Tim Ingold draws a sharp line between animism and hylomorphism, that is, between his relational ontology and a rival genealogical ontology. He argues that genealogical hylomorphism collapses under a fallacy of circularity, while his relationism does not. Yet Ingold fails to distinguish between vicious or fallacious circles, on the one hand, and virtuous or hermeneutic circles, on the other. I demonstrate that hylomorphism and Ingold’s relational animism are both virtuously circular. Hence, there is no difference between them on this count. (...) A path thus opens for what I call hylomorphic animism. While Ingold’s relational animism leads into obscurity, hylomorphic animism is able to explain the differences in power between material things. (shrink)

The fruit borne of the debate concerning the economy of the gift carried out between Jacques Derrida and Jean-Luc Marion in the 1990s continues to ripen into the present with publications like Anthony Steinbock’s lucid It’s not about the Gift: From Givenness to Loving. I challenge and qualify the fundamental argument of this book in dialogue with two principal French proponents of givenness, Michel Henry and Jean-Luc Marion, against whom Steinbock promotes his strategy of the gift. While Steinbock wishes to (...) displace our relation to the other from giving to loving, I suggest that the discourse of givenness remains the very movement of loving as such. Steinbock occupies a position reminiscent of, but not reducible to, gift-exchange theory, rooted in reciprocity between lover and beloved, whereas I am inclined to move near to the terrain of the unconditioned gift in which loving need not entail reciprocity. My position is not so much a counterclaim as it is a clarification of the inextricable unity between giving and loving. The final section contends that the I enlarge my horizon when I give myself because I do not grasp the other, nor do I expect or obligate the other’s givenness in return; rather in my growth beyond my own self-interest, I allow the other to be given just as the other likes to be given. (shrink)

The paper works out an account of the piety proper to philosophical thought. The investigation proceeds as a critical interpretation of three enigmatic claims made by Martin Heidegger about ‘the piety of thinking,’ but the paper is not simply exegetical; the interpretive work is constantly in service of an attempt to think through the phenomenon independently. Plato’s Euthyphro and Nietzsche’s critique of scientific piety both hover in the background of Heidegger’s pronouncements, and they are given special attention here. Through the (...) investigation, philosophical piety is shown to be a virtuous capacity to respond with fitting submission to the truth as what is insurmountably prior to us. To respond fittingly is, at least, to deal well with sameness and difference, which in the case of piety means to recognize two features of our situation: that philosophical questioning necessarily arises out of a fundamental listening, or affirmation, and that we always belong to being but only ever across a gap. (shrink)

Heidegger argues that for being x to count as ‘alive’ it must satisfy three metaphysical conditions. It must be capable of engaging in active behaviour with a form of intentional directedness that offers to us a “sphere of transposition” into which we can intelligibly “transpose ourselves.” Heidegger’s discussion of these conditions, as they apply to the being of animals, is well-known. But, if his argument is sound, they ought also to apply to the being of plants. Heidegger, unfortunately, does not (...) supply this part of his ontology of life in any systematic detail. However, my thesis is that it is possible to interpret the nature and activities of plants, along the lines of –, and thus to make good on Heidegger’s omission. The key to this reconstruction is a reconceptualization of plant movements as constituted by a form of representationally blind, motor-intentionality. (shrink)

The poet speaks in a particular way that can “bring things to nearness”. This particular way of bringing things to nearness may have some useful implications for understanding human well-being. Sometimes I have noticed that, when I read a poem that really “speaks to me”, the poetic language puts me in touch with well-being in a very palpable way, and this has brought me to wonder about this question: What is it that is taking place in a much loved poem (...) that can bring me close to a felt sense of well-being? This paper will draw upon some philosophical insights from the writings of Heidegger and Gendlin to explore what poetry opens up and holds in order to speak of well-being. What is it about poetry that is adequate to hold the deepest roots of hearing with the fullness of what is speaking? Heidegger’s later ideas about the essence of language and its non-representational power held within the unity of “the fourfold” may be helpful here. And what is it about poetry that can open up worlds, open us to sensation, and carry us beyond the literal words into the experience of well-being? Gendlin’s ideas concerning “thinking beyond patterns” and “carrying forward” may illuminate how poetry holds open what other language cuts off for us. The paper will conclude by pointing to poetry as a crucial form of adequate human discourse that is up to the task of understanding well-being and is therefore highly relevant to health and social care. (shrink)

