This paper aims to show that Lessing develops in his aesthetics a pre-Kantian philosophy of consciousness. The concept of virtuality that the german writer puts forward in his essay Laocoon implies an interweaving of temporal dimensions similar to the threefold temporal synthesis described by Kant in the transcendental deduction of the Critique of Pure Reason. But whereas Kant thematizes an a priori of consciousness, Lessing is in search of an a priori of plastic art. It will be seen that perfect (...) sculpture presupposes the choice of that moment in time which can open the imagination to the past and the future in a way that enriches the present by transforming it into a "pregnant moment". The final aim of the article is to trace the genesis of the concept of simultaneity of temporal dimensions presupposed by the idea of the pregnant moment, and its implications for the idea of the temporality of consciousness. (shrink)

According to the transcendental Aesthetic of the Critique of pure reason, there are two properties of time that cannot be intellectualized: passage and infinitude. This study tries to show that these essential properties of time come to light in Kant’s Critique of Judgment. The contemplation of beauty will be understood as a non-successive time and the wonder that we experience in seeing the sublime will be understood through Kant’s concept of infinite moment. These two aesthetic concepts of time will (...) be integrated into Kant’s broader view of time as developed in the first Critique. (shrink)

Famously, Kant describes space and time as infinite “given” magnitudes. An influential interpretative tradition reads this as a claim about phenomenological presence to the mind: in claiming that space and time are given, this reading holds, Kant means to claim that we have phenomenological access to space and time in our original intuitions of them. In this paper, I argue that we should instead understand givenness as a metaphysical notion. For Kant, space and time are ‘given’ in virtue of three (...) related facts: (i) they are necessary grounds of the existence of all other spatial and temporal possibilities; (ii) in virtue of being such grounds, they are metaphysically linked to all other represented spatiotemporal things; and (iii) as representations, space and time issue from the nature of our faculty of sensibility rather than from an arbitrary act of choice. Understanding givenness in this non-epistemological way helps us recover what is plausible in both ‘intellectualist’ and ‘anti-intellectualist’ readings of the Transcendental Aesthetic. Anti-intellectualists are correct that space and time are given in mere sensibility, but intellectualists are correct that we depend on the understanding for consciousness of space and time. (shrink)

