Through an analysis of Kafka's "Before the Law," Vardoulakis considers both various philosophical responses to Kafka's story and philosophical conceptions of the law. In particular, Vardoulakis suggests an affinity between Kafka and Spinoza's conceptions of the law.

It explains the importance of the concept of freedom in Kafka's work.

There is a narrow thread in the vast literature on Kafka which pertains to Kafka’s knowledge of philosophy, and more precisely to Kafka’s use in his fictional writings of some of the main ideas of Franz Brentano. Kafka attended courses in philosophy at the Charles University given by Brentano’s students Anton Marty and Christian von Ehrenfels, and was for several years a member of a discussion-group organized by orthodox adherents of the Brentanian philosophy in Prague. The (...) present essay summarizes what is known about Kafka’s relations to the Brentanist movement. It draws on Brentanian ideas on the evidence of inner perception, on oblique consciousness, on active introspection, on correct and incorrect judgment, and on consciousness as a species of inner tribunal, in order to throw light on central features of Kafka’s writings, including stylistic features. Special attention is directed towards Die Verwandlung and Der Prozess, and a reading of the latter is offered according to which the trial of Joseph K. occurs entirely within the mind of K. himself. The revisions in the 1997 version of the paper relate especially to the treatment of Kafka and Brentano in Arnold Heidsieck’s book The Intellectual Contexts of Kafka’s Fiction: Philosophy, Law, Religion, of 1994. (shrink)

This essay connects Kafka's German and his Jewish linguistic sources, and explores the trans-national perspective on literary tradition they helped him create. I begin with a critique of Deleuze and Guattari's view of Kafka as a minority writer, showing how their cold war nationalism scants the positive contributions that Yiddish and Hebrew made to his work. I continue with an examination of the "twilight of containment," when this postcontemporary Kafka began to break through his cold war canonization (...) after 1989. Other sections include: "German-Jewish Traditions: The Echoes of Yiddish," on Kafka's cultural politics; "Hebrew: Zionism in a Transnational Key"; and "Goethe's Jewish Voices," on Yiddish as a model for Kafka's new conception of national writing. I conclude by considering the Jewish and other sources of Kafka's "linguistic turn," and the general, transnational focus on tradition that Jewish languages brought to his classic texts. (shrink)

La literatura de Kafka no es ciertamente complaciente, obliga al lector a releer una y otra vez. El sentido no está dado allí en el texto sino desplazado, porque la única manera que tiene de acontecer es en lo ausente, en lo inacabado. En diálogo con V. Karam, el presente artículo pretende recorrer parte de esa huella, intentando repensar allí la inasibilidad del tiempo, de la ley y de la interpretación.

There is a narrow thread in the vast literature on Kafka which pertains to Kafka’s knowledge of philosophy, and more precisely to Kafka’s use in his fictional writings of some of the main ideas of Franz Brentano. Kafka attended courses in philosophy at the Charles University given by Brentano’s students Anton Marty and Christian von Ehrenfels, and was for several years a member of a discussion-group organized by orthodox adherents of the Brentanian philosophy in Prague. The (...) present essay summarizes what is known about Kafka’s relations to the Brentanist movement. It draws on Brentanian ideas on the evidence of inner perception, on oblique consciousness, on active introspection, on correct and incorrect judgment, and on consciousness as a species of inner tribunal, in order to throw light on central features of Kafka’s writings, including stylistic features. Special attention is directed towards Die Verwandlung and Der Prozess, and a reading of the latter is offered according to which the trial of Joseph K. occurs entirely within the mind of K. himself. The revisions in the 1997 version of the paper relate especially to the treatment of Kafka and Brentano in Arnold Heidsieck’s book The Intellectual Contexts of Kafka’s Fiction: Philosophy, Law, Religion of 1994. (shrink)

There is no mention of Kafka in Heidegger's work. Did Heidegger ignore him, or pretend to? It's possible that he didn't read anything by Kafka until 1945. In 1933, Kafka was still little-known in Germany; then the Nazis banned and destroyed publications by Jews. From 1945 onwards, Kafka became a fashionable author. Heidegger didn't care about fashion. In 1950, Hannah Arendt, who had renewed her acquaintance with Heidegger, gave him the gift of a collection of (...) class='Hi'>Kafka's works. Hannah Arendt wrote two articles on Kafka, in 1944 and 1948. The first was published in Germany in 1948 (Heidelberg), in a collection entitled Sechs Essays. Heidegger must have read it, sooner or later. It's possible that he discovered Kafka after 1950, but we can't be sure. Yet Kafka's work, the one which he did not publish himself, foreshadows that of Heidegger. In particular, if Heidegger read A Dog’s search, he must have received a shock. He said nothing about it. (shrink)

Kafka’s The Trial describes how K slowly loses his familiar language. He does speak a language but his language becomes monologic towards others and the language of others becomes monologic towards K. There seems to be no other person who, in a private and professional life, can respond to K’s words and gestures in a manner which K can understand. The others embody their own meanings into K’s words. Such meanings only possess value within the discourses of self-styled legal (...) experts and officials who act in K’s name. The officials and experts assume that their own meanings are authoritative. K fails to gain access to their meanings. The question posed by Husserl’s phenomenology of language is ‘why?’ Conklin argues that K’s experiences seem not unlike Lyotard’s sense of a different or ‘untranslatable gap’. K remains on the fringe or outside what the experts take as an authoritative language. As a consequence, K’s experiential body slowly dies. This death paradoxically occurs at the same moments that the experts believe that they are addressing ‘K’s case’. Conklin explains the paradox by retrieving Husserl’s sense of a meaning-conferring act and the failure of K’s meaning-conferring acts from being fulfilled in the language of the legal experts. (shrink)

