In its literal meaning, the term ἔκστασις (ekstasis) indicates a displacement, ‘being out of immobility’, and ultimately being outside oneself. To some extent, this term takes on a mystical connotation in late Antiquity, notably in book VI.9.11.24 of Plotinus’ Enneads, where ekstasis is described as a non-ordinary way of seeing. The notion of ecstasy, often inseparable from the concept of vision, would keep its mystical role, though altered in some ways, over the centuries, conceptualizing a specific kind of knowledge, (...) which goes beyond the subject-object opposition, addressing the epistemological issues of perceiving and knowing the divine, and often challenging the nature of the self. This issue offers some attempts to track the constant reshaping and migration of the notions of ecstasy and intellectual or spiritual vision over the history of Western thought, unearthing their structural and constant persistence, from the Middle Ages to the contemporary ages, recurrently in many different non-ultimately-dialectical metaphysical systems. The papers in this volume provide some illustrative examples of the tangled history of the divergent meanings that the notions of ecstasy and vision have taken on, and their considerable reassessments and adaptations to constantly evolving conceptual frameworks, often redefining further notions such as those of rapture, prophecy, sleep, dream, and death. -/- . (shrink)

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation to (...) time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)

This is a phenomenologically grounded ethnographic study of the life-world of ecstasy users in the socio-cultural contexts of raving and clubs in Sydney, Australia. The thesis espouses existential-phenomenology as a framework for describing and understanding these experiences. I argue against and reject the widespread mechanistic-materialist paradigms that inform bio-medical and bio-psychological interpretations of drug-use and non-ordinary states of consciousness. -/- As an alternative to these dominant reductionist perspectives I draw on a holistic organismic approach and the application of phenomenology (...) to ethnographic field research. More specifically, my exploration of the experiences of ecstasy is based upon a dialogal phenomenology which enabled me to generate a processual morphology of the varieties of ecstasy experience and the users’ mode of being-in-the-world. Through this endeavour I also argue for a phenomenological foundation of the study of drug-use and non-ordinary states of consciousness in general. (shrink)

"A powerfully written work" —Dr. Peter Singer, Princeton University, author of "Animal Liberation" (1975) ***** -/- In this wide-ranging and accessible book, Yunt offers a brief survey of some of the most vital historical, scientific, philosophical, and even religious aspects of animal liberation. Making connections between sexism, racism, homophobia, and speciesism, he shows why nonhuman animals are the last group of sentient beings to gain rights, as well as how the movement to extend basic rights to them—something increasing with each (...) generation—is emerging as the historical and moral end goal humanity has been moving toward throughout its evolution. What’s partly aided this evolution are scientific discoveries unveiling the biological and moral relatedness of humans and nonhuman animals. If such facts begin to inform our ethics, then our awareness of these primal bonds—such as suffering, empathy, sorrow, and joy—will enable humanity to move away from its role as oppressor, and into one of cohabitant and caretaker of the planet and other beings. The devastating issues related to our current exploitation of other species—human health epidemics, environmental catastrophes, and the unnecessary brutality against other sentient life—will finally be confronted in earnest, and it will become apparent that the embrace of animal liberation is, in fact, the beginning of true human liberation. (shrink)

As Shakespeare is closer in time and spirit to medieval psychology than to popular modern explanations of psyche, this article presents a fourfold analysis of ecstasy from Aquinas' Summa Theologiae to examine the characters of the play. I also suggest performance choices which make a variety of these ecstasies of soul more visible.

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral (...) virtues are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

The aim of this essay is to analyze the concept of ecstasy in F. W. J. Schelling's Erlangen Lectures. In particular, I intend to show how it constitutes a significant evolution with regard to the model of reminiscence and in particular that of Mitwissenschaft, as presented in the Weltalter. The essay focuses on three aspects of the notion of ecstasy: 1) its relation to temporality, 2) its relation to interiority, and 3) its noetic value and its moral dimension. (...) In conclusion, I will show how in Erlangen a movement of progressive de-historicization and de-theosophicization of ecstasy began, culminating in the Berliner Einleitung of 1842/43. (shrink)