The aim of this paper is to begin to respond to the question of how to engage the presence of catastrophic climate change as a locus of philosophical thought. What has to be thought is the end of the world. Central to that project is Heidegger’s “The Origin of the Work of Art,” and in particular, Heidegger’s thinking of the earth/world relation, both in itself and in terms of the limits it encounters. Heidegger’s use of “examples” of artwork, as well (...) as works by Nicolas Poussin and Anselm Kiefer, are deployed in order to begin to understand the role of art in thinking the end of the world. (shrink)

This article explores the responses to nihilism offered by Jean-Luc Marion and Martin Heidegger. In particular, this paper offers a response to Steven DeLay’s ‘The vanity of authenticity’; DeLay’s text argues for the superiority of Marion’s response to nihilism through his notion of vanity and, further, argues that this supposed defeat of Heidegger by Marion lays the foundation for the theological turn in philosophy. This paper will instead suggest that Marion has not in fact surpassed Heidegger, that his concept of (...) vanity does not represent a meaningful innovation, and that his answer to nihilism/vanity through love is more similar to Heidegger’s response than either DeLay or Marion acknowledges. DeLay’s reading focuses on Heidegger’s Being and Time, but uses this reading to dismiss Heidegger’s work in its entirety. This paper will, instead, focus on Heidegger’s later work, which is ignored by both Marion and DeLay, offering particular attention to the shift in Heidegger’s response to nihilism as he increases his engagement with the thought of Friedrich Nietzsche and introduces the concept Gelassenheit, which generally replaces the terminology of authenticity after the 1940s. (shrink)

This article aims at contributing to the contemporary reception of Heidegger’s thought in eco-philosophical perspective. Its point of departure is Heidegger’s claim, in his Bremen lectures and The Question Concerning Technology, that today the earth is submitted to permanent requisition and planned ordering, and that, having thus lost sight of its auto-poiesis, we are no longer capable of listening, tuning in, and singing back to what he calls in his course on Heraclitus the “song of the earth.” Accordingly, first we (...) examine how the inherently reciprocal dynamics of “earth” and “world,” as thematised by Heidegger in The Origin of the Work of Art, have become opaque. Second, we analyse whether it is possible to find those same dynamics at play behind Heidegger’s “Fourfold,” which we propose to reread in binary key in dialogue with contemporary anthropology, from Bateson and Lévi-Strauss to Wagner and Viveiros de Castro, and in light of Guattari’s notion of “trans-entitarian generativity.” Third, we stress the need to reposition Heidegger’s thought alongside contemporary concerns on “worlding” and we explore its plausible intersections with today’s object-oriented ethnography. Lastly, we discuss the possibility of rereading Heidegger’s Fourfold afresh against the backdrop of Heidegger’s non-foundational thinking, as a conceptual metaphor for the joint dynamics of Abgrund and Grund. (shrink)

The aim of this paper is to explore the connection between moods and meteors or atmospheric phenomena in Heidegger’s thinking. The idea of the weather as something affecting our emotional state is not new but goes all the way back to Homer. However, the ontological basis of this connection is missing. In this paper, I argue that Heidegger provides exactly such an ontological account of moods and meteors not as two separate spheres but as a common atmosphere of attuned elementality—a (...) dynamic interface where beings bend into being. Being can no longer be understood solely as that which determines beings qua beings but beings inform/transform being as well. (shrink)

One of the most prominent notions in Heidegger’s thinking about art is that of the earth. This paper probes the phenomenological potential of Heidegger’s concept by turning to the work of contemporary British artist Andy Goldsworthy. Drawing from Heidegger’s theoretical writings as well as his analysis of a poem by C.F. Meyer in “The Origin of the Work of Art” and his 1936–37 seminar on Schiller, I show that Goldsworthy’s sculptural art exemplifies different phenomenal traits of the “earth.” To supplement (...) Heidegger’s discussion, both Husserl’s claim that the earth defines the “spatiality of nature” and the role of the earth in Hegel’s philosophy of nature are taken into account. (shrink)