The aim of this volume is to present Kafka not as a writer, or not only as a writer, but as a philosopher. However, even after narrowing the scope of our interest down, there will still be several Kafka’s left on the table. Themes treated in the volume include: the so-called Brentano School in Prague, Kafka’s affiliation to the Louvre Circle, Kafka and existentialist philosophy, Kafka’s Jewish heritage, his love of Nietzsche and Meister Eckhart and—last (...) but not least, since he was such an exceptional writer—his aesthetics. (shrink)

This study aims to grasp the two distinct artworks one is from the literary field: Penal Colony, written by F. Kafka and the other one is from painting: The Large Glass, designed by M. Duchamp. This text tries to unravel the similarities betwe- en these artworks in terms of two main significations around “The Officer” from Penal Colony and “The Bachelors” from The Large Glass. Because of their vital role on the re-production of status-quo, this text asserts that there (...) is a similarity between them in the name of being part of the dispositions of body and desire. First of all, the text focuses on Penal Colony, especially on “The Officer” in or- der to observe his obsession towards the order that ruled by former and the late officer of colony. Deleuze & Guattari conceptualize it as “abstract-machines” and it refers to a contingent state of being which is produced as an obligatory entity. Besides, The Officers’ application via a “labeling machine” on inmates creates a framewok of a dispositif in Foucauldian terminology. Secondly, it is emphasized that The Bachelors from the Large Glass for his context, due to its reference for the concept of desire and a metaphorical connotation for desire as “cocoa”. The Large Glass is also turn around the dispositif in a different way: love. It is stated that criticizing the love to nowhere which belongs to The Bachelors and it can be found that there is an abstract-machine again in back of this practice and it converts The Bachelors’ energeia to make an apparatus possible and operative. (shrink)

How does it feel to be a worm? No doubt, it feels Kafkaesque. The metamorphosis (1915) is a story of an ordinary man, Gregor Samsa, who wakes up one morning as an ungeheures Ungeziefer or ‘giant vermin’. Is this only a bodily change, or has his mind been transformed as well? And how do the people around him cope with this transformation? In this paper, I am going to examine these issues by using tools from Franz Brentano’s (1838–1917) and Anton (...) Marty’s (1847–1914) philosophy of mind and language. Rumour has it that Kafka’s stories were not only products of his own troubled soul, but were also profoundly influenced by the work of these two philosophers. In my paper, I will cover the following issues: the influence of Franz Brentano on Anton Marty and a fortiori on Franz Kafka (1883–1924), who was Marty’s student in Prague (and in this way, saying something about the School of Brentano); Brentano’s and Marty’s theory of correct and incorrect emotions, and its traces in Kafka’s The metamorphosis; Marty’s philosophy of language and communication as reflected in Kafka’s writings; and Brentano’s reism in comparison to Kafka’s nominalism, on the basis of Roberto Calasso’s interpretation of Kafka. (shrink)

The paper suggests that Kafka's writings offer a conception of freedom that is incompatible with the free will and it is not reducible to either compatibilism or incompatibilism.

-/- In Kafka's work there are many examples of metamorphic instances. Die Verwandlung is obviously the first case that we are used to know as a real metamorphic example. However, it is not the only one, for examples Odradek, but also the way Kafka describes the encounter between characters or the characteristics of some of them (Das Schloss). The paper tries to conceptualize the metamorphosis through a distinction between two forms: (1) metamorphosis or transformation that allows us to (...) know from where what is transformed comes (start) and where it arrives (arrival); (2) becoming that shows a tension between two different conditions or that not allows us to grasp something because of his intangibility. All this will be examined using the monumental work of Deleuze and Guattari and a phenomenology of metamorphosis developed by Conci. (shrink)

This article raises the critical issue as to why there has been assumed to be a boundary to legal knowledge. In response to such an issue I focus upon the works of Jacques Derrida who, amongst other things, was concerned with the boundary of the disciplines of Literature, Philosophy and Law. The article argues that the boundary delimits the law as if the inside of a boundary to territorial-like legal space in legal consciousness. Such a space is not possible without (...) the boundary. Derrida’s most insightful essay in this regard is his study of Franz Kafka’s untitled parable in The Trial. The parable represents a man who waits for an invitation to enter the Law until he nears his end. Derrida responds to the parable in his essay, “Before the Law.” This article uses the parable and Derrida’s response to it as a starting-off point for a reconsideration of the boundary of legal knowledge. In this context, Derrida asks this question: “why is Kafka’s parable categorized as Literature or Law?” Such an issue depends upon the boundary of a discipline, according to Derrida. And that focus, in turn, asks whether the boundary pre-exists any text which is represented as “Literature” or “Law” or “Philosophy.” This article claims, however, that Derrida’s theory presupposes that law, as a discipline, encloses a territorial-like space in legal consciousness. Each discipline possesses such a space. So too does the state and the university. Inside this bounded space, officials of the Law are free to consciously deliberate, reflect, and render decisions about the context of the Law. Analytically and phenomenologically before the boundary is taken for granted in an academic discipline, however, there is an unbounded non-law. The aporia of Derrida’s theory of the boundary of the Law is that the official or expert knower of the official language inside the boundary cannot assume the imagined boundary of legal knowledge without implicitly claiming to know the exteriority to the boundary. And yet, officials and expert knowers cannot know such an exterior extra-legality because, by virtue of the boundary as encircling a territorial-like space, knowledge is considered legal only when it exists inside the boundary. “The Law” is the consequence of the imagination of the expert knowers of the language as well as of the non-expert who believes in the bounded territorial-like space. (shrink)

Vardoulakis examines the history of the free will, arguing that there is no necessary connection with the concept of freedom. To illustrate this point, Vardoulakis turns to the stories of Franz Kafka, an author obsessed with narratives that show characters in confinement. However, these situations of confinement are only produced by the comical attempts of the characters to assert their free will.