The main theory at the core of this monograph is that the person is an entity ontologically new, since she is able to perform an act of self-transcendence, which is meant as her critical distancing from her own “self”, understood as subject of social recognition (Anerkennung), in order to open to the encounter with the world (Weltoffenheit). This allows us to consider a person in a new way, different both from confessional interpretations that see her only as a center of (...) the spirit and from reductivistic views. Schelling examines the act of self-transcendence through the concept of ecstasy, whereas Scheler associates it with the phenomenological reduction. The act of self-transcendence, that Schelling sees as originated by the “hunger of being”, is at the roots of the formation process of a person (Bildung): the person takes her shape by exiting from her own self-referential dimension and encountering otherness. If considered from this viewpoint, Plato’s “epimeleia heautou” exceeds an intimistic perspective: the “care” is no more a solipsistic self-care, but rather becomes the care through which the person transcends her own self to open to the relationships with otherness. It turns, therefore, into a care for world-openness (care for Weltoffenheit). The transformation of the individual and of society so becomes the double-faced aspect of the same process. The development of this set of problems occurs through a dialogue with Schelling’s and Scheler’s positions, but it is also supported by a historical-philosophical investigation, that for instance provides evidence of the influences of Schelling’s Berlin period on Scheler’s last theories and on the philosophical anthropology of the 20th century. Schelling was the first to conceive the concept of “eccentricity” in an anthropological sense, since until then the term had been confined to Kepler’s astronomy. Consequently, the planets’ elliptic (eccentric) movement heightens to an emblematic metaphor of human nature and freedom. The monograph also examines a possible convergence between Plato’s epimeleia heautou and Scheler’s phenomenological reduction. The book ends with a chapter on the topic of Vorbild. The exemplary testimony, that is Vorbild, becomes witnessing evidence immune from any pedagogical-moralistic intent: in fact, if it should relapse into the rhetoric of the “wish to give a good example”, it would immediately conform to the opposite logic of the model. A model is universal in so far as it makes everyone more like the others, nullifying the diversity, whereas exemplariness is universal in so far as it makes everyone more unique and motivates each one to follow her own characteristic path of existential trans-formation. Exemplarity doesn’t convey any contents, but rather encourages a kind of solidaristic involvement. Yet there are also negative exemplarities (Gegenbild) that place obstacles in the formation and block the existence of the personal center. (shrink)

Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects the memory-shock of (...) this leaving with "the work of mourning." How does such a life out of music inform Cavell's philosophical sensibility? The thought I follow in this essay is that Cavell's distinctive orientation in philosophy – call this his lifelong coming to terms with his abandoning a life in music – is guided in part by an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy. I explore this idea by summarizing my exchange with Stanley Cavell years ago when I asked him whether certain passages from his essay "Music Discomposed" are depictions of the unsayable. Cavell's response is elaborated, or qualified, by considering a pair of moments in Little Did I Know where words appear to run out. I conclude by discussing culminating thoughts on the burden borne by words and their failure that appear in Cavell's late essay on music, "Impressions of Revolution.". (shrink)

In this paper, I argue that the concept of ecstasy (Ekstase), which Schelling elaborates on starting from the Erlanger Vorträge, is his response to Hegel’s famous «shot from a pistol». With this concept, Schelling overcomes the notion of «intellectual intuition», which was at the core of Hegel’s critics, and can now conceive the preeminence of existence (in the sense of Freudigkeit der Existenz) over Being (Sein). Thus, the theory of ecstasy puts Schelling beyond German Idealism and, under some (...) aspects, allows for a post-Heideggerian reading of his philosophy. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

In the Phaedrus, Plato speaks of various forms of madness having a divine origin, and bestowing virtue on mankind. A similar, though not equivalent elevation of madness over sanity is found in the Pauline epistles, where Christians are described as fools. Diogenes of Sinope and a number of other Cynics, as well as Christian ascetics, adopted a way of life that could reasonably be described as mad. This challenged received ideas about sanity, and in so doing, emphasized its social aspect. (...) The prophet and the poet were seen in antiquity to disclosed truth, in enigmatic sayings and in odd turns of phrase that stretch everyday usage. This overstepping of reason (logos) links both inspired madness and simulated madness to the lexis of mysticism. They are, in other words, a stance, in relation to knowing, that is shared by philosophy. To use Heidegger’s idiom, the latter is nothing other than a rambling path through the forest, one which often leads nowhere. But sometimes comes to a clearing in which Being itself is made manifest as ek-stasis. -/- . (shrink)

