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)

Philosophers and historians of science have made the claim that successive scientific theories are incommensurable, that is, that many or all of their concepts fail to coincide. This claim has been echoed by cognitive psychologists who have applied it to the successive conceptual schemes of young children, or of children and adults. This paper examines the psychological evidence for the claim and proposes ways of reinterpreting it which do not involve imputing incommensurability. An alternative approach to understanding conceptual change is (...) suggested, according to which novel concepts are introduced against a background of shared concepts, rather than as part of incommensurable conceptual schemes. (shrink)

This paper uses the distribution and interpretation of antonymous adjectives in comparative constructions as an empirical basis to argue that abstract representations of measurement, or ‘degrees’, must be modeled as intervals on a scale, rather than as points, as commonly assumed. I begin by demonstrating that the facts in this domain must be accounted for in terms of the interaction of the semantics of adjectival polarity and the semantics of the comparative, rather than principles governing the (overt) expression of particular (...) types of adjectives in comparatives. I then show that a principled account of the full range of data under consideration can be constructed within a model in which degrees are formalized as intervals on a scale and adjectival polarity is characterized in terms of two structurally distinct and complementary sorts of `positive' and `negative' degrees. (shrink)

Extract from Hofstadter's revew in Bulletin of American Mathematical Society : http://www.ams.org/journals/bull/1980-02-02/S0273-0979-1980-14752-7/S0273-0979-1980-14752-7.pdf -/- "Aaron Sloman is a man who is convinced that most philosophers and many other students of mind are in dire need of being convinced that there has been a revolution in that field happening right under their noses, and that they had better quickly inform themselves. The revolution is called "Artificial Intelligence" (Al)-and Sloman attempts to impart to others the "enlighten- ment" which he clearly regrets not having (...) experienced earlier himself. Being somewhat of a convert, Sloman is a zealous campaigner for his point of view. Now a Reader in Cognitive Science at Sussex, he began his academic career in more orthodox philosophy and, by exposure to linguistics and AI, came to feel that all approaches to mind which ignore AI are missing the boat. I agree with him, and I am glad that he has written this provocative book. The tone of Sloman's book can be gotten across by this quotation (p. 5): "I am prepared to go so far as to say that within a few years, if there remain any philosophers who are not familiar with some of the main developments in artificial intelligence, it will be fair to accuse them of professional incom- petence, and that to teach courses in philosophy of mind, epistemology, aesthetics, philosophy of science, philosophy of language, ethics, metaphysics, and other main areas of philosophy, without discussing the relevant aspects of artificial intelligence will be as irresponsible as giving a degree course in physics which includes no quantum theory." -/- (The author now regrets the extreme polemical tone of the book.). (shrink)

I explore the view that the imago Dei is essential to us as humans but accidental to us as persons. To image God is to resemble God, and resemblance comes in degrees. This has the straightforward—and perhaps disturbing—implication that we can be more or less human, and possibly cease to be human entirely. Hence, I call it the spectrum view. I argue that the spectrum view is complementary to the Biblical data, helps explain the empirical reality of horrendous evil, and (...) offers an elegant rapprochement between the traditional view of hell and its rivals. (shrink)

Many activities in organizations benefit from informal networks, in which individuals help each other without an obligation to do so. Helping can take time and effort and expert helpers may find themselves in high demand not being able to help every requester. In this research, we examine the impact of prior help in the decision to help the same person again versus help someone new. We propose that feelings of partnership created by an initial act of help encourage helpers to (...) stick to the same person, but a sense of fairness pushes helpers toward those who have not received help before. Thus, oftentimes people prefer to help someone with whom they have a weaker bond. Furthermore, we argue that repeated helping strengthens the feeling of partnership and increases preference for helping the same person over another. In contrast, knowing that the helped party has similar relationships with other helpers dampen this feeling and reduces future help. Helpers consider not only the help they have given, but more broadly the help that was received by all the parties involved. We also distinguish two aspects of fairness: even/equal distribution of help and helping who is in greater need. (shrink)

We argue that all comparative expressions in natural language obey a principle that we call Comparability: if x and y are at least as F as themselves, then either x is at least as F as y or y is at least as F as x. This principle has been widely rejected among philosophers, especially by ethicists, and its falsity has been claimed to have important normative implications. We argue that Comparability is needed to explain the goodness of several patterns (...) of inference that seem manifestly valid, that the purported failures of Comparability would have absurd consequences, and that the influential arguments against Comparability are less compelling than they may have initially seemed. (shrink)