This essay takes up the significance of Wittgenstein's philosophy for our understanding of literature (and vice versa) through a comparative reading of the stakes and aims of Kafka's and Wittgenstein's respective circa 1922 puzzle texts “Von den Gleichnissen” (“On Parables”) and the Tractatus Logico-Philosophicus. The essay builds upon the so-called resolute program of Wittgenstein interpretation developed by Cora Diamond, James Conant, and others, bringing its insights to bear on Kafka's perplexing work. The essay explores the ethical weight of (...) these two writers' investment in the philosophical depth of riddles, irony, and parabolic and nonsensical expression as unorthodox modes of indirect instruction about ordinary language and world, the yearning for transcendence, and the failure to achieve it. Both demanding works deal with the ethical difference between “getting” the philosophical import of a story or joke and not getting it in the context of an examination of the relationship (or lack thereof) between the activities and difficulties of everyday life, on the one hand, and those of literary expression and/or spiritual or philosophical teaching, on the other. Both strive to open readers to experience — as revealed through everyday language — by leading us beyond the dichotomy of facticity and transcendence, away from the urge to transcend the limits of language, and toward a recognition of the possibility of seeing our ordinary dealing with things as presenting a face of significance that is at once linguistically meaningful and ethically valuable. The central aim of this discussion of Wittgenstein's Tractatus and “Lecture on Ethics” alongside Kafka's parable is to examine the ways in which Wittgenstein's philosophical outlook, writing, and method (shaped by his general attraction to the Book and book writing as well as by his reading of certain works of literature) are deeply relevant to literary studies, and particularly to our understanding of literary modernism. (shrink)

Franz Kafka (1883-1924) e Albert Camus (1913-1960) publicaram suas obras em épocas que, embora distintas, enfrentavam desafios semelhantes do século XX, como as Guerras Mundiais e a crescente alienação diante de estruturas opressivas. O tcheco Kafka escreveu “O Processo” entre os anos de 1914 e 1915, publicando-o postumamente em 1925, em um período marcado pela Primeira Guerra Mundial e pelo surgimento de regimes autoritários. Já o franco-argelino Camus teceu “O Estrangeiro” em 1940 e o publicou em 1942, em (...) meio à Segunda Guerra Mundial e a ascensão do existencialismo como vigorosa corrente filosófica. (shrink)

Kafka's work provoked more than three decades of interpretations before Wagenbach provided information showing that Kafka was quite familiar with the work of Brentano and his Prague followers, including their unique conceptions of natural law, ethical concepts, and human acquaintance with them. Kafka took a lively interest in discussions in this Prague circle, and The Trial may without violence be read as a deliberate illustration for issues in philosophy of law as they would have been understood within (...) this circle. This does not require that it be read as a reflection of Kafka's personality, nor does it require that he accepted Brentano's views. Wagenbach demonstrated Kafka's familiarity with unique conceptions, in the work of Brentano and his Prague followers, of natural law and ethics. Issues involved in these conceptions are cogently illustrated in The Trial. K. is tried for violating a law which is no positive law but a necessary condition for all positive law since all positive laws imply that they ought to be obeyed. Brentano adamantly rejected all forms of nativism. The opposite of 'natural' in the phrase 'natural law' is not 'acquired' but 'conventional.' Acquaintance with natural norms is entirely acquired: persons having no such acquaintance can exist; K. is such a person. Natural norms, have a cognizable inherent correctness; any other norms oblige only through being authoritatively decreed. Conventional guilt or innocence is subject to influence. K.'s quest for a person to exert such influence on his behalf is evidence of his guilt. K. is unaware that absolute guilt is possible. In the Prometheus myth related by Plato's Protagoras, a sense of justice and right is necessary for politically organized society. Without insight into the natural sanction for correct positive laws, citizens cannot fulfill the duty rationally to choose positive laws: citizens will wrong one another, cities perish, humankind will be threatened. The myth gives important clues to the imagery of the parable "Before the Law." Every authentic act of willing requires that something be desired for its own sake. Since there is a plurality of intrinsic goods, authentic action requires recognizing the chosen action to be better than its alternatives. Acquaintance with good, evil, better, and worse is acquired, Brentano insisted, only by perceiving certain affects to be correct. Like judgments, affects are either blind or evident. Basic moral concepts arise like all others from perception. K. could become innocent by acquiring the lacking concepts. Then, actual acquittal would be just despite his guilt when arrested. His trial tests whether he is likely to experience intrinsically correct emotions. Guilt would be objective, independent of any finding by the Court. K.'s guilt entails his lacking any such concept of absolute guilt. He is convinced that guilt depends entirely on the Court, is altogether a matter of authority. This is K.'s delusion concerning his relation to the Court and the Law, the delusion illustrated by the legend, "Before the Law.". (shrink)

Kafka's literary universe is organized around constellations of imprisonment. Freedom and Confinement in Modernity proposes that imprisonment does not signify a tortured state of the individual in modernity. Rather, it provides a new reading of imprisonment suggesting it allows Kafka to perform a critique of a modernity instead.

This essay utilizes the work of the comedy group, Monty Python, as a means of introducing basic concepts in Existentialism, especially as it pertains to the writings of Nietzsche, Sartre, and Camus.

