Foucault’s later writings continue his analyses of subject-formation but now with a view to foregrounding an active subject capable of self-transformation via ascetical and other self-imposed disciplinary practices. In my essay, I engage Foucault’s studies of ancient Greco-Roman and Christian technologies of the self with a two-fold purpose in view. First, I bring to the fore additional continuities either downplayed or overlooked by Foucault’s analysis between Greco-Roman transformative practices including self-writing, correspondence, and (...) the hupomnemata and Christian ascetical and epistolary practices. Second, I add exegetical support to recent arguments denying Foucault’s advocacy for the death of the subject per se. In fact, my analyses show that Foucault’s ethico-aesthetic turn and its corresponding concern with self-transformation and self-(re)constitution via ascetical practices assumes a subject with rational and volitional capacities. Without these capacities, the art of living Foucault describes is not possible. (shrink)

This paper begins with a discussion of Foucault's examination of Seneca's epistles in his late essay, "Self Writing." I argue that Foucault offers an accurate and interesting account of the practices Seneca employs in his epistles pursuant to his art of living. This paper then considers Foucault's interpretation of Seneca's art of living as an aesthetics of existence. I argue that this interpretation is unsatisfactory, instead suggesting that Seneca's art of living is a plausible response (...) to the problem of suffering. I close by arguing that such a conception of Seneca's art of living makes it relevant for present-day human beings, who, like Seneca, are subject to the problem of suffering. (shrink)

Misreadings of Derrida's Of Grammatology were prevalent from the time of its debut, up to the present day. For fifty years, Derrida's generalised textuality has been misread as though he meant there was nothing outside text in the traditional sense. This misreading always serves to re-institute notions of linear temporal progress, either among self-styled avant-garde authors who would like to break with past traditions, or among self-styled conservatives who hope to repeat them. If the binaries that divide these (...) works from past texts are undecidable, the ground for such temporal progress disappears, along with the divisions by which we create linear narratives of history. The misreading of Derrida is an attempt to exorcise this undecidability and regain the intellectual and market value of novelty or repetition. (shrink)

[First paragraphs: This essay takes its practical orientation from my experiences as a member of a philosophy reading group on death row at Riverbend Maximum Security Penitentiary in Nashville, Tennessee. Its theoretical orientation comes from W. E. B. Du Bois’ lecture-turned-essay, “Criteria of Negro Art,” which argues that the realm of aesthetics is vitally important in the war against racial discrimination in the United States. And since, according to Michele Alexander’s critically-acclaimed The New Jim Crow: Mass Incarceration in the Age (...) of Colorblindness, the prison system should be the primary front today in this war, my essay’s ultimate aim is t/o articulate a new criterion of the present-day “Negro” art being created by a prison population that is still overwhelmingly constituted by persons of color. In my first section, I will show how Du Bois’ insights in “Criteria of Negro Art” remain relevant today, especially in the prison context, and argue that it is thus appropriate for my new criterion to be shaped by his distinctive conception of “propaganda.” In my second section, through a close reading of two texts by Michel Foucault (the pivotal thinker of modern imprisonment), I will flesh out this new criterion, “self-torsion,” defined as the effect of prisoners’ attempts at self-care within a prison system that distorts those attempts into further exploitation of both prisoners and the outside world that imprisons them. And my final section, in an attempt to illustrate this new criterion’s efficacy as a form of propagandistic resistance to contemporary racism, will deploy self-torsion as a critique of two artworks created by imprisoned members of my reading group at Riverbend penitentiary. (shrink)

This paper examines the role of self-documentation in the care of the self. As is well known, Michel Foucault exposes how disciplinary power functions in hospitals, schools, prisons, and other institutions to train the living for productive use. An important tool of disciplinary power is documentation, or the recording and cataloguing of the living that constitutes them as objects of knowledge. I show how documentation creates and extends knowledge to individuals. At the same time, documents become physical (...) appendages of the lives they record, which, while separable from those lives, nevertheless affect those lives. Despite these apparently negative functions, Foucault finds that documentation can also be the means by which the living take over their own disciplining. In writings about both fiction and ancient ethics, Foucault points to self-documentation as a way of objectifying the self before the self, so that the self may train itself according to self-imposed standards. Although disciplinary power may be inescapable, self-documentation offers a technique of counter-discipline that functions alongside and against institutional discipline. (shrink)

FEEL FREE TO CITE - IGNORE IN-PDF REQUEST The eight year gap between the publication of Volume I (1976) of The History of Sexuality and Volumes II and III (1984) has provoked a fair amount of debate within scholarly circles. Does it represent a fundamental rethinking of the analysis of power and knowledge begun in Volume I, or is something else at stake? And what does the shift in emphasis regarding power and resistance after these eight years ultimately entail? James (...) Miller’s influential, if often flawed, biography of Foucault has provided one of the leading interpretations of this gap in Foucault’s publishing career. On Miller’s account, the turn towards governmentality and technologies of the self represents something of a tacit admission of failure on Foucault’s part regarding his Volume I rendering of power and resistance.1 Now, it seems to me that there is something right about this reading – we can map a shift in Foucault’s consideration of power and resistance in this period, culminating in the 1982 essay, “The Subject and Power,” which it seems to me can be read as a perverse re-writing of the themes of Volume I. However, the idea that this eight year period represents a ‘hard break,’ or an introduction of an incommensurability between resistance as tactical reversal (Volume I) and resistance as.. (shrink)

Some scholars have identified a puzzle in the writings of Mary Astell (1666–1731), a deeply religious feminist thinker of the early modern period. On the one hand, Astell strongly urges her fellow women to preserve their independence of judgement from men; yet, on the other, she insists upon those same women maintaining a submissive deference to the Anglican church. These two positions appear to be incompatible. In this paper, I propose a historical-contextualist solution to the puzzle: I argue that the (...) seeming inconsistency can be dispelled through a close examination of (i) the concepts of selfhood and self-government in Anglican women’s devotional texts of the period, and of (ii) the role that these concepts play in Astell’s feminist arguments. (shrink)