This paper tries to show that the naturalistic view of addiction is mired in contradictions that stem from reducing the addict to a weak-willed subject who loses control over his or her body. From a phenomenological perspective, addiction reveals itself to be a habit which eventually becomes harmful, but has its primary sources in the embodied needs of a worldly subject. The aim of this paper is to uncover the dimensions of the lived addiction that are neglected in the contemporary (...) naturalistic discourse: the lived-body and the worldly context of the addict. Firstly, we try to do justice to the variety of addictions by underlying that their new and surprising forms are determined by the intersubjective tissue wherein the subject operates. Secondly, the loss of control in addiction, how the subject deals with the tendency to satisfy a need, is experienced as powerlessness, as expressed in the accounts of ecstasy addicts regarding altered states of mind. The last section of this paper will argue that this sense of powerlessness cannot be equated with a weakness of the will because a strong, forceful will engenders the same vertigo of being prey to strange powers. The embodied aspect of addiction and the spontaneous, bodily need it saturates will clarify further this claim. (shrink)

The mask's role is central to the superhero narrative. The mask is a non-human identity, which replaces the civilian, human one; sometimes forever. It is what happens to the majority of Gotham's villains. While Batman can take off his mask and at least pretend to be Bruce Wayne, many of his enemies do not have the same privilege. For characters like Two-Face, Joker, Zsasz, and Clayface, the mask is carved directly into their bodies. Like masks, scars can replace one's identity, (...) but deeply and sometimes irreversibly. Bodies and masks play a central role in ancient primitive cultures, especially during initiation rituals. The two elements are distinct, but closely linked. Wearing a mask always implies a modification of the body, or at least of the way it is perceived. Furthermore, marks left on the body, whether temporary like a face paint or definitive like a tattoo, perform a similar function to that of the mask: they replace the individual's identity and communicate a message. The initiation ceremonies destroy a previous identity to create a new one. While an individuum is a Leib, a living body that is becoming and escapes an ultimate meaning, by inflicting pain and scars, the initiation rituals aim to reduce the body to a stable dimension. First an ecstasy, induced by drugs and fasting, and through the infliction of physical pain, shatters the previous identity. The Leib is reduced to the passivity of flesh. Then a new identity is literally written on the body through scars or tattoos, thus receiving an "ultimate" sense and giving him/her a role and a place within society. The scar is a new identity, like a mask carved directly on the body. (shrink)

In this essay, I briefly review ten of the best bio flicks of artists. After laying out my criteria for assessing biographical films about artists, I review my ten choices. These films are: The Agony and the Ecstasy; Frida; Local Color; The Moon and Sixpence; Girl with the Pearl Earring; Pollock; Rembrandt; Moulin Rouge; Modigliani; and Lust for Life. For each film, I try to explain the ways in which the directors were able to show the artist’s creative processes (...) and personal challenges. (shrink)

Although we cannot find any Aesthetics system in the works of NISHIDA Kitarõ (1870-1945), the most significant and influential Japanese philosopher of the twentieth-century, one of his central themes is the role of art and aesthetics in relation with morality and religion. His aesthetics approaches are magnificent examples of his aim to overcome the innate dualism that sustains modern epistemology and a door, apparently hidden, to a better understanding of all his speculative scheme of philosophy. This paper attempts to throw (...) light to the importance of the first aesthetic approximation developed by Nishida eleven years before the publication of Zen no Kenkyû [ 善 の?究 ] (An Inquiry into the Good) (1911) and twenty-three years before the publication of the more accurate system of aesthetics that we read in Geijutsu to dôtoku [芸術 と 道? ] (Art and Morality) (1923). We will analyze the small essay entitled "Bi no Setsumei" [美 の?明] ("An explanation of Beauty") (1900) and Nishida's first definition of beauty as muga [無我] (self-effacement or ecstasy). (shrink)

The paper aims to reconstruct the final configuration of Schelling’s philosophical system from the second half of the 1840s. Particular attention is given to the Darstellung der reinrationalen Philosophie, which, according to Schelling’s intentions, was to replace the so-called Berliner Einleitung. By analyzing the different use of the notion of critique and the concept of positive philosophy in the two texts under examination, the paper shows how Schelling’s philosophy undergoes significant changes in the very last years of his life.