The relationship between “Towards a Critique of Violence” (1921) and the work of Franz Kafka has been well established by several critical studies devoted to Walter Benjamin. However, it is striking that Benjamin himself, already well acquainted with the work of the Czech writer in 1921, never made any comment to Kafka’s work in this essay, and, more broadly, in any of the related texts that make up the project on the ‘Critique of Violence’. In this article, we (...) analyze a set of notions (Entstellung, Entsühnung, Zurechstellen) that allow us to establish a mediated relationship between this essay and the articles and letters that Benjamin devoted to Kafka in the 1930s. This relationship takes us back to the only piece in which Benjamin carries out an autonomous treatment of the “category of justice” (1916) in which he identifies -as it will happen eighteen years later, in the essay on Kafka (1934)- the locus of justice in the “non-violence”, thus untying the knot that binds in a perhaps indiscernible way in the Jewish tradition the notions of “messianism” and “violence”. (shrink)

My article has tried to present a deep study of the novel Amerika, written by the Prague born writer, Franz Kafka, this being the first of the three novels that this novelist, belonging to the period of the Hitler regime, wrote. Therefore being helplessly relegated to the margin was an idea that was extremely familiar for this Jewish writer who died early due to tuberculosis. The article takes up the issue of marginality and assimilation as it traces closely, the (...) experiences of a very young, and initially naïve protagonist, in the alien continent\country- America. Also examined in the article is the idea of menace which the protagonist sometimes encounters. I have also tried to probe into the psychology of a character, who has been thrown, unprepared, into a new world, that too by way of punishment. (shrink)

In 'Literature Suspends Death: Sacrifice and Storytelling in Kierkegaard, Kafka and Blanchot' Chris Danta takes Genesis 22 as the starting point for an investigation of the role of literary imagination. His aim is to read the Genesis story from a literary-theoretical perspective in order to show how it can 'illuminate the secular situation of the literary writer.' To do this, Danta stages a fruitful confrontation between Søren Kierkegaard as defender of religion and inwardness and Franz Kafka and Maurice (...) Blanchot as defenders of literature. In this review, three important points in this confrontation are highlighted. 1. The problem of identification. 2. The moment of substitution. 3. The spectrality of the writer. (shrink)

Kafka, il potere, la legge e noi. Il potere della legge e la legge del potere smascherati dalle opere e dalla vita di Kafka che diventano messaggero di verità e libertà. Proprio dal fondo più cupo dell'inferno in cui è stata inghiottita l'umanità, rinasce la speranza e la possibilità del vivere e amare. Kafka ci conduce sempre su quel finire della sera che ci accompagna alla nuova alba, dove tutto è sempre e nuovamente possibile.

La vita e l'opera di Kafka come cammino verso la speranza, attraversando le lande disperate del mondo e dell'anima umana. La speranza kafkiana è la lotta contro la menzogna del potere e della della legge, in un percorso che è continuamente alla ricerca della verità e della libertà e che, per questo, non conosce mai un termine.

DESCRIPTION—An essay showing Kafka's The Trial to be written as illustration of an important theory of natural that remains quite unknown all but a very few critics and commentators. CONTENTS 1. The charge against Joseph K. Ignorance of the natural sanction of law and custom a. Brentano's conception of natural law b. Natural law and human need in the Protagoras 2. Correct choice: Brentano's ethical theory a. The empirical origin of the concepts "good" and "better": analogous derivation of "true" (...) b. Evident and blind judgments; evident and blind emotions c. Virtue is unteachable: the point of K.'s Trial d. Guilt and definite acquittal are logically compatible 3. K.'s case on appeal: innocence can be acquired 4. K.'s delusion over guilt: the legend "Before the Law". (shrink)

In this article I present some characteristics of logics and semantics of an uncertain world. I confront two-valued and fuzzy logic. I use Kafka’s novel Process as an example, which is designed as an uncertain context with words which are rigid designators without rigid meaning. That produces an uncertain world of logical and semantical relations. In presentation of problems I introduce basic concepts of Frege’s, Wittgenstein’s, Tarsky’s, Searle’s, Quine’s and Davidson’s philosophy of language. I differ the logical and semantical (...) identification of identity. I differ reference and inference, or representation and identification as two components which are fundamental for the identification of identity. I found this difference on the role of logical unification and granulation of predicates in the structure of thought and semantical unification and granulation of attributes in the structure of statements and their relation to ontology of context. Through the confrontation of the logical and semantical unification and granulation I find that the limits of logic are not also the limits of language. The semantical unification goes over the highest genre and below the lowest species. That enables the extra-logical, non-scientifical, con-fessional, pro-phetical, artistic, and ordinary use of language. (shrink)

Se presenta una visión de la epistemología como lógica del pensar y se la lleva a una elaboración de la práctica clínica como una lógica del padecimiento psíquico. Esto basado en los planteamientos de Deleuze y Guattari. Para ello se toma como punto de partida la noción de los movimientos aberrantes que, leyendo la obra de Deleuze, elaboró David Lapoujade entendiéndolos como movimientos que se producen en la relación entre distintos términos heterogéneos, pero manteniendo su heterogeneidad. Esto es vinculado con (...) la invitación que hace el mismo Lapoujade a entender la obra deleuzeana como el desarrollo de lógicas irracionales, intentando pensar desde ahí una lógica de la locura y del padecimiento mental con base en, a su vez, una lógica de las obras literarias de Proust y Kafka, tal como las leen los mismos Deleuze y Guattari. En relación con ello destacamos, por un lado, cierta lógica de conjuntos abiertos y no totalizables que estos últimos autores encuentran en la obra de Proust y, por otro lado, una lógica de la contigüidad que encuentran en la obra de Kafka. Al mismo tiempo, se establecen puntos en común entre estas dos lecturas a propósito de lo esquizoide como algo que excede a la significación del discurso, así como a la normatividad de la conducta. Asimismo, en distintos puntos del escrito se extraerán las implicaciones que estos modos de pensar tienen para una práctica clínica en relación con modos de existencia subjetivos que se escapan a lo que está establecido en el campo social. De esa manera, ponemos en conjunción una aproximación epistemológica con una política. (shrink)

