Anthropology of Consciousness, EarlyView.

This review of the long-awaited English translation and edition of Pierre Klossowski’s Living Currency starts with a comparison of its historical context and our own in order to consider why this book remains important today. I support this comparison by examining its account of the “moral power” of industrial society to elicit the participation of the very people it exploits in their own exploitation. In short, Klossowski understands that this regime is based upon an affective arrangement that makes us, even (...) those of us who protest against it, into its ever-renewed source. Despite the apparent inescapability of this regime that is us, I suggest that Klossowski’s parodic utopia, in which the body becomes living currency, follows Georges Bataille to offer an ethics of the general economy that might, perhaps, enable us to subvert it and develop new ways of relating to ourselves and others. Careful consideration of the difficulties this translation encounters in a letter Michel Foucault sent to Klossowski, allows me to conclude by questioning how we are to interpret his book and this new edition. (shrink)

This article examines the double account of the human in Friedrich Nietzsche's writings. Genealogically, Nietzsche insists that humanity is a tamed herd that attacks its own animality. Philologically, this human – through anthropomorphism – sunders itself from those aspects of language that are not representational. Read in relation to this double critique, the article argues that Thus Spoke Zarathustra is an attempt to imagine an entirely different relation between politics and language, one that enables a thinking of a future without (...) dominion and responds to the crisis of human rights and the humanities today. (shrink)

What is the concept of sense developed by Deleuze in his 1969 Logic of Sense? This paper attempts to answer this question analysing the three dimensions of language that Deleuze isolates: the primary order of noises and intensities ; the secondary order of sense ; and the tertiary organisation of propositions. What renders language possible is that which separates sounds from bodies and organises them into propositions, freeing them for the expressive function. Deleuze argues that it is the dimension of (...) sense that brings about this genesis of language, and he analyses in detail the three syntheses that bring about the production of this surface of sense. Yet Deleuze also distinguishes between two types of non-sense: the nonsense of Lewis Carroll's portmanteau words, which remain ensconced in the dimension of sense, and the more profound nonsense of Antonin Artaud's psychotic scream-breaths, which penetrate the almost unbearable world of the primary order of noise and intensities. In the end, the focus of Logic of Sense is less the surface domain of sense than the primary depth of corporeal intensities. What Deleuze calls a ‘minor’ use of language is nothing other than an intensive use of language that constitutes a principle of metamorphosis. (shrink)

This article traces the radical devaluation of the phantasm throughout Western civilization. With the help of Nietzsche’s critical perspective, I develop a notion of hystery as the series of collective traumas repeated in each individual’s growth, whereby the phantasm changes value from psychosomatic interface, to evil incarnate, to disease of learning. Beginning with the Classical episteme represented by Plato, Aristotle, and the Stoics, then moving up through the Christian era, I focus primarily on Enlightenment thinkers such as Hobbes and Bacon, (...) who represent the last nail in the imagination’s coffin. The next section examines Nietzsche’s rediscovery of the phantasm and the theoretical contributions of post-structuralism that follow in Nietzsche’s wake. Juxtaposing Bataille and Deleuze, I look at Deleuze’s early enthusiasm and ultimate betrayal of the phantasm, and I posit Bataille’s emphasis on the affective force of the mythological phantasm as an insurrection to reclaim our experience and life along with it. The article ends with speculation, offering Bruno’s art of memory as an ontic and epistemic alternative to dominant Western hystery, other pasts opening to other possible futures, an ungrounding that paradoxically leads to a restoration of the human house in a re-enchanted cosmos. (shrink)

Ontology is a part of metaphysics; it concerns what there is. Is it possible to consider being and reality not in a traditional metaphysical way—that is, not as a ground, an origin, a cause, but as a movement, a flux, a dynamogenic principle? I will set out from a seminal aphorism by Nietzsche, occurring in Human, all too Human (§2): “A lack of the historical sense is the hereditary fault of all philosophers. But everything has evolved; there are no eternal (...) facts, as there are likewise no absolute truths. Therefore, historical philosophising is henceforth necessary, and with it the virtue of diffidence”. I will then move on to explore Peirce’s late thought, starting from a passage in a letter to W. James, where the author supports a “futurist” interpretation of reality—as he had in the juvenile writings—and speaks of “the reality of the public world of the indefinite future as against our past opinions of what it was to be.” This can be defined as a process of “mellonization,” that operation of logic by which what “is conceived as having been is conceived as extended indefinitely into what always will be”. Similarly, in the Preface to Human, all too Human Nietzsche writes: “Our destiny rules over us, even when we are not yet aware of it; it is the future that makes laws for our today”. I will try to read some Peirce’s statements in a Nietzschean perspective within the context of the plan to develop a dynamic and historical ontology; and I will try to read the “enigma” of Nietzsche’s Eternal recurrence from a Peircean perspective. (shrink)

Of the truly great thinkers in the western tradition, Nietzsche is the most extreme and the most dangerous.1 Nietzsche of course repeatedly professed his own dangerousness, and predicted that his n...