I analyze Deleuze’s concept of temporality in terms of its ontology and axiological (political and aesthetic) aspects. For Deleuze, the concept of temporality is non-monolithic, in the senses that it is modified throughout his works — the monographs, lectures, and those works that were co-authored with Félix Guattari — and that it is developed through reference to a dizzying array of concepts, thinkers, artistic works, and social phenomena. -/- I observe that Deleuze’s concept of temporality involves a complex ontology of (...) difference, which I elaborate through reference to Deleuze’s analyses of Ancient Greek and Stoic conceptualizations of time. From Plato through to Chrysippus, temporality gradually comes to be identified as a form that comprehends the variation of particulars. Deleuze modifies the ancients’ concept of time to suggest that time obtains as a form of ceaseless ontological variation. Through reference to Deleuze’s reading of Gilbert Simondon, I further suggest that Deleuze tends to conceive of temporality as an ontogenetic force which participates in the complex process of individuation. -/- A standout feature of this dissertation involves an analysis of how Deleuze’s concept of temporality is modified in his works on cinema. In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, temporality comes to be characterized as something other than the measure of the movement of existents. In his detailed analyses of Bergson — in Cinema 1: The Movement-Image, Cinema 2: The Time-Image, and Bergsonism — Deleuze suggests that time involves an actualization of aspects of a virtual past as contemporaneous with the lived present. While not an outright denial of the relation of temporal succession, Deleuze’s claim implies a diminishment of this relation’s significance in an adequate elaboration of the nature of temporality. -/- Further, I observe —through reference to Deleuze’s readings of Marx, Kierkegaard, and Spinoza — that (the explicitly temporal) change of societal forms of economic organization is non-reducible to that suggested by linear evolution. The claim is that putatively discrete modes of economic organization do not enjoy temporal displacement with respect to one another. This suggests that linear evolutionary models of societal development are inadequate. This further implies that temporality is non-reducible to the relation of temporal succession. In concrete terms, societal change is characterized as immanent temporal variation. -/- Taken together, these analyses yield the conclusion that Deleuze tends to conceive of the nature of temporality as involving the ongoing realization of multiple — non-identical, sometimes contrary — aspects of a stochastic process of creation that is expressed in ontogenetic circumstances, social evolution, literary works, and filmic works. (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 light of the results obtained during the last two decades in analysis of signals by time series, it has become evident that the tools of non linear dynamics have their elective role of application in biological, and, in particular, in neuro-physiological and psycho-physiological studies. The basic concept in non linear analysis of experimental time series is that one of recurrence whose conceptual counterpart is represented from variedness and variability that are the foundations of complexity in dynamic (...) processes. Thus, the recurrence plots and the Recurrence Quantification Analysis (RQA) are discussed. It is shown that RQA represents the most general and correct methodology in investigation of experimental time series. By it we arrive to inspect the inner structure of the time series connected to the signals under investigation. Linked to RQA we prospect also the method CZF, recently introduced by us. It is able to account for a true estimation of variability of signals in time as well as in frequency domain. And, consequently, it may be used in conjunction with classical Fourier analysis, accounting however that it is inappropriate in analysis of non linear and non stationary experimental time series. The use of CZF method in fractal analysis is also considered in addition to standard index as Hurst exponent. A large field of possible applications in neurological as well as in psycho-physiological studies is given. Also, there are given examples of other and (possibly linked) applications as example the analysis of beat-to-beat fluctuations of human heartbeat intervals that is sovereign in psycho-physiological studies. We give applications on some different planes to evidence the particular sensitivity of such methods. We reach the objective to show that the previously exposed methods are also able to predict in advance the advent of ventricular tachycardia and/or of ventricular fibrillation. The RQA analysis gives good results. The CZF method gives the most excellent results showing that it is able to give very significant indexes of prediction. We also apply such methods in investigation of state anxiety, and proposing in detail a quantum like model of such phenomenological status of the mind. (shrink)

[written in 2002/2003 while I was a graduate student at the University of Connecticut and ultimately submitted as part of my qualifying exam for the Masters of Philosophy] The question I am interested in revolves around Kant’s notion of the unity of experience. My central claim will be that, apart from the unity of experiencings and the unity of individual substances, there is a third unity: the unity of Experience. I will argue that this third unity can be conceived of (...) as a sort of ‘experiential space’ with the Aesthetic and Categories as dimensions. I call this ‘Euclidean Experience’ to emphasize the idea that individual experiencings have a ‘location’ within this framework much like individual objects have a location in space and time. The first sort of unity, that of experiences (or ‘experiencings’ as I will call them) is not enough. In order to have self-consciousness (ascribed atomic experiencings) there must be a consciousness in which the experiencings ‘take place’ just as in order for there to be objects there must be space in which they are located. With such a notion of experience in hand I argue that it can be used to bring together the solipsistic and non-solipsistic strands in Kant’s thinking. The resulting position I call ‘Polysolipsism.’. (shrink)

A thought experiment on the ultimate non-essence of Time.