Universal Game Theory - The theory that all of life is a game played by consciousness’es, (Living Beings). The board is a dream like structure of the universe. The progression is through an active process of intent witnessing, and passive meditation. Which releases the tension in the nerves of the body and leads to selfless actions, moral goodness, and eventually the finish, Enlightenment. Just like a wounded creature only cares about it’s own self. Man in tensionthrough self-centered thought only thinks (...) about his own predicaments. Even if he is thinking about others it is only through his own objectionable view from his false-created center. The enemy or deterrents in the game is the conditioning created by society for ambition, greed, control and general brain washing to give theindividual a false sense of identity, the ego. This is achieved by Religion; tradition, culture, education, reasoning, linear thought, and the creation of time. Leaving him/her in constant anxiety about millions of future contingencies. Through witnessing one realizes the whole futility of one dimensional thought which only leads to more and more thought. Simple or constructed elaborately, thought being time, a human construction. The final step of the Universal Game Theory is understanding the whole process of thought and the eventual revelation of Enlightenment, Bliss, ecstasy. Which the person then understands that he/she is the creator of the life/dream with which they are in. That point being a sexual ecstasy similar to what happens in death to men. i.e. Human males release semenwhen they die, having a sexual ecstasy at their last breath. (shrink)

The choice of this topic is a curious one, perhaps, for art seems to be such a personal creation that even its appreciation may be relative and most of the time considered as subjective or reliant on impressions. Whether this idea is rightfully founded or not is reviewed in this paper: Is art’s meaning simply an impression? Does it come to exist merely because of whims and ecstasies? Is the experience of art such that it cannot but be dominated by (...) personal ideas? In answering these questions, I present a synthesis of some of the works of Jacques Maritain (1882–1973), a Thomist who has important insights concerning aesthetic experience. -/- Since the experience of art starts from its causes to the work’s appreciation by other people, the progression of this discussion is presented as follows: first, the concept of inspiration, to which artists usually attribute their creations, is assessed; then the aesthetic experience is reviewed to understand art’s qualities; and finally, the purpose and meaning of the artwork are examined. (shrink)

Voltaire has presented in his Letters on the English different themes, from religious ethics, literacy, politics, to dramas and science. The letters present us a comparison between England and France. In this parallel we shall present how Voltaire was concerned in evaluate a high standard of taste and refinements. This paper will review some of the last letters of those, which testify about this criterion of taste as a modern point of view. We shall present in Voltaire the eminence of (...) modernity in taste, refinements and on liberty of enjoying the ecstasies of a cosmopolitan life fulfilled with entertainments and luxury. We shall present how Voltaire fought against barbarism in benefit of civilization and some how against religiosity in benefit of an ethic hedonism. (shrink)

Sometimes we say that pleasure is distinct form joy, happiness, or good mood. Some other times we say the joy, happiness or good mood are types of pleasure. This suggests the existence of two concepts of pleasure: one specific, the other generic. According to the specific concept, pleasure is one type of positive affects among others. Pleasure is to be distinguished from joy, gladness, contentment, merriment, glee, ecstasy, euphoria, exhilaration, elation, jubilation; happiness, felicity, bliss, well-being; enjoyment, amusement, fun, rejoicing, (...) delectation, enchantment, delight, rapture, relish, thrill; satisfaction, gratification, pride, triumph; good mood, jollity, gaiety, cheerfulness; relief (or at least from some of these concepts). According to the generic concept of pleasure, a pleasure is any of these positive affects. Joy, gladness, contentment, merriment, glee, ecstasy, euphoria, exhilaration, elation, jubilation, happiness, felicity, bliss, well-being, enjoyment, amusement, fun, rejoicing, delectation, enchantment, delight, rapture, relish, thrill, satisfaction, gratification, pride, triumph, good mood, jollity, gaiety, cheerfulness, relief and pleasure in the specific sense are all species of pleasures. In this thesis, I shall focus on the generic concept of pleasure, in order to address the question “what is the property of pleasantness common to all positive affects?” In order to address this question nevertheless, one need to have at least rough grip on pleasure in the specific sense and on what distinguishes it from other positive affects. I shall therefore start by hinting at the problem of the definition of the specific concept of pleasure. (shrink)