Pierre Klossowski's career in philosophy is a brief but significant intervention into the manner in which the connections between desire, identity, and meaning are thought. Although Klossowski's influence on much of what is called French “post-structuralism” or “post-modernism” is frequently noted, Klossowski's development of the motif of the simulacrum is rarely traced in its proper context. Through readings of the texts of the Marquis de Sade, Georges Bataille, and Friedrich Nietzsche, as well as his own ruminations on the polytheism of (...) the ancient Roman cult of Diana, Klossowski constructs a critique not only of the identity of the self but also of the supposed unity of reason and rational signs. Klossowski's critique demonstrates how meaningful discourse is produced from the basis of incommunicable affects, which project images in consciousness that, only then, are able to take the form of iterable simulacra. Our “gregarious” discourse in language is, thus, formed only indirectly from the affects and acquires its supposed unity only as it fails to express those affects. (shrink)

The qualities of great works of art, their profundity, their insight into the human condition, are epitomised in Brakhage's films, which are, I argue, from the beginning related to and inseparable from a philosophical attitude toward existence. His films emerge out of an authentic 'existential' mode of attunement, a mind-set wherein the potential for human transcendence is framed and filmed within its intractable relationship to death, the most extreme possibility of non-existence. Brakhage not only views existence in a philosophical manner, (...) beyond this, he engages in philosophical inquiry in a fundamental way through the medium of film. The films arise from and respond to what Karl Jaspers views as the ultimate source of philosophy, namely, 'the will to authentic communication,' which embraces 'wonder leading to knowledge, doubt leading to certainty, forsakenness leading to the self.' This amounts to the philosophical struggle to arrive at a sense of metaphysical coherence and existential familiarity, i.e., the precarious undertsanding of belonging to the world in communion with others. This essay seeks to elucidate and detail, through a series of interpretive gestures, the philosophical themes present to Brakhage's silent films by way of a reading that emerges from the phenomenological-ontological tradition in philosophy. In doing so, I hope to interpret Brakhage's filmic art as conveying a legitimate source of human understanding, which contributes to our interpreting and discoursing about the world and our lives in new and revelatory ways. (shrink)

This paper identifies and offers commentary upon a previously un-remarked consonance between Nietzsche and Weil when it comes to the idea of a universal love of the world. The discussion focuses on five features of the Nietzschean account of affirmation, which are as follows: that the possibility of affirmation has the form of a fundamental question at the heart of human life, which has an all-or-nothing character ; that genuine affirmation is rare, difficult or traumatic in an existentially revealing way, (...) primarily because affirmation means facing up to the lack of finality in the world, and in particular the problem of meaningless suffering, which means that affirmation is tied up with a fundamental revaluation. The first half of the paper outlines the parallels between Nietzschean affirmation and Weilian ‘consent to necessity’ in relation to the first three of these, which are also the most general. The second half of the paper explores the fourth and fifth, so as to suggest a way of reading the underlying similarity between these two projects: both are attempts to rediscover the possibility of an all-embracing affirmation of reality in the absence of any existential teleology, and when eschatology has been presumed to be impossible. In other words, both Nietzsche and Weil are compelled to find a way of achieving a transfigured perspective on ‘the whole’ in the absence of any transformation of ‘the whole’. (shrink)

This paper compares the treatment of private sensations in the works of Wittgenstein and Klossowski. Its aim is to show that, despite the differences between their traditions and methods, they align in at least one important respect: rejecting relations of reference between signs and private sensations. The paper briefly contextualises their lines of attack on these relations, situating the two thinkers’ commonalities amidst what are undeniably divergent wider purposes. It proceeds to argue for two more specific conclusions. Firstly, Klossowski’s own (...) rejoinder directed at reference to private sensations is rooted in his comparison of linguistic meaning to economic valuation in Living Currency. Secondly, Klossowski goes beyond Wittgenstein in arguing that, regardless of the status of reference of this sort, no complete account of sensation can view it only as private. (shrink)

The article analyses the relevance of Nietzsche's ideas on life and the body in the general context of the Western philosophical tradition. The author comes to the conclusion that Nietzsche's vitalism, which she interprets as a "counter-desomatisation" of a human being, has not yet lost its heuristic potential and continues to excite the philosophical conscience of new generations.