"Time. Perception. Imagination. Phenomenological Studies on the Question of Time by Augustine, Kant and Husserl". (rus), SPb, 2013. Summary: The monograph is devoted to the key elements of the philosophy of time which determine the necessity of historicism in the analysis of subjectivity. The main idea which defined the composition and design of this work is to trace how the Kantian definition of time as the “form of inner sense” is revealed in Husserl’s phenomenology. The original intention was to understand (...) all three components of this definition. Firstly, what is the inner form, in terms of phenomenology, what are the principles of its constitution and how one can talk about the property of formation? Secondly, what is the meaning of the term "inner" in philosophy, where the division into internal and external has always been a formality, not affecting the essence of things? And finally, what sort of “sensibility” is assumed in transcendental science, bound to become the basis of understanding the history and culture. Presumably, these three Kantian concepts constituted the original plan to analyze the nature of cognitive capabilities of the subject, claiming the gnoseological stage on which the philosophy of time is unfolded. In other words, this work deals with the historical and philosophical analysis of the phenomenological principles by which the concept of time as developed in the twentieth century emerged in the framework of phenomenology. The analyze of the structure of the subject assumes that time, perception and imagination combine in a special type of inner synthesis, which may not be relevant to certain aspects of the method but maintain the basis for a kind of anthropology of time, in continuation of the traditional “inner” contemplation. I consider the inner structure of time with the account of philosophy of St. Augustine, who in many respects not only anticipated the conclusions of phenomenology, but also in his reflections encompassed deeper layers of inner experience. The first chapter is devoted to the doctrine of St. Augustine, in which the theory of time is analyzed in conjunction with the doctrine of “inner word”, specifics of memory representations and notion of inner sense. Additionally, I consider St. Augustine’s reflections about numbers that constitute the basis of aesthetic perception of music (De Musica). Thus, the philosophy of St. Augustine already covers the whole spectrum of anthropology of time, including the question of relation between time and eternity, which remains practically unexplored in phenomenology and serves as the proof of that in interactions between philosophy and theology the tradition remains important. The second chapter of this study is devoted to analysis of the transcendental aesthetic of Kant, which includes all the methodological possibilities of considering the category of time as a formal condition for any experience, consequentially serving as a foundation for further logical development by Husserl, which includes the critical disengagement of the founder of phenomenology from Kant's transcendentalism. Particular attention is paid to the origin of the concept of inner sense, as well as possible interpretations of the function of imagination, which as a transcendental ability remains the most interesting type of synthesis. Handwritten fragments of Kant’s works are also of interest to the character of the imagery as considered in detail by Husserl. Chapter three discusses the phenomenology of inner time consciousness, represented in those important aspects, without which it is impossible to speak about the internal structure of temporal experience - the subjectivity of time, retention, "living present", and the character of synthesis. Particular attention is paid to Husserl's polemics with those representatives of psychological branch in the studies of consciousness, whose ideas greatly influenced the very motivation for creating the method. Apart from the well-known criticism of Brentano, the third chapter highlights the rarely analyzed psychological ideas that motivated the choice of Husserl’s terminology - the "Präsenzzeit” by W. Stern, the "psychological analysis" by A. Meinong, and the “fusion” (Verschmelzung) by K. Stumpf. Chapter four deals with the need to analyze the specifics of image as an element of consciousness and imagery as such, which includes a system of objectified acts. Thus is revealed the very nature of synthetic connections in the acts of consciousness, as well as the presumably imaginative character of the constitution of temporal form. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

As I assume to begin with, animals with a high level of consciousness, are those beings which are more dependent on their materialistic ecological circumstances than those with less cognition. The most obvious support for this factual claim is the yet still unofficial unit of geological time named the Anthropocene Epoch demarcating human devastation of earthly resources, whereby there is no doubt which species on earth is the most materially dependent. Notwithstanding, we need to keep things quantitively in perspective. Of (...) the 545.8 gigatons of biomass on Earth of which most is plants, animals make up 0.47% while humans only 0.01%, bacteria reigns supreme with 12.8% of total. (shrink)

Roger Penrose is known for his proposals, in collaboration with Stuart Hameroff, for quantum action in the brain. These proposals, which are still recent, have a prior, less known basis, which will be studied in the following work. First, the paper situates the framework from which a mathematical physicist like Penrose proposes to speak about consciousness. Then it shows how he understands the possible relationships between computation and consciousness and what criticism from other authors he endorses, to conclude by explaining (...) how he understands this relationship between consciousness and computation. Then, it focuses on the concept of non-locality so essential to his understanding of consciousness. With some examples, such as impossible objects or aperiodic tiling, the study addresses the concept of non-locality as Penrose understands it, and then shows how far he intends to arrive with that concept of non-locality. At all times the approach will be more philosophical than physical. (shrink)