This essay proposes to rethink Romanticism through the concept of bliss. I suggest not only that bliss is a core Romantic concept but also, more speculatively, that Romanticism as both a project and tendency is generated out of an antagonistic entanglement between bliss and the world of Western modernity. As the state of immediate fulfillment, free of alienation or negativity, bliss is what modernity at once promises and endlessly defers—and so bliss erupts in Romanticism against the modern world. In bliss, (...) the world is dissolved as in water, consumed as in fire, so that nothing remains except the ecstasy of the world’s annihilation or termination. Romanticism seeks to inhabit the utopia of bliss immanently; however, the world re-mediates bliss into a long-lost past or an unreachable future, because it is through this re-mediation that the world reproduces and justifies itself. As a result, Romanticism falls into endless approximation, into nostalgia and longing—and bliss becomes infinitely not-yet, fragmented, defused by the world. This essay moves through German and British Romanticism so as to collect the scattered fragments of bliss, and to re-assemble Romantic bliss in its a-worldly immanence, its post-Copernican cosmic infinity, and its (often violent) clash with the world. (shrink)

This is an early volume from a much respected psychedelic psychotherapist. He has written several other books since this one but until recently none of his books were on Amazon and still you can only find a German edition and a Spanish one (from 1993) but no English one (except a couple used copies). This is sad since these drugs have enormous therapeutic potential but afaik government suppression still prevents their use. The most interesting and readable parts are the case (...) histories of drug therapy, especially his own-e.g., on pages 114, 166 and 178. Though a very advanced therapist compared to many, he is far from finished with his intellectual growing up and clings to his psychoanalytic background even though he often mentions its extreme shortcomings. The often painfully awkward text is full of insights from his own therapeutic voyages and those of his patients interspersed with psychoanalytic nonsense. Part of the awkwardness may be due to bad translation from the German but the lack of a rational spiritual framework is a major problem (as with most therapy-or most life for that matter) that he only occasionally seems to recognize. He also sometimes veers off into the ozone-e.g., after many pages of sensible dialog he can opine that varicose veins and cancer are a result of the splitting of a psychosis (p99)! He quotes Zen and Sufi stories, Krishnamurti and Al Ghazali and even Castenada (seemingly unaware of his exposure as a fraud 20 years ago!), yet he seems oblivious to the fact that meditation is the most powerful therapy there is and to the presence around him in his own country and all over the globe of the most diverse and effective therapeutic community that has ever existed-that of the students of the great Indian mystic (ie, psychotherapist) Osho. What a great pity! He could have learned so much and advanced his therapy so far. But like most people he deliberately or unconsciously avoids anything which might wake him up too much. It's possible however that he just avoids mentioning Osho as he's radical enough to trigger the control templates in the monkey brain and enlightenment has the power to change one's whole life and not just put a bandaid on as other therapies usually do. Widmer refers repeatedly to the great LSD therapy pioneer Stanislav Grof, whose writings are one of the first that the interested reader may want to consult. Also, anyone who has a serious interest in psychedelic therapy should read Myron Stolaroff´s " The Secret Chief "-an account of the most remarkable clandestine therapist of this type of all time. It tells the story of the late Leo Zeff, who helped thousands to find themselves with the skilled and varied use of a wide variety of psychedelics. As the book is hard to find you may wish to read the info on Zeff on the web. In addition the clinical chapters in the excellent Ecstasy:the complete guide by J. Holland(2001) and her web page www.drholland.com (and elsewhere on the net) provide a broad framework and guide to therapy that is lacking here. A lovely book to add to any drug or therapy library, if you can find it. -/- Those wishing a comprehensive up to date framework for human behavior from the modern two systems view may consult my article The Logical Structure of Philosophy, Psychology, Mind and Language as Revealed in Wittgenstein and Searle 59p(2016). For all my articles on Wittgenstein and Searle see my e-book ‘The Logical Structure of Philosophy, Psychology, Mind and Language in Wittgenstein and Searle 367p (2016). Those interested in all my writings in their most recent versions may consult my e-book Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2016 662p (2016). -/- All of my papers and books have now been published in revised versions both in ebooks and in printed books. -/- Talking Monkeys: Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B071HVC7YP. -/- The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle--Articles and Reviews 2006-2016 (2017) https://www.amazon.com/dp/B071P1RP1B. -/- Suicidal Utopian Delusions in the 21st century: Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B0711R5LGX -/- . (shrink)