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (...) (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘‘the earth’’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself. (shrink)

In Out of This World, Peter Hallward argues that Deleuze's philosophy is, in spite of its proclaimed Nietzscheanism, intrinsically nihilistic. This article defends Deleuze against this accusation by reassessing his relationship to Nietzsche. I argue that both thinkers pose a similar problem, that of agency, and that the modus operandi of both for solving it relies on viewing agency as experimentation. The paper highlights the strong pragmatic dimension at play in Deleuze's philosophy: Deleuze aims to penetrate increasingly deeply into this (...) very world and to provide us with tools for intensifying our sensitivity to and engagement with it. To bring this into view, I offer a parallel reading of Nietzsche's and Deleuze's account of the production of our empirical experience, their critical stance towards such experience, and their means of overcoming it by engaging fully with problematic aspects of reality. (shrink)

This essay, the last in a series, focuses on the relationship between Nietzsche’s mental illness and his philosophical art. It is predicated upon my original diagnosis of his mental condition as bipolar affective disorder, which began in early adulthood and continued throughout his creative life. The kaleidoscopic mood shifts allowed him to see things from different perspectives and may have imbued his writings with passion rarely encountered in philosophical texts. At times hovering on the verge of psychosis, Nietzsche was able (...) to gain access to unconscious images and the music of language, usually inhibited by the conscious mind. He reached many of his linguistic, psychological and philosophical insights by willing suspension of the rational. None of these, however, could have been communicated had he not tamed the subterranean psychic forces with his impressive discipline and hard work. (shrink)

Nietzsche’s name has become almost synonymous with militant atheism. Born into a pious Christian family, this son of a Lutheran pastor declared himself the Antichrist. But could this have been yet another of his masks of hardness? Nietzsche rarely revealed his innermost self in the published writings, and this can be gleaned mainly from his private letters and the accounts of friends. These sources bring to light the philosopher’s inner struggle with his own, deeply religious nature.Losing his father at a (...) young age was a calamity from which Nietzsche never recovered, and I argue that his famous thought-image “God is dead” was a transfiguration of the painful memory of this loss. In this essay, I trace Nietzsche’s tortuous path from an ardent devotee of God to a vociferous critic of Christianity, a path that was punctuated with veiled longings for a loving deity. Deep in his heart, he remained faithful to Christian ideals. Rather like Cordelia, the only truly loving daughter of King Lear, Nietzsche refused to utter words of intense affection and reverence, as these had been blatantly devalued and corrupted. Instead, he adopted a mask of a wrongdoer and a blasphemer who took not the punishment but the guilt.Nietzsche’s attitude to religion is discussed from the perspective of his life, his personality, and his mental condition. The discussion draws on psychoanalytical concepts of Freud, Erikson, Winnicott and Kohut. This is not an exclusive reading, but complementary to other studies in this field. (shrink)

Nietzsche’s cardinal ideas - God is Dead, Übermensch and Eternal Return of the Same - are approached here from the perspective of psychiatric phenomenology rather than that of philosophy. A revised diagnosis of the philosopher’s mental illness as manic-depressive psychosis forms the premise for discussion. Nietzsche conceived the above thoughts in close proximity to his first manic psychotic episode, in the summer of 1881, while staying in Sils-Maria (Swiss Alps). It was the anniversary of his father’s death, and also of (...) the break-up of his friendship with Wagner, the most important relationship in his life. Despite having been acquainted with these ideas from reading philosophy and literature, Nietzsche created them de novo and imbued them with very personal meaning. Surprisingly, he never defined or explained his cardinal thoughts in his published writings, perhaps because rationally he could not. A resultant hermeneutic vacuum provoked an avalanche of interpretations in secondary literature. But could these ideas be delusions? A current definition of delusion is challenged, and an attempt is made at a limited comparison between delusion, scientific/philosophical doctrine and poetic creation. It is also argued that psychosis is a way of re-living trauma, and delusions can therefore be seen as a form of reasoning that helps to make sense of the world in a state of psychotic disintegration. Far from being false beliefs, delusions are a true expression of one’s innermost feelings and pain, albeit indirectly. The relationship between early parental loss and repeated trauma, psychosis and creativity is also explored. Indo-Pacific Journal of Phenomenology , Volume 8, Edition 1 May 2008. (shrink)

Commentators have claimed that the philosophies of Merleau-Ponty and Deleuze converge upon a spatial field of sensation which is prior to representation. This essay will contest these readings by showing that, for Deleuze, the pre-representational spatial field of intensity is fundamentally split from thought. This “gap” between sensation and thought is, for Deleuze, fundamentally temporal, in that thought is continually open and passive to being violated and transformed by the sensible and the sensible is continually being pushed beyond itself by (...) a certain kind of thought. This violent exchange across the gap between thought and sensibility is found, by Deleuze, in Kant's notion of the aesthetic idea. On the contrary, for Merleau-Ponty, Kant's aesthetics imply a non-conceptual “ground” shared by both thought and sensibility. By contrasting these two readings of Kant's aesthetics, this paper reveals the basic divergence between the philosophies of Deleuze and Merleau-Ponty. (shrink)