A group of the last notebooks that Nietzsche wrote from 1888 to the final notebook of 1889. -/- Translator Daniel Fidel Ferrer. See: "Nietzsche's Notebooks in English: a Translator's Introduction and Afterward". pages 265-272. Total pages 390. Translation done June 2012. -/- Nietzsche's notebooks from the last productive year of life, 1888. Nietzsche's unpublished writings called the Nachlass. These are notebooks (Notizheft) from the year 1888 up to early January 1889. Nietzsche stopped writing entirely after January 6, 1889. -/- The (...) German notebooks of Nietzsche's included in these English translations: 12[1-2] Anfang 1888 13[1-5] Anfang 1888 - Fruhjahr 1888 14[1-227] Fruhjahr 1888 (first note says: Nizza, den 25. Marz 1888) 15[1-120] Fruhjahr 1888 16[1-89] Fruhjahr - Sommer 1888 17[1-9] Mai - Juni 1888 18[1-17] Juli - August 1888 19[1-11] September 1888 20[1-168] Sommer 1888 21[1-8] Herbst 1888 22[1-29] September - Oktober 1888 23[1-14] Oktober 1888 24[1-10] Oktober - November 1888 25[1-21] December 1888 - Januar 1889. (shrink)

A Fortiori Logic: Innovations, History and Assessments is a wide-ranging and in-depth study of a fortiori reasoning, comprising a great many new theoretical insights into such argument, a history of its use and discussion from antiquity to the present day, and critical analyses of the main attempts at its elucidation. Its purpose is nothing less than to lay the foundations for a new branch of logic and greatly develop it; and thus to once and for all dispel the many fallacious (...) ideas circulating regarding the nature of a fortiori reasoning. -/- The work is divided into three parts. The first part, Formalities, presents the author’s largely original theory of a fortiori argument, in all its forms and varieties. Its four (or eight) principal moods are analyzed in great detail and formally validated, and secondary moods are derived from them. A crescendo argument is distinguished from purely a fortiori argument, and similarly analyzed and validated. These argument forms are clearly distinguished from the pro rata and analogical forms of argument. Moreover, we examine the wide range of a fortiori argument; the possibilities of quantifying it; the formal interrelationships of its various moods; and their relationships to syllogistic and analogical reasoning. Although a fortiori argument is shown to be deductive, inductive forms of it are acknowledged and explained. Although a fortiori argument is essentially ontical in character, more specifically logical-epistemic and ethical-legal variants of it are acknowledged. -/- The second part of the work, Ancient and Medieval History, looks into use and discussion of a fortiori argument in Greece and Rome, in the Talmud, among post-Talmudic rabbis, and in Christian, Moslem, Chinese and Indian sources. Aristotle’s approach to a fortiori argument is described and evaluated. There is a thorough analysis of the Mishnaic qal vachomer argument, and a reassessment of the dayo principle relating to it, as well as of the Gemara’s later take on these topics. The valuable contribution, much later, by Moshe Chaim Luzzatto is duly acknowledged. Lists are drawn up of the use of a fortiori argument in the Jewish Bible, the Mishna, the works of Plato and Aristotle, the Christian Bible and the Koran; and the specific moods used are identified. Moreover, there is a pilot study of the use of a fortiori argument in the Gemara, with reference to Rodkinson’s partial edition of the Babylonian Talmud, setting detailed methodological guidelines for a fuller study. There is also a novel, detailed study of logic in general in the Torah. -/- The third part of the present work, Modern and Contemporary Authors, describes and evaluates the work of numerous (some thirty) recent contributors to a fortiori logic, as well as the articles on the subject in certain lexicons. Here, we discover that whereas a few authors in the last century or so made some significant contributions to the field, most of them shot woefully off-target in various ways. The work of each author, whether famous or unknown, is examined in detail in a dedicated chapter, or at least in a section; and his ideas on the subject are carefully weighed. The variety of theories that have been proposed is impressive, and stands witness to the complexity and elusiveness of the subject, and to the crying need for the present critical and integrative study. But whatever the intrinsic value of each work, it must be realized that even errors and lacunae are interesting because they teach us how not to proceed. -/- This book also contains, in a final appendix, some valuable contributions to general logic, including new analyses of symbolization and axiomatization, existential import, the tetralemma, the Liar paradox and the Russell paradox. (shrink)

