In recent years, Nietzsche’s views on (natural) science attracted a considerable amount of scholarly attention. Overall, his attitude towards science tends to be one of suspicion, or ambivalence at least. My article addresses the “Nietzsche and science” theme from a slightly different perspective, raising a somewhat different type of question, more pragmatic if you like, namely: how to be a Nietzschean philosopher of science today? What would the methodological contours of a Nietzschean approach to present-day research areas (such as neuroscience, (...) astrophysics, synthetic biology or climate studies) amount to? In other words, my paper reflects a shift of focus from author studies to extrapolation. The design of my article is as follows. I will start with the question (already widely discussed in the expert literature) to what extent Friedrich Nietzsche (a classical philologist by training) managed to familiarise himself with the natural sciences of his epoch. Subsequently, I will outline some basic methodological and conceptual ingredients of Nietzsche’s philosophy of science, focussing on core issues such as “genealogy”, “interpretation”, “enhancement” and “truth”. Next, I will elucidate Nietzsche’s genealogical methodology with the help of three case studies (three representative samples if you will) taken from Nietzsche’s writings and dealing with physiology, astronomy and neuro-psychology respectively. Finally, I will present the methodological contours of a Nietzschean understanding of contemporary technoscience. (shrink)

The aim of this paper is, firstly, to present some reasons why source criticism is a particularly promising methodological approach when applied to Nietzsche’s work. Starting from a first taxonomy, devoted to the various methodological approaches in the history of philosophy, I argue that source criticism is particularly well suited to dealing with Nietzsche’s work, due to the enthymematic nature of the ways he presents his arguments as well as to the nature of some of his substantive philosophical commitments (such (...) as ethical perfectionism and descriptive fictionalism). Next, I propose a second taxonomy, which classifies the variety of connections Nietzsche establishes with his philosophical sources: spiritual affinity, programmatic commitment and instrumental appropriation. (shrink)

This essay examines Giambattista Vico’s philology as a contribution to democratic legitimacy. I outline three steps in Vico’s account of the historical and political development of philological knowledge. First, his merger of philosophy and philology, and the effects of that merge on the relative claims of reason and authority. Second, his use of antiquarian knowledge to supersede historicist accounts of change in time and to position the plebian social class as the true arbiters of language. Third, his understanding of philological (...) knowledge as an instrument of political change, and a foundational element in the establishment of democracy. By treating the philological imagination as a tool for bringing about political change, Vico’s plebian philology is radically democratic, and a crucial instrument in the struggle against the elite, from antiquity to the present. -/- . (shrink)

Continental philosophies of science tend to exemplify holistic themes connecting order and contingency, questions and answers, writers and readers, speakers and hearers. Such philosophies of science also tend to feature a fundamental emphasis on the historical and cultural situatedness of discourse as significant; relevance of mutual attunement of speaker and hearer; necessity of pre-linguistic cognition based in human engagement with a common socio-cultural historical world; role of narrative and metaphor as explanatory; sustained emphasis on understanding questioning; truth seen as horizonal, (...) aletheic, or perspectival; and a tolerance for paradoxical and complex forms of expression. Continental philosophy of science is thus more comprehensive than philosophy of science in the analytic tradition, including (and as analytic philosophy of science does not tend to include) perspectives on the history of science as well as the social and practical dimensions of scientific discovery. Where analytic philosophy is about reducing or, indeed, eliminating the perennial problems of philosophy, Continental philosophy is all about thinking and that will mean, as both Heidegger and Nietzsche emphasize, making such problems more not less problematic. (shrink)

This essay focuses on and attempts to uncover the truly radical character of Nietzsche’s early “philological” work, specifically asking after the benefit he claims the study of classical culture should have for our present, late-modern historical moment. Taking up his study of the Pre-Platonic thinkers in 1873’s Philosophie im tragischen Zeitalter der Griechen , the first section analyzes Nietzsche’s statement that history’s principle task is the uncovering of Persönlichkeiten . I argue that it is not at all the subjective character (...) of a psychologized individual that Nietzsche has in mind, but rather the moment of persönliche Stimmung or ‘being attuned’ to the world, which grounds and gives rise to thinking. In the second section, I show that the phusis or ‘nature’ to which the thinker is exposed in this attunement is comparable to the tension between the Dionysian and Apollonian natural forces in tragic poetry, as Nietzsche understands it. This dynamic conception of phusis does not provide a metaphysical substrate or an objectively real ground to which we might return via that Greeks, but is rather essentially phenomenal , i.e. it is nothing other than the movement into and out of appearance, which always entails and requires its reception by the human being to whom it appears. In the final section of the essay, this origin proves for Nietzsche not to be located in a distant past moment. Rather, it is the abyssal origin of the tradition that is always already effective in our present moment, informing our contemporary conceptions of our world and ourselves. (shrink)