This paper aims to highlight some major differences between the ethics of “self-becoming”, as it was sketched by Friedrich Nietzsche, and the so-called “aesthetics of existence”, which was developed in Michel Foucault’s late work. Although the propinquity between the two authors is a commonplace in Foucauldian exegesis, my claim is that the two projects of self-creation are dissimilar in four relevant aspects. To support my thesis I will use Foucault’s four-part ethical framework through which I will (...) analyze each of the two projects. Foucault, Nietzsche, self-creation, will to power, aesthetics of existence, ethical substance, mode of subjectification, ethical work, ethical telos, power relations. (shrink)

In Foucault, thought is spatial, and unfolds within the density of becoming, in the void that separates the subject and the object. It is ontologically independent from the authority of the contemplating self, the ‘I’. Thought is a being of its own, and comes from the outside – the world of relationships. The present study poses to itself the following question: if thinking indeed comes from the outside, then under what condition thinking can encounter itself – its colour, (...) texture and topography? That is, under what condition can man encounter himself and the world? Since this problem does not have its origin in Foucault’s work, this work does not arrive at any conclusion merely by analysing and evaluating his work alone. Rather, it aims to explore how Foucault has incorporated Kant and Nietzsche into his thinking, on the one hand, and contextualises him within the Western tradition in general and his responses to contemporaries Deleuze and Derrida, in particular, on the other. Consequently, this study is limited by the sheer weight of its own problematisation. However, the problem of ‘under what condition thought encounters itself?’ is here posed not for the sake of constituting a form of knowledge on it, but rather, it is asked from the point of view of ethics. This, in fact, demands a reordering of the forms of ontology that Foucault has developed at different stages of his career. There are three forms of ontology in Foucault’s work: the first analyses man as the subject of truth; the second takes up man as the subject of power; and the third analyses man as an ethical being. The present study reverses the order and examines his work in its totality from the standpoint of his later writings that deal with the problem of truth and ethics. It tries to connect two problems that pop up at different stages of Foucault’s career. The Order of Things asks the question, “what is man?” and in his later writings Foucault labours on the question, “how should I live my life?” This study tries to relate these two questions, as it unfolds itself. (shrink)

This essay highlights a methodological weakness in Foucault’s genealogy of neoliberalism often mistaken for a biographical shift in his philosophy. Naissance de la biopolitique is sometimes interpreted as evidence for Foucault’s conversion to neoliberalism, whereas its lack of critical acuity stems rather from its methodological limitations. Through a discussion of the “neoliberal conversion”-thesis, I highlight those limitations. Though Foucault’s appreciative tone in his neoliberalism lectures is surprising, his aim is mainly to defamiliarize readers from the dominant mode (...) of neoliberal rationality so that they can affirm the creative potential to foster new conducts, new identities, and new rationalities. Foucault did not convert to neoliberalism, but sought to destabilise it by revealing its historical contingency. However, as Foucault’s surprisingly positive tone shows, this strategy is insufficient for combatting neoliberalism. There is an elective affinity between Foucault’s own politics of creative self-reinvention and neoliberalism’s promise of a non-invasive, post-disciplinary government by indirect economic incentives alone. Foucault’s libertine stance toward subjectivity hence seems easily integrated into a neoliberal conduct of conducts. I propose to supplement Foucault’s genealogical method as he deploys it in Naissance de la biopolitique with an immanent critique of neoliberalism from the perspective of the governed. Rather than investigating neoliberal rationality as a promising endeavour for the future, we can study the real-life implementations of neoliberalism and their effects on subjective conducts. Neoliberal rationality is involved in a permanent struggle to shape the conduct of conducts along entrepreneurial and competitive lines, but subjects are refractory living beings whose conducts are not so simply transformed. Neoliberalism has had to give up its post-disciplinary aspirations and turn to the power of discipline and abandonment to enforce neoliberal norms of conduct. Neoliberalism has transformed into a negative biopolitics that sacrifices the lives of unproductive subjects as collateral damage to the overall welfare of the population. Immanent critique thereby reveals how subjects are pushed beyond their limits until neoliberal norms of conduct become unbearable. This intolerability of neoliberalism cannot be directly deduced from the writings of Becker, Friedman, or Hayek.111 It becomes manifest in the confrontation between neoliberal rationality and the material living bodies of finite human beings unable to be stretched in the ways neoliberalism requires. (shrink)

This essay develops a new account of the work the self must perform on itself in disciplinary relations through the cultivation of resources from Foucault’s later work. By tracing the ethical self-relation from Greco-Roman antiquity to the Benedictine monastery, I am able to provide insight into the relationship of self-renunciation that underlies disciplinary docility and obedience. This self-renunciation undermines individuals’ ability to lead themselves and makes them reliant on another who has mastery of the truth (...) through which the subject must be constituted. Disciplinary relations were thus seen to be doubly efficacious in producing relations of domination: they attempt to eliminate the self- leadership of the individual which not only un- dermines the individual’s potential to resist; it leaves them in need of the dominating training that disciplinary relations institute. This insight into the activity of the individual in the produc- tion of their own docility was then used to clarify and develop aspects of two perennially enigmatic but powerful areas of Foucault’s work, his focus on “bodies and pleasures” and his turn to the “aesthetics of existence.”. (shrink)

A paradox, according to Wittgenstein, is something surprising that is taken out of its context. Thus, one way of dealing with paradoxical sentences is to imagine the missing context of use. Wittgenstein formulates what I call the paradigm paradox: ‘one sentence can never describe the paradigm in another, unless it ceases to be a paradigm.’ (PG, p.346) There are several instances of this paradox scattered throughout Wittgenstein’s writings. I argue that this paradox is structurally equivalent to Russell’s paradox. The above (...) quotation is Wittgenstein’s version of the vicious circle principle which counteracts the paradox. The prohibition Wittgenstein describes is, however, limited to a certain language-game. Finally, I argue that there is a structural analogy between a noun being employed as a self-membered set and a paradigmatic sample being included in or excluded from the set it generates. Paradoxical sentences are not prohibited forever; they can indicate a change in our praxis with a given paradigm. (shrink)

This article argues, contra-Derrida, that Foucault does not essentialize or precomprehend the meaning of life or bio- in his writings on biopolitics. Instead, Foucault problematizes life and provokes genealogical questions about the meaning of modernity more broadly. In The Order of Things, the 1974-75 lecture course at the Collège de France, and Herculine Barbin, the monster is an important figure of the uncertain shape of modernity and its entangled problems (life, sex, madness, criminality, etc). Engaging Foucault’s monsters, (...) I show that the problematization of life is far from a “desire for a threshold,” à la Derrida. It is a spur to interrogating and critiquing thresholds, a fraught question mark where we have “something to do.” As Foucault puts it in “The Lives of Infamous Men,” it an ambiguous frontier where beings lived and died and they appear to us “because of an encounter with power which, in striking down a life and turning it to ashes, makes it emerge, like a flash [...]. (shrink)

