What will philosophy of technology be as its practitioners depart from the cross- roads of the ideas of Don Ihde and Bernard Stiegler? Their two lines of thought confront and cross each other, giving rise to different ways of understanding technologies. Rather than following one or the other of these directions, I propose an Erörterung of such crossroads. As Heidegger’s commentary on Georg Trakl’s poetry insists, Erörterung means, first, “to point out the proper place or site of something to situate (...) it,” and, second, “to heed that place or site ”. This Erörterung has to be conducted at multiple times, on multiple levels, as each of them hermeneutically identifies its own site. I proceed first through an Erörterung of the crossroads of the thinking of technology after Ihde and Stiegler, and second through an Erörterung of the Ort or the site of the first Erörterung, where the Ort for Heidegger is the land of the evening, the Occident [Abendland], in the throes of globalization, or more precisely Americanisation, a form of disorientation, that obscures the unconcealment of the essence of the human-technology relationship central to Heidegger. In the third part, I propose that the way to integrate and extend Heidegger, Ihde, and Stiegler is to acknowledge the importance of historical, cultural, and geopolitical difference in the interrelationship between the cosmos, morality, and technical activities, what I call cosmotechnics. (shrink)

This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben’s discussion, first, of Nietzsche and the active nihilist’s relationship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben’s notion of the “rhythmic” and “poietic” encounter is one which situates the experience of rhythm as the experience of the originary dimension of temporality and of the (...) human’s relationship to the world. Turning to Nietzsche, this paper seeks to complicate Agamben’s picture by discussing Nietzsche’s under-discussed explorations of rhythm and its connection to art. Three distinct rhythms will be identified: Apollonian, Dionysian, and the tragic or joyful rhythms of the Apollo-Dionysus relation. Reading Agamben through Nietzsche, it will be discussed how Agamben’s notion of rhythm blends Apollonian and Dionysian elements; does not through this blending however offer a tragic or joyful notion of rhythm, which, for Nietzsche, follows from their double affirmative rhythmisation. Instead of a rhythmic-poietic encounter opening an originary and authentic experience of temporality and dwelling, Nietzsche offers an account of tragic and joyful rhythms which continually create new worlds. (shrink)

This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben's discussion, first, of Nietzsche and the active nihilist's relation-ship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben's notion - (...) Philosophie – Nouvel article. (shrink)

Novas Repeto Vias. A Note on Heidegger and Time This essay begins from the observation that a “theory of time” contradicts the Heideggerian intention to experience temporality based on a “pre-theoretical” condition and to emancipate it in this way from instances of the Western metaphysical discourse. Such a claim leads to the conclusion that Heidegger never elaborated a theory of time and therefore was never, strictly speaking, “a philosopher of time.” Thus, the necessary condition for releasing thought from the metaphysical (...) mortgage would have to pass through the deconstruction of any “concept” intended to exhaust the nature of time. This gives rise to implications of varying intensity with respect to the structure and functions of Dasein. Most importantly, it concerns the tension between Entschlossenheit and Augenblick, on which Heidegger’s structure of Dasein depends. (shrink)