L’un des enjeux de la polémique entre Nietzsche et Wilamowitz concerne la fonction de la musique dans la poésie « lyrique » archaïque, dont Archiloque est le représentant majeur pour Nietzsche dans La Naissance de la tragédie. Partisan d’une approche philologique centrée sur le texte, Wilamowitz a distingué poésie et musique et minimisé le rôle d’Archiloque et de la poésie iambique pour des raisons esthétiques et morales sous le masque de la philologie. Nietzsche a interprété le « cas Archiloque » (...) en combinant une lecture philologique de la poésie iambique, une théorie du langage fondée sur la force du son et la gestualité et une « métaphysique d’artiste », révélant déjà sa différence avec Schopenhauer. (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)

As a still quite young professor of classical philology at the University of Basel, Nietzsche taught a rather traditional, almost antiquarian, course on ancient rhetoric. The title of his 1872–73 lecture notes—"Presentation of Ancient Rhetoric" —clearly indicates that this time Nietzsche did not spoil for a fight or set out to uncover the hidden hybridity of origins as he did in his controversial book of the same year in which the origin of Greek tragedy is revealed as miscegenation between the (...) Dionysian and Apollonian principles. Rather his lecture notes exhibit an apparent commitment to following the traditional rhetorical... (shrink)

Content and formal structures are inextricably linked in Nietzsche’s texts. Formal qualities convey meaning, for example, by indicating whether an expressed thought should be understood as an assertion, or rather subverted and ultimately negated. The following recent publications explore intermediality and performativity in Nietzsche’s language from different perspectives. Federico Celestini and Rüdiger Görner each examine the musicality of Nietzsche’s language against the grain of the common assumption of the language-like character of music. However, the two authors arrive at different conclusions (...) about the correspondence between language and music in Nietzsche’s work. A volume edited by Christian Benne and Dieter Burdorf draws connections between Nietzsche and the philologist Rudolf Borchardt in terms of their concept of language. While Nietzsche and Borchardt exhibit parallels with regard to language skepticism and the self-creative process of writing, they fundamentally disagree in their conception of art. Finally, Diemo Landgraf sees Nietzsche’s work as the culmination of nineteenth-century decadent literature, grounding his critique of Nietzsche’s unique approach, which arises out of a music philosophical perspective, by labelling it as nihilistic. (shrink)