The Habermas–Foucault debate, despite the excellent commentary it has generated, has the standing of an ‘unfinished project’ precisely because it occasions the interrogation of the fundamental categories of modernity, and because the lingering sense of anxiety, which continues to remain after arguments and counter-arguments, demands new interpretations. Here, I advance the claim that what gives Habermas’s criticisms of Foucault’s histories and theoretical formulations their bite is the categorial distinction he maintains between facts and rights, and by extension, between (...) causes and reasons. The Kantian distinction between de jure validity and de facto effectivity underwrites the categorial distinction between both ‘norms/facts’ and ‘reasons/causes’ conceptual pairs, which distinction, in turn, is reinforced by a picture of the natural world as matter in motion and human agency as self-determination. I want to claim that Foucault’s work enacts a critique of Habermas not by evading the problem of justification but by undermining the very distinctions Habermas needs to maintain the universal and necessary status of communicative rationality. Drawing on Jonathan Lear’s discussion of reasons and causes in relation to the unconscious, I claim that psychoanalytic discourse helps us make intelligible a type of reflection—such as one finds in Foucault’s historiography—that is at once “critical and empirical.” Moreover, the realization that the distinction between causes and reasons may not be categorial and exhaustive shows how Habermas’s insistence on the contrary leads to one particular kind of misrecognition of our practices. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

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)

In the opening chapter of his Essay Concerning Human Understanding, John Locke explains that the self-understanding or self-measure of the human mind includes an account of the mind’s limits, and so the mind’s self-understanding can provide adequate grounds for intellectual self-moderation or self-control: “If we can find out, how far the Understanding can extend its view; how far it has Faculties to attain Certainty; and in what Cases it can only judge and guess, we may (...) learn to content our selves with what is attainable by us in this State.” Furthermore: “If we can find out those Measures, whereby a rational Creature put in that State, which Man is in, in this World, may, and ought to govern his Opinions, and Actions depending thereon, we need not be troubled, that some other things escape our Knowledge.” Compared to Locke’s Essay Concerning Human Understanding, Fichte’s Wissenschaftslehre may appear to exemplify the very opposite of intellectual modesty and self-control. Unlike Locke, Fichte argues that a true system of knowledge should not seek to limit or moderate itself by reference to what is allegedly unknowable outside of it. A true system of knowledge, writes Fichte, “. . . only has to agree with itself. It can be explained only by itself, and it can be proven - or refuted - only on its own terms.” Furthermore, Fichte suggests that an appreciation of his system of knowledge requires not modesty in his readers, but rather an implicit sense of superiority: “I wish to have nothing to do with those who, as a result of protracted spiritual servitude, have lost their own selves and, along with this loss of themselves, have lost any feeling for their own conviction . . .” In this essay, I shall seek to show that, contrary to initial impressions, it is Fichtean idealism, and not Lockean (or any similar) realism, that is truly modest. According to my account, Locke’s explicit declarations concerning the modesty and limitedness of his own project exhibit a certain ignorance concerning the genuine problems at issue. In his claim to be modest, the realist Locke professes to know more than he actually does, and thus manifests his own immodesty. By contrast, the idealist Fichte must refrain from such direct claims to modesty and must appear to be immodest, precisely because he has a greater understanding of how radically limited human knowledge always is. Like Plato’s Charmides, Fichte realizes that any explicit claim to self-limitation and self-moderation would actually give lie to itself. (shrink)

This dissertation examines the influence of Cambridge Platonism and materialist philosophy on Mary Astell's early feminism. More specifically, I argue that Astell co-opts Descartes's theory of regulating the passions in his final publication, The Passions of the Soul, to articulate a comprehensive, Enlightenment and body friendly theory of feminine self-esteem that renders her feminism modern. My analysis of Astell's theory of feminine self-esteem follows both textual and contextual cues, thus allowing for a reorientation of her early feminism vis-a-vis (...) contemporary feminist theory . An entire chapter in the dissertation is devoted to Astell's use of Descartes's theory of regulating the passions to render women more substantial and inherently worthy. This rendering becomes more concrete in Astell's feminist framework as she employs the language of the social contract in her fourth publication, Reflections Upon Marriage, to depict wives as contractual slaves. I argue that her assertion concerning women's slavery is theoretically consistent when read in light of her theory of feminine self-esteem, since this theory is based on the Enlightenment principles of self-mastery, independence and self-preservation. Further, I align Astell's early feminism in a dialogic sense with the Continental "querelle des femmes," especially as presented in writings by Christine de Pizan and Agrippa. Astell, I argue, contributes to the "querelle" by framing the feminist problem she wishes to solve concerning women's equality in a robust , philosophical manner that uncannily prefigures Wollstonecraft's call for the universalization of human virtues and the reform of of women's education. (shrink)

The theory of recognition arises within Hegel's confrontation with epistemological skepticism and aims at responding to the questions raised by modern skepticism concerning the accessibility of the external world, of other minds, and of one's own mind. This is possible to the extent that the theory of recognition is the guiding thread of a critique of the modern foundational theory of knowledge and, at the same time, the point of departure for an alternative approach. In this article I will dwell (...) on six stages of the evolution of Hegel's thought prior to the Phenomenology (1797-1806),stages shed great light on the direction taken by his argumentative strategy. Synthetically, the stages are as follows: 1. Hegel naturalizes the epistemological questions; 2. to do so he critiques foundationalism qua theory of empirical knowledge; 3. and qua theory of epistemic justification; 4. the critique of foundationalism is linked to a critique of the corresponding representationalistic theory of perception; 5. this, in turn, is linked to a critique of the monological theories of self-consciousness and to the development of a model of the rise of self-conscious knowing; 6. finally, Hegel synthesizes these epistemological views in a theory of knowledge qua recognition and in a metaphilosophical theory of philosophical rationality qua self-recognition: knowledge without foundation is thus the condition of possibility of philosophy’s self-justification. (shrink)