This essay is an introduction to a lecture course "Elements of Descriptive Psychology" delivered by Anton Marty in around 1903/04. Marty offered courses on descriptive psychology at regular intervals in the course of his career at the University of Prague. The content of these courses follows closely the ideas of Marty’s teacher Franz Brentano, though with some interesting divergences and extrapolations. The present work is a historical and systematic introduction to an extract from notes taken of Marty’s lecture, with some (...) discussion of the work of Dilthey on similar topics, and of Marty’s influence on Franz Kafka and on the Gestalt psychologist Max Wertheimer. (shrink)

Po-etiche che ci accompagnano. La parola, il linguaggio, l'orrore, la speranza e lo stupore: Paul Celan e Ingeborg Bachmann. La voce, il silenzio, la libertà e il linguaggio: dall'arbitrio originario a Emily Dickinson e oltre. Percorsi etici e poetici: da Spinoza a Kafka, passando per P. Ricoeur e fino a Elizabeth Bishop, Marianne Moore, Margherita Guidacci, Nadine Gordimer e Bianca Maria Frabotta .

There is congruence between Nietzsche’s philosophy of life and the biopolitical philosophy of Giorgio Agamben. For both philosophers the human animal possesses a divided relationship to its being alive. For both philosophers this division is of a political nature, such that membership in political community as we know it is conditional on the human animal’s alienation from its biological being. Both philosophers are also concerned with the possibility of transformation and, because of the connection they establish between politics and animality, (...) link this possibility to a change in the relationship between humans and their being alive. Yet both philosophers end up with an entirely different understanding of the nature of this change, and of its potential scope. This paper is an attempt at clarifying this disagreement between Nietzsche and Agamben, and with using it to come to a better understanding of the latter’s political ontology. It presents a reading of Kafka’s “The Burrow” in an attempt to show how Agamben’s concept of the anthropological machine challenges the Nietzschean program of the affirmation of life as will to power. (shrink)

In hyper-modern society, food has become a source of endemic discontent. Many food products are seen as ‘tainted’; literally, figuratively or both. A psychoanalytic approach, I will argue, may help us to come to terms with our alimentary predicaments. What I envision is a ‘depth ethics’ focusing on some of the latent tensions, conflicts and ambiguities at work in the current food debate. First, I will outline some promising leads provided by two prominent psychoanalytic authors, namely Sigmund Freud and Jacques (...) Lacan. Subsequently, I will elucidate why our chronic dependency on high-tech food production apparently fails to meet consumer needs, focusing on some scenarios of escape, such as anorexia, cultured meat and ersatz food. And I will use ‘genres of the imagination’ to flesh out how food consumption has become a podium for enacting cultural symptoms, moral outcries, provocative identities and practices of the Self. Notably, I will discuss a story by Franz Kafka, a painting by Pablo Picasso and a food novel by Margaret Atwood. (shrink)

Since late antiquity, a connection was made between Jews and the psychological state of despondency based, in part, on the link between melancholy and Saturn, and the further association of the Hebrew name of that planet, Shabbetai, and the Sabbath. The melancholic predisposition has had important anthropological, cosmological, and theological repercussions. In this essay, I focus on various perspectives on melancholia in thinkers as diverse as Kafka, Levinas, Blanchot, Rosenzweig, Benjamin, Bloch, Scholem, and Derrida. A common thread that links (...) these thinkers is the hopelessness of hope imparted by the messianic belief in a future that must be perpetually deferred. (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)

[Presented at the 52nd Annual Conference of the Society for Phenomenology and Existential Philosophy (SPEP), University of Oregon, 24-26 October. Part of the panel Events, Actions and the Problem of Agency in the Wake of Deleuze’s Logic of Sense, organized in collaboration with Sean Bowden and James Williams.] In this paper I will bring the positions of Gilles Deleuze and Paul Ricoeur into proximity with each other in order to draw out points of conflict. I do not aim to solve (...) these conflicts, nor to develop them into a full clash. Rather, I will show that both Ricoeur and Deleuze develop a theory of novelty that can be characterized as a reversal of Platonism. These theories are not opposed per se, but they differ in orientation. Deleuze situates novelty in the virtual event. This virtual event can be understood as a singular point of transition that transforms one system into another. Or to catch the event in a somewhat more concrete image, it is a kind of metamorphosis (in Kafka’s sense). In contrast, Ricoeur situates novelty in human actions that are played out as a fruitful tension between two poles. This tension opens up a field of potentiality in which new ideas and novel meanings can emerge. Ricoeur has analysed this tension on many levels. Its most basic structure can be found in what Ricoeur calls a living metaphor. This living metaphor is itself something ‘in action’; it brings two opposed semantic fields into a fruitful tension with each other. This tension reveals a previously unnoticed proximity between these two semantic fields, without destroying their distance. In this way a new, third semantic field is opened up that is only given in potential. Ricoeur argues that it is within tensions like this that generative differences arise, resulting in new ideas and novel meanings. The main point of divergence between Deleuze and Ricoeur can therefore be framed in two contrasting pairs: virtual event versus human action; point of transition versus tension (or: metamorphosis versus metaphor). (shrink)

Aida Míguez Barciela explora la literatura evocando a la vez problemas fundamentales en la historia de la filosofía: los límites de la razón en la interpretación de Swift, la relación del capital y la moral en las novelas de Balzac y Defoe, la cuestión de la libertad del individuo en las lecturas de Kafka y Henry James, así como el problema del arte y la vida en Thomas Mann y Yourcenar. Con un estilo personal y al margen tanto de (...) los trabajos puramente académicos como de la crítica literaria más convencional, "Cuando los pájaros cantan en griego" incluye también ensayos sobre Virginia Woolf y Jane Austen, Melville y Mishima, Tolstói y los poemas homéricos, así como sobre otros autores que solemos considerar «clásicos». (shrink)