We all learn about the mistake of treating ‘nothing’ as if it were a term standing for something; but is it a mistake to treat it as an empty term, denoting nothing? We argue not, and we introduce ‘zilch’, defined as ‘the non-self-identical thing’, as a term which is empty as a matter of logical necessity. We contrast its behaviour with that of the quantifier ‘nothing’, and illustrate its uses. We use the same idea to vindicate Locke’s, Descartes’ and Hume’s (...) handling of ‘nothing’, and we show how Heidegger’s ‘das Nichts nichtet’ comes out as logically true. (shrink)

In this article the author seeks to highlight a specific disorder related to bodily experience in melancholia conceived as a severe form of clinical depression. The article is divided into three parts. In the first section, the author investigates the intersubjective dimension of bodily experience in light of the categories of Außen- and Innenleiblichkeit. In the second section, I explore a specific disturbance of the dimension of intercorporeality. The excessive feeling of the bodily (außenleibliche) visibility of his/her own sufferance is (...) a fundamental aspect of depression. At a pre-reflexive level, we constantly assume the noncoincidence between one's own bodily expression and the Other's experience/reading of these expressions. An alteration of this (pre-reflexive) awareness occurs in melancholia. The patient feels as if the melancholic condition would be transparent to the other. In the third section, the author intends to show the alteration of the embodied communication between the melancholic person and the other investigating two particular phenomena: the exchange of gaze in a face to face encounter, and the disturbance of the oral sense, revealing a specific form of irresponsiveness and the experience of void. (shrink)

Despite concerns about the relationships between health professionals and the medical device industry, the issue has received relatively little attention. Prevalence data are lacking; however, qualitative and survey research suggest device industry representatives, who are commonly present in clinical settings, play a key role in these relationships. Representatives, who are technical product specialists and not necessarily medically trained, may attend surgeries on a daily basis and be available to health professionals 24 hours a day, 7 days a week, to provide (...) advice. However, device representatives have a dual role: functioning as commissioned sales representatives at the same time as providing advice on approaches to treatment. This duality raises the concern that clinical decision-making may be unduly influenced by commercial imperatives. In this paper, we identify three key ethical concerns raised by the relationship between device representatives and health professionals: impacts on healthcare costs, the outsourcing of expertise and issues of accountability and informed consent. These ethical concerns can be addressed in part through clarifying the boundary between the support and sales aspects of the roles of device representatives and developing clear guidelines for device representatives providing support in clinical spaces. We suggest several policy options including hospital provision of expert support, formalising clinician conduct to eschew receipt of meals and payments from industry and establishing device registries. (shrink)

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] does it mean for a thing to be ugly, or perhaps better, for something to be judged as such? We should admit that the matter is not transparent. Maybe that seems odd, since we find things ugly all the time; should not this be plain as day, then? But usually, it is what seems (...) plainest that, in the end, is most obscure.So what, then, is ugliness? What does it mean to find something ugly? Looking to cast some light on the matter, we might consider using Kant’s well-known account of beauty as our starting point, since Kant—apparently following ‘common sense’ —says that ugliness is ‘contrary to beauty’.2 Assuming the adequacy... (shrink)

Deploying a broadly interpretive approach, the article explores the extent to which, and the ways in which, equality is enacted in non-elective as well as elective representation. It argues that the fleeting and fragmentary equalities evident in non-elective representation are democratically significant, and that examining them can enhance understanding of the democratic promise and limits of different modes of representation.

We consider arrow logics (i.e., propositional multi-modal logics having three -- a dyadic, a monadic, and a constant -- modal operators) augmented with various kinds of infinite counting modalities, such as 'much more', 'of good quantity', 'many times'. It is shown that the addition of these modal operators to weakly associative arrow logic results in finitely axiomatizable and decidable logics, which fail to have the finite base property.