The forceful impact of Michel Foucault’s work in the humanities and social sciences is apparent from the sheer abundance of its uses, appropriations, and refigurations. This article calls for greater self-conscious reflexivity about the relationship between our uses of Foucault and the opportunities afforded by his work. We argue for a clearer distinction between analytics and concepts in Foucault-inspired work. In so doing we draw on key moments of methodological self-reflection in Foucault’s Collège de (...) France lectures and elsewhere. This distinction helps identify different ways that Foucault might be put to productive use today as well as what can go wrong therein, a concern we develop with reference to Giorgio Agamben’s post-Foucaultian contributions to political theory. We are eager to open up a possibility that has been infrequently explored despite Foucault’s contemporary influence—-the idea that critique in and through Foucault is empirical critique. This idea can help facilitate a gain in reflexivity in the broader landscapes of contemporary theory, inquiry, and critique. (shrink)

Spinoza ’s letter of June 2, 1674 to his friend Jarig Jelles addresses several distinct and important issues in Spinoza ’s philosophy. It explains briefly the core of Spinoza ’s disagreement with Hobbes’ political theory, develops his innovative understanding of numbers, and elaborates on Spinoza ’s refusal to describe God as one or single. Then, toward the end of the letter, Spinoza writes: With regard to the statement that figure is a negation and not anything positive, it is obvious that (...) matter in its totality, considered without limitation [indefinitè consideratam], can have no figure, and that figure applies only to finite and determinate bodies. For he who says that he apprehends a figure, thereby means to indicate simply this, that he apprehends a determinate thing and the manner of its determination. This determination therefore does not pertain to the thing in regard to its being [esse]; on the contrary, it is its non-being [non-esse]. So since figure is nothing but determination, and determination is negation [Quia ergo figura non aliud, quam determinatio, et determinatio negatio est], figure can be nothing other than negation, as has been said. Arguably, what is most notable about this letter is the fate of a single subordinate clause which appears in the last sentence of this passage: et determinatio negatio est. That clause was to be adopted by Hegel and transformed into the slogan of his own dialectical method: Omnis determinatio est negatio. Of further significance is the fact that, while Hegel does credit Spinoza with the discovery of this most fundamental insight, he believes Spinoza failed to appreciate the importance of his discovery. The issue of negation and the possibility of self-negation stand at the very center of the philosophical dialogue between the systems of Spinoza and Hegel, and in this paper I will attempt to provide a preliminary explication of this foundational debate between the two systems. In the first part of the paper I will argue that the “determination is negation” formula has been understood in at least three distinct senses among the German Idealists, and as a result many of the participants in the discussion of this formula were actually talking past each other. The clarification of the three distinct senses of the formula will lead, in the second part of the paper, to a more precise evaluation of the fundamental debate between Spinoza and Hegel regarding the possibility of self-negation. In this part I will evaluate the validity of each interpretation of the determination formula, and motivate the positions of the various participants in the debate. (shrink)

In several lectures, interviews and essays from the early 1980s, Michel Foucault startlingly argues that he is engaged in a kind of critical work that is similar to that of Immanuel Kant. Given Foucault's criticisms of Kantian and Enlightenment emphases on universal truths and values, his declaration that his work is Kantian seems paradoxical. I agree with some commentators who argue that this is a way for Foucault to publicly acknowledge to his critics that he is not, (...) as some of them charge, attempting a total critique of Enlightenment beliefs and values, but is instead attempting to transform them from within. I argue further that Foucault's self-professed Kantianism can also productively be read as a means of encouraging change in his intellectual audience, a call to courage to take up the thread of Enlightenment thought that Foucault finds in Kant's essay, `What is Enlightenment?': that of directing one's philosophical efforts towards questioning and transforming one's own present in its historical specificity, for the sake of promoting the values of freedom and autonomy therein. Though much of Kant's philosophical work is focused on that which lies outside of history, Foucault locates in some of it a concern for what is happening here and now that, I argue, he encourages his audience to take up for themselves through tracing his own intellectual lineage to Kant. In so doing, he encourages contemporary philosophers to consider the value and effects of their work on the present social and political contexts in which they live. (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of (...) virtue development with Foucauldian resistance strategies. (shrink)

*As mentioned in Peter Coy's NYT essay "When Being Good Is Just a Matter of Being Lucky" (2023) -/- ----- -/- How is the problem of free will related to the problem of moral luck? In this essay, I answer that question and outline a new solution to the paradox of moral luck, the source-paradox solution. This solution both explains why the paradox arises and why moral luck does not exist. To make my case, I highlight a few key connections (...) between the paradox of moral luck and two related problems, namely the problem of free will and determinism and the paradox of self-creation. Piecing together intuitions, arguments, and insights from recent work on each of these three problems, I argue that the type of control necessary for moral responsibility can only be had by someone who is a genuine source of his own actions, but the relevant notion of sourcehood admits no coherent characterization. If our commonsense view of moral responsibility is incoherent, it is unsurprising that our commitment to the existence of morally responsible agents commits us to some paradoxical things—e.g. to both the existence and impossibility of moral luck. For more information about this article, please write to gmail account: kristin.mickelson.42. (shrink)

The practical aspect of ancient philosophy has been recently made a focus of renewed metaphilosophical investigation. After a brief presentation of three accounts of this kind developed by Martha Nussbaum, Pierre Hadot, and Michel Foucault, the model of the therapeutic argument developed by Nussbaum is called into question from the perspectives offered by her French colleagues, who emphasize spiritual exercise (Hadot) or the care of the self (Foucault). The ways in which the account of Nussbaum can be (...) defended are then discussed, including both a ‘negative’ defense, i.e. the indication of the weaknesses of Hadot and Foucault’s proposals, and a ‘positive’ one focused on the points in which Nussbaum can convincingly address doubts about her metaphilosophical account. In response to these analyses, some further remarks made by Hadot and Foucault are discussed in order to demonstrate that their accounts are not as distant from Nussbaum after all. Finally, a recent metaphilosophical study by John Sellars together with a therapeutic (medical) model developed by the author of the present article are suggested as providing a framework for potential reconciliation between all three accounts discussed and a resource for further metaphilosophical studies. (shrink)