Nadie sabe lo que quiere la Justicia porque la justicia no se deja escribir. Cuando digo escribir, digo instituir. La Justicia no se deja instituir. Con ello debe lidiar la actividad judicial, con el límite mismo, con la propia imposibilidad. Límite que exhibe oculto que hay algo allí que no hace cuerpo. Que hay algo que el orden de lo simbólico no logra apresar. Legendre decía: en occidente, instituir es escribir. Instituir a los hombres es ante todo, escribirlos, inscribirlos, ¿marcar (...) sus cuerpos? Kafka lo sabía bien. La democracia enfrenta también un desafío similar: asumir que el signo de lo ilimitado la acompaña en el regazo mismo que la dialéctica de la modernidad le ofrece. Los escritores, señala Milner, han descripto lo ilimitado para condenar sus consecuencias y sustraerse a ellas, como el caso de Rousseau, o para constatarlas y combatirlas mediante estrategias de inversión, de Baudelaire a Brecht.Arrasar con la diferencia es no soportar el límite, aquello que hace borde, aquello que no se deja decir. En otras palabras no aceptar la falta en el lenguaje. El presente trabajo pretende mostrar que es, precisamente, el punto de cruce que constituye el límite mismo, el lugar que aloja un encuentro posible entre justicia y democratización. El límite, lejos de clausurar, posibilita aquel enlace, lo augura. Es a nivel del lenguaje que esta relación requiere ser situada. Democratizar la lengua supone horizontalizarla, en otras palabras, abogar por la apertura y circulación del sentido. Son las teorías críticas del derecho las que aportan las herramientas necesarias para pensar esta articulación. Como señala Cárcova, es en el campo del sentido en donde el derecho adquiere su especificidad y produce los efectos que le son propios. Profundizar la democracia desde el campo jurídico exige, ante todo, democratizar al derecho mismo. (shrink)

his study explores Pynchon’s mammoth novel, Against the Day, in terms of the minor practice of language as proposed by Deleuze and Guattari in their book Kafka: Toward a Minor Literature, which opens up new possibilities for literary criticism. With his idiosyncratic, intensive, and inventive practice of language, Pynchon shatters the already existing notions of appropriate and homogenizing forms of major language. The novel demystifies the language’s institutionalized system of signification and defies identifiable decipherable meaning in many ways, such (...) as covert and overt deterritorialization of language, escape from “territorial” and “representational” language, defiance of signification, neutralization of sense, asyntactical language, phantasmagorical and absurd tales, quizzical jokes, silly songs, and asubjective free indirect narration. Against the Day’s practice of language prefers the territory of asubjective insignification to subjective, symbolic, and signifying usage of language so as to dismantle the territory of representation; thus, it pushes the major language towards or even out of its limits. (shrink)

Starting from Jaspers’ analysis of attitudes in Psychologie der Weltanschauungen and analyzing their causes, we find an essential description of the human being. The human condition of being in the world (Heidegger, Jaspers) can be troubled (Freud, Jung). However, this is characteristic for human life (Jaspers, Schellenbaum). Among all attitudes, the enthusiastic one is the more consistent with human being’s dynamic nature (Bergson, Jaspers, Schellenbaum). The human being feels himself deeply touched (Scheler, Jaspers) and becomes stunned. The aim of the (...) paper is to show that the enthusiastic view is well exposed by the act of singing. Traditionally analysed in connection with art (Cassirer, Solger, Wackenroder), the enthusiastic view gives us a “sound image” of the human being since his childhood (Gehlen, Leydi). In everyday life and by all its difficulties (Freud, Jung, Schellenbaum, Jaspers), the human being discloses his nature in acoustic manifestations (Keil, Kafka, Wackenroder) by expressing the enthusiastic mode. (shrink)

The received view about rationalizing explanations divides our psychological status into two kinds: beliefs and desires. In *The Retrieval of Ethics*, Talbot Brewer makes a case against this view. In this paper, I examine our experience as readers of *The Castle* by Franz Kafka to support Brewer's critical program, that is, his challenge to the received view. I will argue, however, that a proper analysis of this experience poses a serious problem to Brewer's alternative approach, that is, to his (...) attempt to retrieve our agency thanks to a proper understanding of the role of the good in rationalizing explanations. (shrink)

My essay will take as its point of departure the paragraph from Gershom Scholem’s “Reflections on Jewish Theology,” in which he depicts the modern religious experience as the one of the "void of God" or as "pious atheism". I will first argue that the "void of God" cannot be reduced to atheistic non-belief in the presence of God. Then, I will demonstrate the further development of the Scholemian notion of the ‘pious atheism’ in Derrida, especially in his Lurianic treatment of (...) Angelus Silesius, whose modern mysticism emerges in Derrida’s reading as the ‘almost-atheism’. The interesting feature of this development is that, while for Scholem, the ‘void of God’ is a predominantly negative experience, for Derrida, it becomes an affirmative model of modern – not just Jewish, but more generally, Abrahamic – religiosity which, on the one hand, touches upon atheistic non-belief in the divine presence here and now, yet, on the other, still insists on commemorating the ‘withdrawn God’ through his ‘traces.’ What, therefore, for Scholem, constitutes the ultimate cry of despair, best embodied in Kafka’s work – for Derrida, reveals the more positive face of the modern predicament in which God has absented himself in order to make room for the creaturely reality. And while Scholem envisages redemption as the full restoration of the divine presence – Derrida redefines redemption as the ‘pious’ work of deconstruction to be undertaken in the ‘almost-atheistic’ condition of irreversible separation between God and the world. (shrink)

