Phenomenology has recently come under attack from proponents of speculative realism. In this paper, I present and assess the criticism, and argue that it is either superficial and simplistic or lacks novelty.

This paper revives phenomenological elements to have a better framework for addressing the implications of technologies on society. For this reason, we introduce the motto “back to the technologies themselves” to show how some phenomenological elements, which have not been highlighted in the philosophy of technology so far, can be fruitfully integrated within the postphenomenological analysis. In particular, we introduce the notion of technological intentionality in relation to the passive synthesis in Husserl’s phenomenology. Although the notion of technological intentionality has (...) already been coined in postphenomenology, it is “in tension” with the notion of technological mediation since there are still no clear differences between these two concepts and studies on how they relate one to another. The tension between mediation and intentionality arises because it seems intuitively reasonable to suggest that intentionality differs from mediation in a number of ways; however, these elements have not been clearly clarified in postphenomenology so far. To highlight what technological intentionality is and how it differs from mediation, we turn the motto “back to the things themselves” into “back to the technologies themselves,” showing how the technologies have to be taken into consideration by themselves. More specifically, we use the concept of passive synthesis developed by Husserl, and we apply it to technologies to show their inner passive activity. The notion of the passive synthesis enables to demonstrate how technologies are able to connect to a wider (technological) environment without the subjects’ activity. Consequently, we claim that technologies have their pole of action, and they passively act by themselves. (shrink)

This paper begins with a pressing question for contemporary philosophy: What does it mean to read Spinoza’s Ethics today? Before we can address this particular question, we pose another, one possibly prior, question. The question is situated within Spinozism itself. It asks, ‘What does it mean to read, for Spinoza?’ Given Spinoza’s commitment to the theory of parallelism, reading affects both the body and the mind. We first show how an explicit formulation of the three kinds of material bodies allows (...) us to understand the process by which the meaning of a text can affect the body of the reader. We then show how the three kinds of knowledge evince the order in which textual meaning can affect the mind of the reader. We then claim that these tripartite orders map directly onto each other. After demonstrating the structural parallelism at the corporeal and cognitive levels, we return to further characterize the nature of the meaning of the meaning of a text in order to understand what it means to read, for Spinoza. We conclude with an observation about the necessary interrelatedness of metaphysics and ethics. (shrink)

Exploring the links between Speculative Realism, psychoanalysis, and literary criticism, this article examines OOO’s entanglement with the ‘uncanny’. Reading OOO against three notable treatments of the concept - Sigmund Freud’s 1919 essay “The ‘Uncanny’”, Ernst Jentsch’s 1906 paper “On the Psychology of the Uncanny”, and Martin Heidegger’s discussion of uncanniness in his Introduction to Metaphysics (1953) - it argues that OOO reconfigures the ‘uncanny’ as a profoundly ontological concept premised on aesthetic enstrangement. Using E.T.A. Hoffmann’s short story “The Sandman” as (...) a case study, it assesses what the consequences of this reconfiguration are for literary criticism and, in particular, the study of the Gothic. By splicing OOO into the history and practice of Gothic scholarship, this article traces the outline of an “object-oriented uncanny”, pushing the ‘uncanny’ out of Freud’s shadow and into the “great outdoors”. (shrink)

According to Wai Chee Dimock, scholars of American literature should study it in a bigger historical context than the one beginning in 1776 or even 1620, freeing themselves in this way from the narrow-minded nationalism that has so often drawn a border around their research. To view American literature in light of the longer durée of ancient civilizations is to see Henry David Thoreau reading the Bhagavad Gita, Ralph Waldo Emerson the Persian poet Hāfez, and rediscover in these and other (...) extensive sympathies the kinship of American literature with world literature. Dramatically expanding the tracts of space-time across which literary scholars might draw valid links between author and author, text and text, and among author, text, and the wide world beyond, the perspective of deep time holds the additional promise, for Dimock, of reinvigorating “our very sense of the connectedness among human beings” and of dissuading us, thereby, from the wisdom of war.1 At the very least we might hope that American soldiers wouldn't look idly on, as they did on 14 April 2003, as the cultural treasures of the Iraqi National Library—which are the treasures of all humankind—were looted and burned. (shrink)

This paper aims to highlight the life of computer technologies to understand what kind of ‘technological intentionality’ is present in computers based upon the phenomenological elements constituting the objects in general. Such a study can better explain the effects of new digital technologies on our society and highlight the role of digital technologies by focusing on their activities. Even if Husserlian phenomenology rarely talks about technologies, some of its aspects can be used to address the actions performed by the digital (...) technologies by focusing on the objects’ inner ‘life’ thanks to the analysis of passive synthesis and phenomenological horizons in the objects. These elements can be used in computer technologies to show how digital objects are ‘alive.’ This paper focuses on programs developed through high-order languages like C++ and unsupervised learning techniques like ‘Generative Adversarial Model.’ The phenomenological analysis reveals the computer’s autonomy within the programming stages. At the same time, the conceptual inquiry into the digital system’s learning ability shows the alive and changeable nature of the technological object itself. (shrink)