The debate about how to interpret Foucault’s writings on neoliberalism has been going on for a while now: where some see in The Birth of Biopolitics a devastating critique of neoliberal reason, others see a laudatory exposition. Mitchell Dean and Daniel Zamora’s recent book The Last Man Takes LSD: Foucault and the End of Revolution is the newest contribution to this dispute. In it, the two authors rearticulate in book-length the position they have previously defended in several articles (...) and book chapters: that Foucault was enticed by neoliberal thought and that his reading of Gary Becker and others significantly affected the intellectual trajectory of his later years. While the arguments about what Foucault really thought of neoliberalism are central to the book – and many will no doubt find fault with its interpretation of Foucault in this regard – I set the somewhat tired exegetical debates aside for the purposes of this review. Instead, I focus on the book’s, in my opinion, more interesting project of analysing the broader relations between neoliberalism, Foucauldian thought and Left politics. Despite being a well-written and in many places highly interesting and worthwhile book, it ultimately falls short of a compelling analysis in this regard. (shrink)

In this article I analyse two complaints of white vilification, which are increasingly occurring in Australia. I argue that, though the complainants (and white people generally) are not harmed by such racialized speech, the complainants in fact harm Australians of colour through these utterances. These complaints can both cause and constitute at least two forms of epistemic injustice (willful hermeneutical ignorance and comparative credibility excess). Further, I argue that the complaints are grounded in a dual misrecognition: the complainants misrecognize themselves (...) in their own privileged racial specificity, and they misrecognize others in their own marginal racial specificity. Such misrecognition preserves the cultural imperialism of Australia’s dominant social imaginary—a means of oppression that perpetuates epistemic insensitivity.Bringing this dual misrecognition to light best captures the indignity that is suffered by the victims of the aforementioned epistemic injustices. I argue that it is only when we truly recognize difference in its own terms, shifting the dominant social imaginary, that “mainstream Australians”can do their part in bringing about a just society. (shrink)

I engage the works of Michel Foucault and Jean-Luc Marion on the nature of personhood and the self. I find Marion’s phenomenology of the “gift” a more compelling account of personhood especially granting an intuition widely shared by personalist philosophers, namely, that persons are irreducible. I end by responding to objections from within the Christian philosophical tradition.

In his lectures on neoliberalism, Michel Foucault argues that neoliberalism produces subjects as ‘entrepreneurs of themselves’. He bases this claim on Gary Becker’s conception of the utility-maximizing agent who solely acts upon cost/benefit-calculations. Not all neoliberalized subjects, however, are encouraged to maximize their utility through mere calculation. This article argues that Foucault’s description of neoliberal subjectivity obscures a non-calculative, more audacious side to neoliberal subjectivity. Precarious workers in the creative industries, for example, are encouraged not merely to rationally (...) manage their human capital, but also to take a leap of faith to acquire unpredictable successes. It is this latter risk-loving, extra-calculative side to neoliberal subjectivity that economists usually designate as ‘entrepreneurial’. By confronting Foucault with the theories of entrepreneurship of the Austrian School of Economics, Frank Knight, and Joseph Schumpeter, the Foucauldian analytical framework is enriched. Neoliberal subjectivation is not the monolithic promotion of utility-maximizing agents, but the generation of a multiplicity of modes for entrepreneurs to relate to oneself and the market. (shrink)

This article adapts John Rawls’s writings, arguing that past injustice can change what we ought to publicly affirm as the standard of justice today. My approach differs from forward-looking approaches based on alleviating prospective disadvantage and backward-looking historical entitlement approaches. In different contexts, Rawls’s own concern for the ‘social bases of self-respect’ and equal citizenship may require public endorsement of different principles or specifications of the standard of justice. Rawls’s difference principle focuses on the least advantaged socioeconomic group. I (...) argue that a historicized difference principle considers the relative standing of racial, gender, and other historically stigmatized groups; provides their members assurance by weakening incentives to manipulate justice to another group’s advantage; and may result in policies resembling reparations, though justified by forward-looking considerations of self-respect and public assurance. I then examine how disrespectful justifications were historically used to forcibly include indigenous peoples as citizens. While Rawls thinks providing citizens one package of basic liberties signals respect, indigenous self-government could better support self-respect. I invoke Rawlsian international justice, which calls for mutual respect between peoples. Indigenous peoples’ status should reflect their past and persisting peoplehood, providing assurance by weakening incentives to unjustly transform international into domestic contexts. (shrink)

The essays in this volume explore those aspects of Kant’s writings which concern issues in the philosophy of mind. These issues are central to any understanding of Kant’s critical philosophy and they bear upon contemporary discussions in the philosophy of mind. Fourteen specially written essays address such questions as: What role does mental processing play in Kant’s account of intuition? What kinds of empirical models can be given of these operations? In what sense, and in what ways, are intuitions object-dependent? (...) How should we understand the nature of the imagination? What is inner sense, and what does it mean to say that time is the form of inner sense? Can we cognize ourselves through inner sense? How do we self-ascribe our beliefs and what role does self-consciousness play in our judgments? Is the will involved in judging? What kind of knowledge can we have of the self ? And what kind of knowledge of the self does Kant proscribe? These essays showcase the depth of Kant’s writings in the philosophy of mind, and the centrality of those writings to his wider philosophical project. Moreover, they show the continued relevance of Kant’s writings to contemporary debates about the nature of mind and self. Contents: 0. Introduction Anil Gomes and Andrew Stephenson 1. Kant, The Philosophy Of Mind, And Twentieth Century Analytic Philosophy Anil Gomes 2. Synthesis And Binding Lucy Allais 3. Understanding Non-Conceptual Representation Of Objects: Empirical Models Of Sensibility’s Operation Katherine Dunlop 4. Are Kantian Intuitions Object-Dependent? Stefanie Grüne 5. Intuition And Presence Colin McLear 6. Imagination And Inner Intuition Andrew Stephenson 7. Inner Sense And Time Ralf M. Bader 8. Can’t Kant Cognize Himself? Or, A Problem For (Almost) Every Interpretation Of The Refutation Of Idealism Andrew Chignell 9. A Kantian Critique Of Transparency Patricia Kitcher 10. Judging For Reasons: On Kant And The Modalities Of Judgment Jessica Leech 11. Kant On Judging And The Will Jill Vance Buroker 12. Self and Selves Ralph C. S. Walker 13. Subjects Of Kant’s First Paralogism Tobias Rosefeldt 14. The Lessons Of Kant’s Paralogisms Paul Snowdon. (shrink)