Explorations in Systems Phenomenology in Relation to Ontology, Hermeneutics and the Meta-dialectics of Design -/- SYNOPSIS A Phenomenological Analysis of Emergent Design is performed based on the foundations of General Schemas Theory. The concept of Sign Engineering is explored in terms of Hermeneutics, Dialectics, and Ontology in order to define Emergent Systems and Metasystems Engineering based on the concept of Meta-dialectics. -/- ABSTRACT Phenomenology, Ontology, Hermeneutics, and Dialectics will dominate our inquiry into the nature of the Emergent Design of the (...) System and its inverse dual, the Meta-system. This is an speculative dissertation that attempts to produce a philosophical, mathematical, and theoretical view of the nature of Systems Engineering Design. Emergent System Design, i.e., the design of yet unheard of and/or hitherto non-existent Systems and Metasystems is the focus. This study is a frontal assault on the hard problem of explaining how Engineering produces new things, rather than a repetition or reordering of concepts that already exist. In this work the philosophies of E. Husserl, A. Gurwitsch, M. Heidegger, J. Derrida, G. Deleuze, A. Badiou, G. Hegel, I. Kant and other Continental Philosophers are brought to bear on different aspects of how new technological systems come into existence through the midwifery of Systems Engineering. Sign Engineering is singled out as the most important aspect of Systems Engineering. We will build on the work of Pieter Wisse and extend his theory of Sign Engineering to define Meta-dialectics in the form of Quadralectics and then Pentalectics. Along the way the various ontological levels of Being are explored in conjunction with the discovery that the Quadralectic is related to the possibility of design primarily at the Third Meta-level of Being, called Hyper Being. Design Process is dependent upon the emergent possibilities that appear in Hyper Being. Hyper Being, termed by Heidegger as Being (Being crossed-out) and termed by Derrida as Differance, also appears as the widest space within the Design Field at the third meta-level of Being and therefore provides the most leverage that is needed to produce emergent effects. Hyper Being is where possibilities appear within our worldview. Possibility is necessary for emergent events to occur. Hyper Being possibilities are extended by Wild Being propensities to allow the embodiment of new things. We discuss how this philosophical background relates to meta-methods such as the Gurevich Abstract State Machine and the Wisse Metapattern methods, as well as real-time architectural design methods as described in the Integral Software Engineering Methodology. One aim of this research is to find the foundation for extending the ISEM methodology to become a general purpose Systems Design Methodology. Our purpose is also to bring these philosophical considerations into the practical realm by examining P. Bourdieu’s ideas on the relationship between theoretical and practical reason and M. de Certeau’s ideas on practice. The relationship between design and implementation is seen in terms of the Set/Mass conceptual opposition. General Schemas Theory is used as a way of critiquing the dependence of Set based mathematics as a basis for Design. The dissertation delineates a new foundation for Systems Engineering as Emergent Engineering based on General Schemas Theory, and provides an advanced theory of Design based on the understanding of the meta-levels of Being, particularly focusing upon the relationship between Hyper Being and Wild Being in the context of Pure and Process Being. (shrink)

In Nietzsche’s later work the problem of the possibility of philosophy presents a significant interpretative and practical dilemma. Nietzsche attempts to undermine the idea of the absolute, as a source of value, meaning and truth, and to tease out the traces of this idea in our philosophising. He is thus one of those who has given us the means to complete the Kantian project of moving beyond metaphysical realism and a representational understanding of meaning. However, along with the gift comes (...) a paradox. For Nietzsche’s diagnosis seems to make it clear that desire for the absolute is intrinsic to the practice of philosophy – that in important respects, philosophy just is the (hopeless) attempt to frame or discover overarching, context-less objectivity. Furthermore, Nietzsche’s analysis of philosophy is accompanied by a recognition and critique of the nihilism that arises in reaction to the collapse of absolutism. I suggest that we can find (in Nietzsche) a resolution of this paradox that involves the continuation of philosophy, not through a consciousness for philosophy, but through understanding philosophy as a process without a subject. That is, understanding philosophy as a practice that does not involve a moment that is the resolution of the paradox at all, but which is a process, involving the continual crisis of its paradox (which we might see as a constitutive paradox). (shrink)

This chapter considers the encounter of skepticism with the Kantian and post-Kantian philosophical enterprise and focuses on the intriguing feature whereby it is assimilated into this enterprise. In this period, skepticism becomes interchangeable with its other, which helps understand the proliferation of many kinds of views under its name and which forms the background for transforming skepticism into an anonymous, routine practice of raising objections and counter-objections to one’s own view. German philosophers of this era counterpose skepticism to dogmatism and (...) criticism, ancient to modern skepticism, and, importantly, conceptualize the transitions from one form to another, which forms the conceptual matrix in which new disciplinary forms, such as psychology, anthropology, and historicism contend for cultural-intellectual standing beside philosophy. I present this assimilationist trajectory by reviewing three well-known moments of this encounter of skepticism and idealism: (1) Kant’s idealization of skepticism as a floating position amidst various philosophical positions through the dialectic, polemics, systematics, and history of pure reason; (2) Fichte’s schematic conception of skepticism as a dispute of systems in the early Wissenschaftslehre following his review of the skeptic G. E. Schulze’s attacks on Critical philosophy; (3) Hegel’s historicizing conception of skepticism in the context of differences between subjective idealism and speculative thought and his early Jena review of another work by the same skeptic Schulze. (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)