The articles considers how the "death of the subject" influences ways in which we understand the aestheticization of the political." It explores how Walter Benjamin's "The Work of Art in the Age of Technological Reproducibility" can contribute to a conception of the political implications of thinking the subject. It also turns to Solon's conception of subjectivity as a way of mediating the current discussion on the subject.

_ Source: _Volume 25, Issue 1, pp 5 - 35 In this essay, I place Buber’s thought in dialogue with Eckhart. Each understood that the theopoetic propensity to imagine the transcendent in images is no more than a projection of our will to impute form to the formless. The presence of God is made present through imaging the real, but imaging the real implies that the nonrepresentable presence can only be made present through the absence of representation. The goal of (...) the journey is to venture beyond the Godhead in light of which all personalistic depictions of the divine person are rendered idolatrous. Perhaps this is the most important implication of Eckhart’s impact on Buber, an insight that may still have theopolitical implications in a world where too often personifications of the God beyond personification are worshipped at the expense of losing contact with an absolute person that cannot be personified absolutely. (shrink)

Este trabajo apunta a explorar el concepto de éxtasis en Bataille y establecer una vinculación con el tratamiento que Levinas hace del insomnio en De la existencia al existente. Nuestro objetivo es mostrar cómo la idea de insomnio en Levinas puede leerse como una experiencia extática en Bataille. -/- La convergencia entre el éxtasis y el insomnio se expresa no solo en el uso de figuras similares al describir aquello que no halla registro posible en el lenguaje, sino también en (...) el concepto que queda delineado entre líneas tras estos dos movimientos. Ambos aparecen como experiencias nocturnas a las que el sujeto es arrojado tras ser asido por un tercero. Oprimido por su propia suspensión, el sujeto se halla en el desborde vertiginoso de una salida de sí que lo sitúa frente a la alteridad inacabada en un encuentro que aniquila las identidades, pero sin una fusión en una entidad superior. (shrink)

This is a 2020 revision of my 1988 dissertation "The Choreography of the Soul" with a new Foreword, a new Conclusion, a substantially revised Preface and Introduction, and many improvements to the body of the work. However, the thesis remains the same. A theory of consciousness and trance states--including psychedelic experience--is developed. Consciousness can be analyzed into two distinct but generally interrelated systems, which I call System X and System Y. System X is the emotional-visceral-kinaesthetic body. System X is a (...) harmonic system of "endokinetic" (internal bodily) and "ectokinetic" (emotionally expressive) movement. System Y is a "teleokinetic" (goal directed) system that includes language, cognition, perception, voluntary motor control, manipulation of the environment, etc. Contrary to theories of consciousness prevalent in the Western philosophical traditions that begin with Plato, I argue that System Y is secondary to and dependent upon System X, not the reverse. In building my thesis I draw upon the work of Friedrich Nietzsche, psychoanalysis, Jungian depth psychology, political anthropology, modern neuroscience, Pythagorean music theory, and the mathematical theory of harmonic systems. (shrink)

This article deals with the notion of time in the Martin Heidegger’s fundamental оntology. The conceptual deference between the ordinary understanding of time and its ontological comprehension as temporality is made here. Namely the time of the ordinary understanding is guided by the moment of “now”, but the temporality as the meaning of human being (of Dasein) has to be treated on the base of its ecstatical character. It is shown in which way the temporality as the ontological meaning of (...) human being can be the condition of possibility of any understanding of being in general. (shrink)