This paper offers an interpretation and discussion of the later Foucault’s multifaceted concept of ‘critique’. It argues that critique for Foucault is composed of three main elements: the ‘spirit’ (though not all of the substance) of Kant’s understanding of the Enlightenment; the practice of parrhesia that emerged in Ancient Greece and became central to Christian subjectivity; and the transfigurative aesthetic experience of modernity that was most richly depicted by Baudelaire. In the second section, there is a discussion of (...) Foucault’s view of an event that continues to perplex Western observers, the 1979 Iranian Revolution, juxtaposed with a Marxist understanding of the upheaval. Rejecting both historical materialist and liberal historiography, Foucault offers a unique perspective on the Iranian Revolution, deeming it to be a practical manifestation of critique in an ‘irreducibly’ religious context and based on a reformation of the self situated within a wider ‘political spirituality’. However, the trajectory of politics in Iran since 1979 bears resemblance to those of other, resolutely secular post-revolutionary societies, and thus raises the questions of whether Foucault ignores the universal in privileging the particular and in refusing synthesis between the West and the Orient, adopts an Orientalist epistemology. (shrink)

This book addresses the problem of self-knowledge in Kant’s philosophy. As Kant writes in his major works of the critical period, it is due to the simple and empty representation ‘I think’ that the subject’s capacity for self-consciousness enables the subject to represent its own mental dimension. This book articulates Kant’s theory of self-knowledge on the basis of the following three philosophical problems: 1) a semantic problem regarding the type of reference of the representation ‘I’; 2) an (...) epistemic problem regarding the type of knowledge relative to the thinking subject produced by the representation ‘I think’; and 3) a strictly metaphysical problem regarding the features assigned to the thinking subject’s nature. The author connects the relevant scholarly literature on Kant with contemporary debates on the huge philosophical field of self-knowledge. He develops a formal reading according to which the unity of self-consciousness does not presuppose the identity of a real subject, but a formal identity based on the representation ‘I think’. (shrink)

The rejection of a “characterless” moral self is central to some of Bernard Williams’ most important contributions to philosophy. By the time of _Truth and Truthfulness_, he works instead with a model of the self constituted and stabilized out of more primitive materials through deliberation and in concert with others that takes inspiration from Diderot. Although this view of the self raises some difficult questions, it serves as a useful starting point for thinking about the process of (...) developing an authentic moral point of view in the context of contemporary living. In what follows, I begin to fill out and extend this picture of the self and its related notion of authenticity by exploring some of the “technologies of the self” at play in Rachel Cusk’s recent work (primarily, the Outline trilogy, _Coventry_, _Second Place_, and “The Stuntman”) that ask us to rethink the possibility and importance of stability; seek a way of constituting oneself and one’s values outside the confining structures of traditional narrative (focusing instead on a framework that might be provided by the visual arts); and give a different role to the sort of internalized other Williams sees as being at work in the mechanisms of shame. (shrink)

We may correctly say that Søren Kierkegaard is one of the most influential Christian-religious thinkers of the modern era, but are we equally justified in categorizing his writings as foundationally religious? This paper challenges a prevailing exclusive-theological interpretation that contends that Kierkegaard principally writes from a Christian dogmatic viewpoint. I argue that Kierkegaard’s religion is better understood as an outcome of his philosophical analysis of human nature. Conclusively, we should appreciate Kierkegaard first as a philosopher, whose aim is the explication (...) of human subjectivity, and not primarily as an orator of Christian orthodoxy. (shrink)

The paper studies two fundamentally different forms in which the concept of care makes its comeback in twentieth-century thought. We make use of a distinction made by Peter Sloterdijk, who argues that the ancient and medieval ‘ascetic’ ideal of self-enhancement through practice has re-emerged in the nineteenth and twentieth centuries, particularly in the form of a rehabilitation of the Hellenistic notion of self-care (epimeleia heautou) in Michel Foucault’s late ethics. Sloterdijk contrasts this return of self-care with (...) Martin Heidegger’s concept of being-in-the-world as ‘total care’ (Sorge), an utterly ‘secularized’ understanding of the human being as irreducibly world-embedded that rejects the classical ascetic ideal of world-secession. We examine further the historical roots and emergence of these contrasting contemporary reappropriations of care in the Western tradition of thought and show them to be rooted in two different ontologies and ethics of the self as either world-secluded or world-immersed, autonomous or constitutively relational. The historical point of divergence of these two approaches to care, we argue, can be found in the Christian transformation of Hellenistic ethics. (shrink)

The relation between body and mind is one of the oldest riddles that has puzzled mankind. That material and mental events may interact is accepted even by the law: our mental capacity to concentrate on the task can be seriously reduced by drugs. Physical and chemical processes may act upon the mind; and when we are writing a difficult letter, our mind acts upon our body and, through a chain of physical events, upon the mind of the recipient of (...) the letter. This is what the authors of this book call the 'interaction of mental and physical events'. We know very little about this interaction; and according to recent philosophical fashions this is explained by the alleged fact that we have brains but no thoughts. The authors of this book stress that they cannot solve the body mind problem; but they hope that they have been able to shed new light on it. Eccles especially with his theory that the brain is a detector and amplifier; a theory that has given rise to important new developments, including new and exciting experiments; and Popper with his highly controversial theory of 'World 3'. They show that certain fashionable solutions which have been offered fail to understand the seriousness of the problems of the emergence of life, or consciousness and of the creativity of our minds. In Part I, Popper discusses the philosophical issue between dualist or even pluralist interaction on the one side, and materialism and parallelism on the other. There is also a historical review of these issues. In Part II, Eccles examines the mind from the neurological standpoint: the structure of the brain and its functional performance under normal as well as abnormal circumstances. The result is a radical and intriguing hypothesis on the interaction between mental events and detailed neurological occurrences in the cerebral cortex. Part III, based on twelve recorded conversations, reflects the exciting exchange between the authors as they attempt to come to terms with their opinions. (shrink)

