes, and as a teacher and dean of the Yale School of Art, by the time of his death in 2017, (...) Benson had inspired over three decades of students and artisans through his mentorship and work. In words and images, Object Lesson stands as a testament to Benson's wit, wisdom, and incomparable obsession with how photographic images render and connect us to the world. (shrink)

Resumen: El presente artículo dialoga con los principales postulados fenomenológicos del filósofo Maurice Merleau-Ponty, referidos a la noción de cuerpo desde una perspectiva contemporánea. Tal mirada simboliza una nueva comprensión del sujeto como sí mismo y como una verdadera multidimensionalidad abierta hacia los otros. En el trayecto del relato, se propone una representación de lo corpóreo que permita distanciarse de las clásicas concepciones que instalan al cuerpo como una estructura técnica y como una producción necesaria para la circulación de imágenes (...) cotidianas. ¿Qué es ser cuerpo? pregunta y argumento de Merleau-Ponty pensado a partir de la relación substancial entre el hombre, la cotidianidad y la experiencia de ser-en-el-mundo.: This article dialogues with the main phenomenological postulates of the philosopher Maurice Merleau- Ponty, referring to the notion of body from a contemporary perspective. Such a look symbolizes a new understanding of the subject as himself and as a true multi-dimensionality open to others. On the journey of the story, it proposes a representation of the corporeal that allows to distance itself from the classical conceptions that install the body as a technical structure and as a necessary production for the circulation of everyday images. What is being a body? Question and argument of Merleau-Ponty conceived from the substantial relationship between man, daily life and the experience of being-in-the-world. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of (...) photographic images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

In _The World Computer_ Jonathan Beller forcefully demonstrates that the history of commodification generates information itself. Out of the omnipresent calculus imposed by commodification, information emerges historically as a new money form. Investigating its subsequent financialization of daily life and colonization of semiotics, Beller situates the development of myriad systems for quantifying the value of people, objects, and affects as endemic to racial capitalism and computation. Built on oppression and genocide, capital and its technical result as computation manifest as (...) racial formations, as do the machines and software of social mediation that feed racial capitalism and run on social difference. Algorithms, derived from for-profit management strategies, conscript all forms of expression—language, image, music, communication—into the calculus of capital such that even protest may turn a profit. Computational media function for the purpose of extraction rather than ameliorating global crises, and financialize every expressive act, converting each utterance into a wager. Repairing this ecology of exploitation, Beller contends, requires decolonizing information and money, and the scripting of futures wagered by the cultural legacies and claims of those in struggle. (shrink)

Worldviews are windows to the world. They can be static in referring to visual connotations as suggested by their name, but they can hold a dynamic and genetic view as well. As such, they imply a fundamental cognitive orientation, involving selection, interpretation and interaction with the world. What matters, in this view, is a kind of sense-making or semiotization of the world. -/- The semiotization of the “sonic world”, accordingly, can be approached from different epistemological positions: (...) is music reducible to symbolic labels that function as names, or is it only music when it sounds? And is music to be considered as an artifact that is out there or as something that must be listened to in order to make sense? Rather than joining these discussions, I propose to broaden the focus and to embrace psychological claims as well. Though psychology is not commonly considered as semiotics’ companion theory of truth, there are points of convergence with respect to the hierarchical arrangement of epistemic interactions with the sounds: there is a lower level processing of sensory input (sensation), a somewhat higher level (perception) which involves a first level of sense-making—mostly at a preverbal level—, and a higher level of sense-making which is commonly labeled as cognition. -/- In what follows I will argue for a cumulative model with lower levels not being substituted by higher ones, but with higher levels being superposed on them. Music, in fact, is a sounding art with the richness of it sonorous unfolding as one of its major characteristics. Music processing, therefore, should keep step with the music as it unfolds over time, in a dynamic tension that does justice to the level of sensation as well as to the listener’s continuous epistemic interactions with the sounds. (shrink)