The question as to whether or not an argument isadditional may be decisive in the evaluation ofjudicial decisions. It is, however, often difficult todistinguish between arguments that are additional(obiter dicta) and arguments that are not (ratio decidendi). This paper will focus on twoproblems concerning this distinction: thecharacterization of obiter dicta and theiridentification. A pragma-dialectical approach toargumentation will be the framework in which theseproblems will be addressed. Its insights intodialogical aspects of argumentation will be used tocharacterize obiter dicta. And its assessment (...) oflinguistic clues for the recognition of argumentationstructures will be used for the identification ofobiter dicta. Problems related to the identificationof obiter dicta will be illustrated through ananalysis of decisions in which the expressions anyway, for that matter and if onlybecause are considered as indicative of obiter dicta. (shrink)

This thesis discusses the potential consequences of applying the philosophy of Mark C. Taylor to the field of Human-Computer Interaction. The first part of the thesis comprises a study focusing on two discursive trends in contemporary HCI, materiality and the self, and how these discourses describe interaction. Through a qualitative, inductive content analysis of 171 HCI research articles, a number of themes are identified in the literature and, it is argued, construct a dominant perspective of materiality, the self, and interaction. (...) Examples that differ from the dominant discourse are also discussed as alternative perspectives for each of the three focal areas. The second part of the thesis comprises an analysis of Mark C. Taylor’s philosophical project which enables a number of philosophical positions on materiality, the self, and interaction to be identified. These positions are suggested to be variations and rereadings of themes found in Friedrich Nietzsche’s philosophy. These variations emerge as Taylor approaches Nietzsche through poststructuralism and complexity theory, and it is argued that the apparent heterogeneity of Taylor’s project can be understood as a more coherent position when interpreted in relation to Nietzsche’s philosophy. Based on the findings of the two literature studies, the thesis then discusses the possible consequences for HCI, if Taylor’s philosophy were to be applied as a theoretical framework. The thesis argues that Taylor’s philosophy describes the interaction between humans and computers as an existential process, which contrasts with the dominant HCI discourse; that this view can be related to and provide a theoretical foundation for the alternative discourses in HCI; and that it can contribute to developing HCI. (shrink)

Sophocles' Antigone is the only individual whom Heidegger names as authentic. But the usual interpretations of Heidegger's ‘authenticity’ either do not apply to Antigone or do not capture what Heidegger finds significant about her. By working through these failures, I develop an interpretation of Heideggerian authenticity that is adequate to his Antigone. The crucial step is accurately identifying the finitude to which Antigone authentically relates: what Heidegger calls ‘uncanniness'. I argue that uncanniness names being's presencing through self-withdrawal and that Antigone (...) stands authentically towards this in her responsiveness to the call of being and her reticence at the end of explanation. In conclusion, I consider Sophocles' own creative act, which bequeathed to the West an understanding of being and a vision of how to relate to it authentically. I argue that Sophocles' status as a world-historical creator does not provide a competing picture of authenticity but must itself be understood as responsive and reticent. (shrink)

This abstract is based on materials collected and analyzed during the project “Violence against Women in Tajikistan” which was implemented during 1999–2000. The project was completed with methodological and financial support of the World Health Organization (WHO), UNDP, and the Swiss Agency for Development and Cooperation. Results of this project were presented in a national conference on Violence Against Women in Tajikistan” 29–30, March 2001 in Dushanbe, Tajikistan.

In the course of our educational life we are introduced to various subject areas, each with its specific way of representing knowledge. The challenge for the learner is to be able to think in ways that are supported by, and match, the representational format. A fundamental question for the science of learning concerns how this is achieved. In this thesis, it will be argued that by observing individuals collaboratively constructing their own graphic representations in a subject area that is new (...) to them, it is possible to gain insight into this process. In the LUMES Master program, students are introduced to systems thinking and the method of creating Causal Loop Diagrams and interactive computer models for analyzing and solving complex problems. They learn how to use the terminology, symbols and methods of a specific semiotic domain. The research questions guiding the analysis of the empirical data concern how interacting with systems thinking tools affect students in the process of collaboratively analyzing and modeling complex problems, and how cognitive and semiotic resources are used in this process. The study provides a conceptual lens with which to discuss and perceive the complexity of learning to express knowledge with new representational tools: both its visual and spatial formalism and the related terminology. Three theoretical perspectives are applied: the socio-cultural perspective, the social semiotic, and the constructivist perspective. The sociocultural perspective is applied to emphasize the use of tools as a part of human learning. It puts focus on the mediating roles of language and other tools in a social context, which is in many ways connected to the social semiotic perspective. To view systems thinking and System Dynamics as a semiotic domain accentuates the use of specific terminology, symbols and gestures to express understanding. Furthermore, the constructivist perspective is used to put focus on the role of individual cognitive abilities and prior knowledge. Three empirical studies provide detailed analyses of video-recorded collaborative work in System Dynamics education. The case studies show how individual cognitive abilities together with language, gesture and the visual representations are used as integrated resources to express understanding of a problem and its solution. (shrink)