This paper argues that Foucault’s The History of Sexuality contains an implicit but important interpretation of Nietzsche’s critique of the ‘ascetic ideal’. It suggests that Foucault undertakes a non-reductive synthesis of seemingly conflicting aspects of Nietzsche’s thought, on the one hand, its valorisation of the ‘Dionysian’ and, on the other hand, its enthusiasm for ‘self-disciplining’. The consequences of a failure to appreciate how Nietzsche’s thought combines these two themes is illustrated through a sketch of what is termed (...) an ‘oppositional’ interpretation of his thought. This erroneously imposes the nature/culture distinction upon Nietzsche’s thought and reads its critique of morality in terms of ‘repression’, the ‘renunciation of instinct’ etc. An alternative, ‘economic’ interpretation of Nietzsche’s thought in which his ‘affirmation of the Dionysian’ and valorisation of self-disciplining are conjoined is outlined and recommended. Foucault’s interpretation of Nietzsche is presented as an example of such an ‘economic’ reading, in that it appreciates Nietzsche’s libidinal interpretation of self-denial. This combination of Nietzsche’s and Foucault’s thought is termed ‘noble ascesis’. This is illustrated through a reading of Foucault’s account of Greco-Roman ethics. Attention is drawn to how Foucault’s implicit interpretation of Nietzsche helps to clarify Nietzsche’s conception of the possibility of a ‘healthy’ appropriation of the ‘ascetic ideal’. The paper attempts to show how the ‘non-moral’ ethical practice Foucault retrieves from the classical world, on the basis of Nietzsche’s distinction between different forms of self-denial, emphasises the affective and libidinal investments of asceticism. This, in turn, is related to Foucault’s critique of the ‘repressive hypothesis’ and overcoming of the ‘repression/transgression’ model of the nature of power. However, the paper identifies some tensions between Nietzsche’s and Foucault’s accounts of asceticism and interpretations of the ethical practice of the Greco-Roman world and closes by considering whether or not these tensions can be resolved. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.1 (2005) 55-81 [Access article in PDF] Self-Knowledge in Descartes and Malebranche Lawrence Nolan John Whipple 1. Introduction Descartes's notorious claim that mind is better known than body has been the target of repeated criticisms, but none appears more challenging than that of his intellectual heir Nicolas Malebranche.1 Whereas other critics—especially twentieth-century philosophers eager to use Descartes as their whipping boy—have often (...) been uncharitable, Malebranche accepts many of the fundamental Cartesian doctrines, including mind-body dualism. But he argues that Descartes's position on knowledge of the mind is internally inconsistent. Malebranche agrees with Descartes that the existence of the mind is better known than that of body, but he vehemently denies that the nature of the mind is better known. This denial is based on his view that we lack a clear idea of the mind.2 [End Page 55]Malebranche's polemic has attracted much attention in recent scholarship.3 The growing consensus among commentators is that Malebranche develops a devastating internal critique of Descartes's theory of the mind. For example, Nicholas Jolley writes: "In his case for his negative thesis [concerning knowledge of the mind] Malebranche mounted a powerful, even annihilating, critique of Descartes. This critique embodies the remarkable insight that there is a serious muddle at the heart of Descartes's whole theory of knowledge."4 In a book-length defense of Malebranche's critique, Tad Schmaltz also emphasizes its internal character: "the interpretation here of Malebranche's theory presents it as fundamentally Cartesian, and thereby serves to reinforce his own view that he has provided an authoritative interpretation of the account of mind in the writings of Descartes and other Cartesians."5 Schmaltz also asserts: "Malebranche took his negative thesis concerning our knowledge of the soul to involve not so much a rejection of Cartesianism as an internal correction of it."6We think such remarks misstate the case. Indeed, we argue in this paper that Malebranche's polemic fails as an internal critique of Descartes's theory of the mind. Although we do not here aspire to defend Descartes's strong thesis—that mind is better known than body—we do think he can consistently maintain that we have a clear and distinct idea of the mind, and thus that our knowledge of the mind's nature is at least on a par with our knowledge of corporeal nature.7 While Malebranche's rhetoric would encourage us to think that the debate between him and his predecessor is being fought on common or neutral ground, the fact is that Malebranche often appeals to assumptions and aspects of his own theory of "Vision in God" that Descartes would reject. Once more, he interprets Descartes's theory of knowledge in ways that are misguided and sometimes even uncharitable. If Malebranche's critique succeeds at all, it succeeds only against a straw man—Malebranche's Descartes and not the historical figure.Ours is not the first effort to defend Descartes against this particular attack. When Malebranche first published his critique in Book Three of his first great work, The Search After Truth (1674),8 Descartes had been dead for over two decades, [End Page 56] but he was ably defended by the famous Cartesian Antoine Arnauld in On True and False Ideas (1683). In the ensuing debate Arnauld was clearly the superior dialectician, but while winning several tactical points, he appears not to fully appreciate the crux of Malebranche's argument, or at least that is the view of Jolley and Schmaltz.9 We have a somewhat higher opinion of Arnauld's side of the debate. Granted, some of his defenses are facile and can be easily dismissed; others however are quite compelling when properly developed. In at least one instance, we attempt to provide that development. At the same time we think it is a mistake to treat Arnauld as Descartes's surrogate or as if he had issued the final salvo from the camp of the orthodox Cartesians. Arnauld was a... (shrink)

In a study that goes beyond the ego affirmed by Freudian psychology, David Levin offers an account of personal growth and self-fulfillment based on the development of our capacity for listening. Drawing on the work of Dewey, Piaget, Erikson, and Kohlberg, he uses the vocabulary of phenomenological psychology to distinguish four stages in this developmental process and brings us the significance of these stages for music, psychotherapy, ethics, politics, and ecology. This analysis substantiates his claim that the development of (...) our listening capacity is a process that fits Foucault's conception of a practice of the self, forming our character as social beings and moral agents. David Levin contends that our self- development as auditory beings is necessary for the achievement of a just and democratic society. (shrink)

This article is a critical examination of the approach to truth in Foucault’s late writing on the topic of ‘parrhesia’. I argue that his 1983 Berkeley seminar on ‘Discourse and Truth’ approaches the topic of truth as a positive value and that this approach presents, at least prima facie, a problem of continuity with his earlier critique of the presumption of an exclusionary relation between truth and power in works such as Discipline and Punish and The History of (...) Sexuality: An Introduction. Does the ethical notion of ‘parrhesia’ imply a different relation between truth and power than the one developed in the earlier works? And if so, what are we to make of the difference? In particular, 1) what does it mean to say that speaking the truth is dangerous? And 2) Are the two positions on truth compatible? What does it take to reconcile the two perspectives? (shrink)