The phrase ‘To perish from absolute knowledge’ from Nietzsche’s Beyond Good and Evil runs like a red thread throughout Foucault’s reading of Nietzsche, spanning a period of 20 years in which Foucault continuously turned to Nietzsche as his main philosophical and methodological role model. Beginning with his first lectures on Nietzsche in the early 1950s, Foucault repeatedly alluded to this phrase as the key to Nietzsche’s philosophical critique which anticipated the philosophical shift to ontology in the 20th century. Drawing on (...) a host of unpublished essays from Foucault’s archive, it will be shown that this phrase holds the key to Foucault’s Nietzsche interpretation and explains his reliance on historicity as the transcendental basis for his critical project. The article will rely on Foucault’s dynamic analysis of this phrase to narrate the development of his historical methodology between the 1950s and the mid-1970s, and will argue for the continuity and coherence of Foucault’s critical project. (shrink)

In this essay, I argue that the notion of monetary debt does not displace but merely conceals our deeper, ontological debt to the sources of our being and way of life. I suggest that first Christianity and then modern science attempted to find a means of redemption that could free us from debt, but that both were unable to reconcile the ideas of freedom and indebtedness. I then examine the way in which Friedrich Nietzsche tried to resolve the apparent contradiction (...) of our debt to the past and our freedom to shape the future by developing a new form of redemption rooted in his doctrine of the eternal recurrence. (shrink)

The relationship between Epicurus and Nietzsche is an increasingly popular research topic. There are a number of publications that attempt to detail the nature of this relationship by investigating specific aspects of their writings that interrelate. Such research is valuable because it reveals an otherwise hidden dynamic to Nietzsche studies, however, all previous discourse on Epicurus and Nietzsche are limited because they fail to recognise both thinkers as philosophers of immanence. This thesis proposes that ‘immanence’ is the central concept that (...) allows the influence of Epicurus upon Nietzsche’s thought to be revealed most appropriately. Furthermore, it proposes to account for the development of ‘immanence’ within the works of Epicurus and Nietzsche in order to disclose the nature of immanence itself. By following Nietzsche’s genealogical method, this thesis will demonstrate that Epicurean immanence emerged through the conceptualisation of all existence within the cosmos and nature. Moreover, immanence developed as an atomistic response to the transcendent philosophies of Socrates and Aristotle which opposed Democritean materialism. Nietzsche recognised that the increasing popularity of Platonism in late antiquity led to the event of Christianity, which dominated Western thought until its success eventually destroyed the conditions that maintained it. Nietzsche predicted that in the light of Christianity’s demise, mankind would be plunged into a state of crisis and unparalleled nihilism. In response, he proposed that the body and spirit must be reunited in an act of overcoming, and those capable of that act would ‘inherit the earth’. Immanence for Nietzsche is this unifying act and inheritance, and he demonstrates that redemptive doctrines such as Epicurus’ ataraxia, modelled on nihilism, must be rejected and overcome by a philosophy modelled on ‘cheerfulness’. It is in this respect that his philosophy from The Gay Science onwards can be recognised as a discourse on immanence. (shrink)

One of the main influences on Judith Butler‘s thinking has been the work of Michel Foucault. Although this relationship is often commented on, it is rarely discussed in any detail. My thesis makes a contribution in this area. It presents an analysis of Foucault‘s work with the aim of countering Butler‘s representation of his thinking. In the first part of the thesis, I show how Butler initially interprets Foucault‘s project through Nietzschean genealogy, psychoanalysis and Derridean discourse, and how she later (...) develops this interpretation in line with the progress of her own project. In the main part of the thesis, I present an analysis of Foucault‘s thinking in the period from The Archaeology of Knowledge (1969) to The History of Sexuality volume 1 (1976). This analysis focuses on the aspect of his work which has most influenced Butler‘s thinking: namely the notion of a relationship between knowledge, discourse and power. The other issues in his work which Butler addresses—genealogy, the subject, the body, abnormality, and sexuality—are discussed within this framework. I show how, in the early 1970s, Foucault develops the notion of power-knowledge, and sets out a relationship between power-knowledge and discourse which is overlooked by Butler. I argue that Butler interprets Foucaultian power through the notions of repression and social norms, and ignores the concepts of technology and strategy which form a key part of Foucault‘s thinking. I show how, from The Archaeology of Knowledge on, Foucault develops a socio-historical ontology and a genealogy of the subject, both of which are at variance with Butler‘s interpretation of his thinking. (shrink)