My argument: P1: If my personhood is caused by Truth then, Truth is a person. P2: My personhood is caused by Truth. C: Therefore, Truth is a person. The argument hinges on the Causal Principle: A cause is, at least, as powerful as its effect. I can get 1 from 10, but I cannot get 10 from 1; therefore, the causal principle is vindicated. Truth is more than a person as you and I are, He is the archetype of personhood (...) by and in which all other personhoods move and have their being. Unlike Descartes who was unable to stop a slide into ever more skepticism, the Archimedean point of Truth - though, I am not directly going into math and logic here I believe them to function likewise as bulwarks against skepticism – does just that. The tsunami of skepticism has been unable to sweep up this hill. We can indeed know with surety, which is absolute certainty, that Truth exists and by extension God, who is Truth, and the rest of what Descartes builds back as sure i.e., the external, sensory world. (shrink)

Since the early 1990s, high-resolution satellite imagery and imagery data, made by a vast system of architectures that were formally developed and monopolized by the U.S. military—industrial command economy, have become more widely available to the civilian public through a combination of declassified data sets, commercial satellite operators and imagery vendors, and value-added resellers of imagery data. In the various discourses surrounding imagery and the systems that collect, interpret, and construct them, this wider availability is associated with an increasing ‘‘global (...) transparency.’’ This article suggests that, specific to fields like nuclear non-proliferation, these techno-discursive discourses have a common narrative theme associated with mechanically augmented visual systems, that of the transparent window on the world. First, the author considers an epistemological problem of satellite imagery that has been contemplated for both the map and the photographic image, which is, does the image/map constitute a window or a text? Next, through a historical comparison between map making, photography, and satellite imagery interpretation, the author briefly explores different articulations of transparency, with a contemporary focus on the use of satellite imagery in the discourses surrounding nuclear non-proliferation. Finally, the author suggests that the discourses of satellite imagery, which include practices and what these practices are imagined to produce, are a crucial site where sociotechnical articulations of a modernist, positivist, or realist narrative are played out. These narratives account for the relation between subjective experience and the external ‘‘real’’ world and are associated with various and often contradictory concepts of transparency. (shrink)

Tereza Matějčková’s book presents a highly interesting phenomenological reading of Hegel’s early masterpiece. The result is a proposal to take the title seriously – such that we can see the book as the earliest introduction into the methods and topics of philosophical phenomenology, despite the fact that Husserl himself, in contrast to Heidegger, did not seem to see the narrow relation. I especially value Tereza Matějčkováʼs very deep understanding of the dialectical humour and irony of Hegel’s writings. However, I understand (...) the Phenomenology of Spirit in a somehow more radical way as a most general ‘logicֹ’ of self-consciousness. It shows how referring to myself is referring to the world and vice versa, despite the fact that the word ‘world’ does not play a prominent role in Hegelʼs text. Some disagreements result over Hegelʼs wide use of metaphors and analogies in his structural analysis of personal self-relations, for example in his reconstruction and critique of the age-old (in fact Platonic) image of a fight between a thinking soul as master and a system of immediate bodily desires as slave. We cannot get rid of inclinations and appetites, and we cannot retreat, as the Stoics had thought, into pure thinking. In other words, there is no fight ‘for recognition’ between different individuals in Hegelʼs book, but in the end an answer to a classical theodicy saying that the world, as it is, is the best one we have because there is only one world. (shrink)

This book is published in conjunction with an exhibition at the Getty Museum from November 13, 2001, through February 6, 2002.