This essay has two aims. The first is to show that the editors of Lotus: Afro-Asian Writings and some of the writers who contributed to it (especially Ismail Ezzedine, Anar Rzayev, Tawfick Zeyad, Abdel Aziz El-Ahwani, Joseph Ki-Zerbo, Alex La Guma, Adonis, Salah Dehni, Luis Bernardo Honwana, Ghassan Kanafany, and Tozaburo Ono) attempted to reconceive of nationalism in a way that would make international solidarity constitutive of the new national projects. It is argued that this is quite different from thinking (...) of the contributors to Lotus as abandoning nationalism in favor of a supranationalist project. The second aim is to show that at least some of the contributors to Lotus thought of themselves as being the vanguard of modernity, and not as the creators of “alternative modernities”. This essay shows that some of the aforementioned contributors to Lotus implicitly drew on standpoint epistemology in order to argue that, due to their struggles against colonialism, racial discrimination, etc., they had a privileged epistemic vantage point from which to criticize modernity in its European form for not being modern enough. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book in (...) which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

Recently, the idea that our desire for the esteem of others could function as a regulative principle of social life has been criticized because the economy of esteem could reinforce oppressive structures due to expressions of mutual esteem within oppressing groups with deviant group norms. This article discusses this problem from a historical point of view, focusing on the moral and political writings of the eighteenth-century French materialist Paul Thiry d’Holbach. D’Holbach’s thoughts are relevant in two respects: For situations of (...) extreme power and wealth differences within oppressing groups, he shows that the economy of esteem does not work in favour of the members of these groups. This is so because the conditions of esteem and self-esteem of the members with lower hierarchical standing tend to be precarious, while the members with higher standing cannot use the flatteries of their inferiors as credible sources of esteem. D’Holbach concedes that self-esteem could be stabilized by refraining from self-reflection but argues that such a strategy comes at the price of an impaired capacity for protecting one’s natural needs. The upshot of his considerations is that our interest in esteem and self-esteem provides strong pragmatic and moral reasons for opposing oppression. (shrink)

The emphasis in contemporary democratic theory and in the history of political thought on the peculiarly abstract theory of popular sovereignty of Locke and his twentieth-century intellectual descendants obscures a crucial relationship between constitutional self-government and nationalism. Through a Hobbesian and Filmerian critique of Locke and an examination of the political writings of George Lawson , the article shows the necessary connections between popular sovereignty, constitutionalism and a form of national consciousness that renders concrete the otherwise abstract and airy (...) notion of the pre-political community to which government is to be held accountable, and, through amyth of national origin, memories of native traditions of self-government, and stories of heroic ancestors who successfully defended those traditions against usurpers and tyrants, gives substance to theories of constitutional government. (shrink)

This guide focuses on the content and form of excellent philosophical writing, with further comments on reading, thinking, writing processes, publication strategies, and self-cultivation.

The central task of this book is to map a subtle but significant addition to the political discourse on liberty since the early modern period; a gradual shift of focus form the individual secure in spheres of non-interference, or acting in accordance with authentic desires and beliefs, to the actions of a self at liberty. Being free stands opposed, classically, to being in someone else’s power, being subject to the will of another – in particular, to being constrained by (...) the intentional actions of others. “Constrained” usually means having choices or opportunities taken away or limited by the designs of others. But what if we press the connection between intentions and constraints a bit further, focusing less on negative constraints and more on enabling ones? Constrained or unfree, that is, not simply through a limitation of choices or options, but where free choices and intentions themselves become the object of theoretical and practical attention. What does it mean to be free or unfree in relation to these kinds of “constraints”? (shrink)

I argue that Henry Heine's assessment of the English - that they are either universal geniuses or self-interested mediocrities - is prone to an objection that draws upon his own characterization. I tried to write this in an Edwardian style but the result is a mishmash.

The paper focuses on the epistemology developed by Richard Burthogge, the lesser-known seventeenth-century English philosopher, and author, among other works, of Organum Vetus & Novum (1678) and An Essay upon Reason and the Nature of Spirits (1694). Although his ideas had a minimal impact on the philosophy of his time, and have hitherto not been the subject of a detailed study, Burthogge’s writings contain a highly original concept of idealistic constructivism, anticipating (relatively speaking) Kant’s idealism. At the same time, some (...) interesting implications for the issue of self-interpretation and self-identity can be derived from his account of the mind. At the core of Burthogge’s epistemological position is a remarkable idea of structural and functional similarity between the three human cognitive faculties, that is between reasoning, sensation and imagination. Accordingly, every cognition, intellectual as well as sensuous, contains in its structure an object-directed operation of apprehending and thus can be viewed as an intentional act in a broad sense of the term. An immediate consequence of this claim for both mind and object is that they cannot be reduced to a pure stream of sense data, but on the contrary are to be considered ontologically independent from the content of a cognitive act. Furthermore, an object of cognition is never presented to the mind directly, as it is in itself, but always under the modus concipiendi, a particular form or manner of conceiving, specific to human cognitive powers due to their internal structure. As a result, Burthogge clearly anticipates Kant in claiming that it is impossible to know reality in itself, and in situating human consciousness as if in between two unknowable spheres: the external and internal one. Since these restrictions are imposed not only on external, but also on internal cognition, that is on self-knowledge, they lead to considerable difficulties regarding the mind’s identity. Basically, two principal strategies to address this issue are available in the post-Cartesian framework of seeing the mind as an ontologically independent entity, and both of them appear to be ineffective when employed in Burthogge’s epistemology. First, the mind identity can be grounded in some extra-mental factors, preferably in matter. However, with no access to the external world in itself, and with the scope of knowledge restricted to mental phenomena, the mind’s identity cannot be defined in terms of relationship with the reality of which it knows nothing except that it exits. The second option is to explain personal identity by referring it to the intrinsic properties of the mind. Nevertheless, this strategy also faces insuperable obstacles, and for the same reasons as the former does. Since self-knowledge is no exception to the structural-functional principles imposed on cognition, the mind can also be known only under the subjective conditions of conceiving. It is, therefore, just as unknowable in itself as the external things are. The main purpose of the paper is to explore this aspect of Burthogge’s philosophy. (shrink)