In the era of big data and distributed ecosystems, understanding the origin, flow, and transformation of data across complex infrastructures is critical for ensuring transparency, accountability, and informed decision-making. As data-driven enterprises increasingly rely on hybrid cloud architectures, data lakes, and real-time pipelines, the complexity of tracking data movement and transformations grows exponentially. Traditional data lineage solutions, often based on static metadata extraction or rule-based approaches, are insufficient in dynamically evolving environments and fail to provide granular, context-aware insights. This research (...) introduces an AI-augmented, cognitive graph-based framework for autonomous data lineage, designed to enhance data traceability in large-scale and heterogeneous data ecosystems. The framework leverages cutting-edge machine learning (ML), natural language processing (NLP), and graph-based reasoning techniques to enable intelligent discovery, semantic interpretation, and continuous monitoring of data assets throughout their lifecycle. The core of the solution lies in the construction of a dynamic cognitive graph that represents relationships between datasets, processes, systems, and users, enriched with contextual annotations and temporal dimensions. Our architecture incorporates self-learning mechanisms, enabling adaptive lineage discovery and automated anomaly detection. By applying reinforcement learning and stream analytics, the framework not only maps data flows in real time but also evolves with system changes, schema variations, and business logic updates. It provides both forward and backward traceability, supports impact analysis, and enhances compliance auditing capabilities. Furthermore, our system is capable of processing both structured and unstructured metadata, employing advanced NLP models to extract implicit lineage information from data dictionaries, SQL queries, and documentation. The result is a holistic, intelligent, and scalable data lineage solution that reduces manual intervention, mitigates operational risks, and supports regulatory compliance frameworks such as GDPR, HIPAA, and SOX. Experimental evaluations conducted in hybrid cloud environments using tools such as Apache Kafka, Neo4j, Spark, and Python-based ML libraries demonstrate a significant improvement in lineage coverage, anomaly detection accuracy, and system scalability. Compared to conventional lineage tools, our AI-augmented framework delivers a 30% increase in traceability precision and a 40% reduction in manual effort required for lineage tracking and governance. This research lays the foundation for a new paradigm in data governance, where AI not only enhances observability but enables autonomous cognition within data infrastructure. The framework is poised to play a critical role in enabling data democratization, operational agility, and enterprise-wide data literacy. (shrink)

This essay considers the relation between Don Quixote's hunger and the disenchantment (Entzauberung) that Max Weber understood as paradigmatic of the modern condition. Whereas hunger functions within a Hegelian dialectic of desire in Cervantes' novel, literary representations of hunger from later periods (in Kafka and post-Holocaust Polish poetry) acknowledge the cosmic insignificance of human need by substituting the desire for recognition with a desire for self-abdication. While Don Quixote's hunger drives him to seek recognition for his dream world, modern (...) literature's hungry heroes respond to hunger by changing their metaphysical identities. Like desire, hunger functions in the literatures of modernity as an index of psychic wholeness or of its lack, both enabling and resisting the hero's assimilation with the world outside the self. (shrink)

Blanchot’s rejection of vision as the fundamental philosophical metaphor is well known: “Seeing is not speaking” (The Infinite Conversation (Minneapolis: U of Minnesota P, 1993) 25). Furthermore, his central idea of the limit-experience (borrowed from Bataille) is a “detour from everything visible and invisible” (210). As part of his Heideggerian heritage, the increased importance of hearing (and aurality in general) lacks the critical appraisal it deserves. Pari passu for voice. Blanchot’s investigation of voice, spoken, interior, literary, is extensive. Various works (...) of fiction, notably The One Who Was Standing Apart From Me, explore the meme, which is intensified in critical essays on Hölderlin, Kafka, Rilke, and Valéry, where the voice’s musicality is given to performance. The studies exemplify the operation of “pure voice,” voice no longer in relation to and under the constraints of the interlocutor: its rhythm, tempo, and melody. His clearest, though lapidary, remarks on voice appear in discussion of the Narcissus mythomeme. There, voice is related not only to Narcissus’ love of an (unrecognized) self but also to the intrigue of Echo and her mimetic reproduction of voice. I give a close reading of Blanchot’s rendition of Ovid’s story to show the central role that voice plays in his “great refusal” of philosophy and concomitant opening to the outside, the “beyond being,” its nomadism and messianism. (shrink)

With the growth of wireless networks and Internet resources, cloud robotics is becoming more and more popular. A prominent innovation that has gained traction is computation offloading, which gives robots more computational power by using cloud resources and parallel processing power. Nevertheless, because there are so many variables affecting performance, research on how effective computing offloading is in cloud robotics is still underway. Our research proposes a distributed cloud robotic architecture that uses Kafka middleware as a message broker to (...) offload compute in order to overcome this problem. We evaluate the performance of our solution using image processing techniques through experimental validation. Our tests show a significant decrease in the robot's CPU burden, but an anticipated rise in the robot's communication latency. (shrink)