Stanley Cavell's The World Viewed was the first book on cinema to attempt to provide an ontological theorisation of film that could account not only for its popular instances and the reason why they enthralled audiences for over half a century but also for the demise of its mythic function and the possibility of its redemption in serious modernist film. Inadequately understood at the time of its publication, and for too long ignored by Film Studies, Cavell's arguments about modernist (...) cinema all but disappeared in the wake of the rise of postmodern theory. Yet the crisis of belief that confronted modern arts, condemned them to the production of serious works, and eventually unsettled the privileged place of mainstream cinema in twentieth century liberal democracies, still laps at our feet. This essay follows on the back of Kathleen Kelley's recent essay on Cavell, Greenberg, Bazin and medium specificity in film and Robert Sinnerbrink's work aligning Cavell’s understanding of cinema as 'a moving image of skepticism' with the project of thinking philosophically about film. It aims to continue to unpack the idea of automatism as it is conceived by Cavell to operate in film and to argue, along with Kelley and Sinnerbrink, for its importance for understanding the conviction of serious films. (shrink)

이 글은 4차 산업혁명의 이미지 시대에서 메를로-퐁티의 살-존재론적 입장에서 세계 속 ‘신체 주체의 살’과 ‘세계의 살’ 및 이미지의 본질적 특성을 밝히고, 그의 살-존재론을 토대로 4차 산업혁명 사회 속 이미지의 성질과 중요성을 고찰하며, 회화이미지·사진이미지·영화이미지의 특성과 가치 및 효용성을 밝히는 것을 목적으로 한다. 이런 밝힘으로 4차 산업혁명 사회에서 사람 존재의 참된 의미와 우리의 미래지향적 길을 드러낼 것이다. 신체 주체와 세계의 교차에서, 신체 주체는 세계에 대한 살을 가지고, 동시에 세계는 신체 주체에 대한 살을 가진다. 가역성과 가시성으로서의 살, 즉 교차적 살은 모든 존재자의 특성과 (...) 존재를 밝힌다. 이것은 신체 주체의 이미지와 대상의 이미지의 관계적 특성을 드러낸다. 4차 산업혁명 시대에 살-존재론적 살을 토대로 사물인터넷, 3D 프린팅, 로봇, 합성생물학의 사회의 특성을 고찰하면서 디지털 이미지의 가치와 효용성을 밝히며, 더불어 회화, 사진, 영화의 세계에서 회화이미지, 사진이미지, 영화이미지의 특성을 고찰하면서 예술적 이미지의 가치와 변용성을 밝힌다. 궁극적으로 모든 존재자의 이미지와 산업 혁명적 기술 및 사람의 존재에 대한 바른 이해를 통해 4차 산업혁명 시대에 경제적 부 이미지, 자유이미지, 평등이미지, 건강이미지, 행복이미지 등에 대해 항상 마음씀-이미지를 다해야 할 것이다. (shrink)

In 1964, the American Medical Association invited liberal theologian Abraham Joshua Heschel to address its annual meeting in a program entitled “The Patient as a Person” [1]. Unsurprisingly, in light of Heschel’s reputation for outspokenness, he launched a jeremiad against physicians, claiming: “The admiration for medical science is increasing, the respect for its practitioners is decreasing. The depreciation of the image of the doctor is bound to disseminate disenchantment and to affect the state of medicine itself” [1, p. 35]. Heschel’s (...) reference to “disenchantment” suggests that he may have been familiar with the work, or at least the outlook, of sociologist Max Weber, whose 1917 address “Science as a Vocation” portrays the modern world as disenchanted by the progress of rationalism. Heschel’s life’s vocation had been to uncover the inner meaning of religious faith and to translate that faith into principled action. Heschel saw disenchantment not as an inescapable aspect of modern life but rather as the byproduct of physicians’ conscious choices to seek worldly success and material comfort. Yet, because of their privileged position as witnesses to human vulnerability, physicians possess an obligation to develop their own personhood, to re-enchant medicine, and through medicine to spark a positive transformation in all of modern life. As Heschel says, “The doctor must realize the supreme nobility of his vocation, to cultivate a taste for the pleasures of the soul. … The doctor is a major source of moral energy affecting the spiritual texture and substance of the entire society” [1, pp. 34, 38]. While Heschel’s conception of the physician’s role is romanticized and idealized, changes in the organization and practice of medicine have validated his concerns. (shrink)