Relational ontologies that postulate the primacy of relations over their relata may seem like a contrary and incompatible approach to object-oriented ontology (OOO). Therefore, this paper aims to clarify the relationship between Barad’s and Escobar’s relational ontologies and Harman’s OOO by comparing and contrasting the relative coherences between them. After outlining the central assumptions of the different accounts, I discuss the problems of relational ontologies with regard to several ethical, political, and posthumanist issues. I argue that OOO is able to (...) avoid their pitfalls without rejecting the major benefits of relational ontologies. After a critique of the pluralization of worlds within relational ontologies, I argue for the rejection of the concept of world(s) in favor of understanding space and time as emerging from polar tensions within the quadruple objects. Consequently, this highlights the potential of OOO to encounter the Anthropocene beyond scientific realism and to account for the plurality of reality without granting any hegemonic access to it. This paper, therefore, argues for a conceptualization of ontological difference without one or many worlds. (shrink)

In this essay, I argue that education should be conceived of as a thing in itself. To lift this view, I present aspects of Graham Harman’s philosophy, a speculative realism that can be seen as a radical break with social constructivism and similar approaches. Next, I attempt to outline a rough sketch of an educational “thing”, drawing on concepts such as protection, love, swarm, tension and shadow. Finally, I briefly discuss some implications of this vision for philosophy of education. In (...) particular, I think that my discussion point to philosophy of education as the basic discipline in an educational science. (shrink)

The reality in the works of H. P. Lovecraft is described as strange, inhumanistic, and alien to the mankind but it is not mystical. On the contrary, the creations and events described by the writer are presented as material facts of the world. In modern philosophy following Graham Harman this view of the world is called weird-realism or weird-materialism. This paper explores one of the media used in building Lovecraft’s ontology and proposes a philosophical and cultural analysis of the new (...) concept of The Sound Out of Space in Lovecraft studies to describe the audial medium of the weirdontology and weird-epistemology of H. P. Lovecraft. The name of the concept should refer to the headline of the famous work of the writer The Colour Out of Space (1927). The concept in the text is presented through the poetics of sound, which is the whole set of ways of representing the audial field. The article consists of the introduction with a brief historical overview, the methodological study of sound as an otherworldly medium, sound mapping of the story The Outsider (1921), the analysis of the narrative meaning of sound, discussion of the results gathered and the conclusion. The research hypothesis assumes that different media of the Lovecraftian weird-materialism have different properties and implement different modes of access to the truth of weird-reality, and their understanding can add something new to the knowledge about the strange ontology of the writer. The authors develop a phenomenological typology of sound adapting the methodology of Michel Chion and embedding it into the context of the poetics of the Lovecraftian universe. The resulting three groups of sounds represented by six types of sounds are used to describe the concept and are applied to the story The Outsider. The results show a remarkable distribution of certain types of referenced sounds within the plot composition of the story. This makes it possible to supplement the ideas about the features of the world of the story and the internal state of the protagonist, as well as to interpret the denouement of the plot more fully in the context of Lovecraft's epistemology. The poetics of Lovecraft's sound is closely connected with other means of representing the strangeness of reality, its weird-materiality. At the same time, sound as a unique medium offers specific opportunities for creating artistic images, an atmosphere, and displaying the writer's philosophical intention. This strategy of sound research of a literary text can be applied to other literary works. (shrink)

This paper argues for a fundamental re-reading of Heideggerian philosophy, especially regarding the logical structures presented by Heidegger in the thirties and onward. The field, which this logic organizes, shows an explorative formal element of language in and of itself, and is therefore different from an analytic concept of logic. An analytic conceptualization of logic is understood here as a reflection on the inner structures of already existing notions. An explorative logic, on the other hand, explores the relations between already (...) existing notions and the possible, but yet unknown, development of new notions. The logic of Heidegger is explorative, as it describes the relational, formal structures between the already established semantic field and its virtual excess. This virtual excess, while formal, must be nonetheless considered the primary access to whatever we call external to language in the transcendental sense in Heidegger's philosophy. Therefore, the central question of this logical re-reading of Heidegger is the formal relation to the unknown real. (shrink)

Technology always provides a new perception of the world. However, it is not clear when technology produces “mere” new informations and when it provides something more such as a production of new objects in our world which start to “live” around us. The aim of this paper is to study how technology shapes our surrounding world. The questions which we are going to answer are: Is it really adding new objects to our world? If yes, does every technology have this (...) potentiality? We are going to tackle the problem using a phenomenological and post-phenomenological approach focussing our attention on the perceptual level. Using Husserl’s philosophy we will study how technology are deeply involved in our perception and, thanks to post-phenomenology and its concept of “embodiment relations,” we will be able to determine which kind of technologies have the potentiality to change our surrounding world introducing and producing new objects in it. (shrink)