Popularity is Absolutely Relative -/- Popularity is a dynamic and ever-changing concept that depends on context, culture, and perspective. It is not an absolute measure of value or importance but rather a reflection of collective preference at any given time. What is considered popular in one era, society, or social circle may be entirely obscure in another. This essay explores the relativity of popularity by examining its dependence on cultural differences, time, personal perception, external influences, and its relative importance to (...) different kinds of people and their interests. -/- Popularity and Cultural Context -/- One of the most significant factors affecting popularity is cultural context. A person, trend, or idea that is well-received in one culture may be completely irrelevant or even rejected in another. For example, Bollywood actors like Shah Rukh Khan are immensely famous in India and among Indian diaspora communities but are not as well-known in Western countries where Hollywood dominates. Similarly, K-pop, once confined to South Korea, has exploded in global popularity, but there are still regions where it remains relatively unknown. Food preferences also illustrate this relativity—sushi is widely beloved in Japan and internationally, but certain traditional dishes like fermented shark from Iceland remain highly niche. -/- Popularity Over Time -/- Another crucial aspect of popularity’s relativity is its transient nature. Trends, individuals, and ideas that are highly popular today may fade into obscurity tomorrow. For instance, MySpace was once the dominant social media platform but has been replaced by Facebook, Instagram, and TikTok. Similarly, disco music was a cultural phenomenon in the 1970s, only to decline rapidly in the 1980s, while genres like hip-hop gained prominence. Even in literature, authors like Franz Kafka were largely unrecognized during their lifetimes, only to become highly influential figures in later decades. The shifting nature of popularity highlights its dependency on time and societal evolution. -/- Personal Perception and Popularity -/- Popularity is also influenced by individual perspective. What one person considers popular may differ significantly from another’s viewpoint. For example, Lionel Messi and Cristiano Ronaldo are regarded as two of the greatest footballers globally, yet someone uninterested in sports may not even recognize their names. Similarly, within the realm of literature, J.K. Rowling’s Harry Potter series is immensely popular worldwide, but some readers may prefer classic novels by Jane Austen or contemporary sci-fi by authors like Liu Cixin. Social media algorithms further amplify this subjectivity by creating personalized digital environments where different individuals are exposed to different popular trends based on their interests. A person who follows tech news might frequently see updates about Elon Musk, while another who follows beauty influencers may be more familiar with Huda Kattan. -/- The Role of External Influences -/- External influences such as media, marketing, and peer pressure also play a significant role in shaping popularity. Companies invest heavily in advertising to make products appear popular, sometimes manufacturing trends through strategic branding. For example, Apple’s iPhone has been marketed as a must-have device, leading to its sustained popularity, even though there are many competitive alternatives. Similarly, viral TikTok challenges can rapidly turn a simple dance or phrase into a global sensation, such as the "Renegade" dance or the phrase “It’s Corn!” which gained massive traction online. Likewise, the film industry often uses celebrity endorsements to boost a movie’s appeal, as seen with blockbuster franchises like Marvel’s Avengers, where well-known actors contribute to the films’ massive success. However, these external forces do not create universal popularity but rather localized bursts of attention within specific communities. -/- The Relative Importance of Popularity to Different Interests -/- The importance of popularity varies depending on the field of interest and personal aspirations. For entertainers, such as musicians, actors, and influencers, popularity is crucial for success because their careers rely on public engagement and audience growth. For example, pop stars like Taylor Swift and BTS thrive on maintaining a high level of popularity to sell albums, concert tickets, and merchandise. -/- In contrast, popularity may be less relevant for scientists, researchers, or intellectuals who prioritize accuracy and innovation over public approval. Albert Einstein and Nikola Tesla were not as popular in their early careers, but their groundbreaking contributions ultimately reshaped history. In academic fields, success is often measured by peer recognition and contributions to knowledge rather than mainstream popularity. -/- Similarly, in politics, popularity plays a dual role—it is essential for election campaigns and public trust, but effective governance often requires making unpopular decisions. Leaders such as Abraham Lincoln and Winston Churchill were controversial in their time but later gained historical admiration for their impactful decisions. -/- For entrepreneurs and business leaders, popularity can translate into brand loyalty and financial success. Figures like Steve Jobs and Elon Musk have leveraged their personal and corporate popularity to drive innovation and business growth. However, in industries such as medicine and law, professionals rely more on expertise and reputation within their field rather than mass popularity. -/- Conclusion -/- Popularity is not a fixed or universal concept but a relative phenomenon shaped by cultural context, time, individual perception, external influences, and the significance it holds in different fields. It is a temporary and subjective measure of collective interest rather than an inherent characteristic of any person, idea, or object. Recognizing the relativity of popularity helps us understand its impermanence and the factors that influence it, allowing us to form more independent and informed perspectives rather than blindly following trends. In a world where popularity is constantly shifting, it is essential to prioritize authenticity and personal values over fleeting external validation. -/- . (shrink)

Mark Coeckelbergh starts his book with a very powerful picture based on a real incident: On the 9th of January 2020, Robert Williams was wrongfully arrested by Detroit police officers in front of his two young daughters, wife and neighbors. For 18 hours the police would not disclose the grounds for his arrest (American Civil Liberties Union 2020; Hill 2020). The decision to arrest him was primarily based on a facial detection algorithm which matched Mr. Williams’ driving license photo with (...) the picture of a man who was suspected of watch theft two years earlier. Not only did the computer ‘get it wrong’ as one of the detectives said, when Mr. Williams made them aware that the picture of the suspect obviously wasn’t resembling him, the probably unreliable algorithm very likely contributed to racial discrimination (Hill 2020). It is well documented that many available facial detection algorithms at this time had significant problems (e.g. a comparably high false positive rate) with respect to black persons, like Mr. Williams (NIST 2019). Multiple causes may exist, such as unbalanced training datasets and insufficient optimization. Coeckelbergh compares the disturbing case of Mr. Williams with a political interpretation of Franz Kafka’s The Trial, where the protagonist, Josef K., is accused of an unspecified crime by an opaque, oppressive and absurd bureaucracy: “In the 21st-century United States, Josef K. is black and is falsely accused by an algorithm, without explanation” (p. 2). (shrink)

Etiche e poetiche negli arcipelaghi della forza. 1) Dall'etica spinoziana alle dissavventure del sé narrante. 2) Dalle scritture/letture alle controtestualità. 3) Dalle controtestualità alla disperazione kafkiana. 4) E per finire al potere, alla legge e alla speranza in Kafka.