When this article was first planned, writing was going to be exclusively about two things - the origin of life and human evolution. But it turned out to be out of the question for the author to restrict himself to these biological and anthropological topics. A proper understanding of them required answering questions like “What is the nature of the universe – the home of life – and how did it originate?”, “How can time travel be removed from fantasy and (...) science fiction, to be made scientific and practical?”, and “How can the proposed young age of genus Homo be made to actually be reasonable – when simply stating it would be solid ground for instant rejection and dismissal?” The result is that the article also talks about subjects like Artificial Intelligence, General Relativity, and cosmology. -/- From where did life originate? God? Evolution? Panspermia? If the tendency of humans and scientists to regard undiscovered science as pseudoscience can be overcome, Einstein gave another alternative to consider when he introduced General Relativity. Time isn’t linear – progressing in a straight line from past to present to future. That assumption ignores Relativity which states that space AND TIME are curved. Where did life and the genetic code come from? Can the answer build AI? -/- The first question can be answered by the section of this article titled SETI, Evolution, and Time which says life (possibly multicellular and intelligent) and the genetic code came from humans acquiring knowledge of these things over the centuries, then applying that knowledge – via terraforming, accumulation of raw materials like amino acids and nucleic acids, genetic engineering - to a time in the past when life didn’t exist. From that origin, life evolved through innumerable mutations and adaptations, with humans once again acquiring knowledge of it in cyclic (nonlinear) time. -/- The second question is answered by saying artificial intelligence (AI) as the product of life is only half of the equation. The other half refers to Relativity’s curved space-time and violation of the notion that time always travels from past to future. We have always lived in an artificially intelligent, non-probabilistic universe where everything in time and space is connected into one thing by quantum entanglement – making the brain and genes products of binary-digit activity or artificial intelligence (life is not merely dependent on biology’s “lock and key” mechanisms but also possesses AI). -/- The earliest documented representative of the genus Homo is Homo habilis, which evolved around 2.8 million years ago. Scientists used to believe there was a straight line from H. habilis to us, Homo sapiens. This article will use the “advanced” waves loved by Physics Nobel laureate Richard Feynman, view the history of science through the lens of Conic Sections applied to Relativity’s curved space-time, and incorporate the necessity of so-called imaginary time * – popularized by Prof. Stephen Hawking. While the evolutionary proposals are more in agreement with this early straight line than with modern theories, Albert Einstein’s General Relativity is used to transform the straight line into a curved line, ultimately concluding that Homo habilis (H. habilis) originated only (and unbelievably, as far as today’s science and technology is concerned) ~250,000 years ago. Other branches and dead ends of Homo – e.g. Neanderthals – are the result of mutations and adaptations, with the resultant modifications to anatomy and physiology. The surprisingly young age of H. habilis allows nearly 200,000 years for habilis, or one of its descendants, to reach Australia … if this country’s indigenous Aboriginal population did, as claimed, reach this “island continent” 60,000 years ago. -/- * The ultraviolet catastrophe, also called the Rayleigh–Jeans catastrophe, is a failure of classical physics to predict observed phenomena: it can be shown that a blackbody - a hypothetical perfect absorber and radiator of energy - would release an infinite amount of energy, contradicting the principles of conservation of energy and indicating that a new model for the behaviour of blackbodies was needed. At the start of the 20th century, physicist Max Planck derived the correct solution by making some strange (for the time) assumptions. In particular, Planck assumed that electromagnetic radiation can only be emitted or absorbed in discrete packets, called quanta. Albert Einstein postulated that Planck's quanta were real physical particles (what we now call photons), not just a mathematical fiction. From there, Einstein developed his explanation of the photoelectric effect (when quanta or photons of light shine on certain metals, electrons are released and can form an electric current). So it appears entirely possible that another supposed mathematical trickery (imaginary time and the y-axis of Wick rotation) will find practical application in the future. -/- The article includes mathematical references to cosmology (spoiler alert – you’ll read about things like Vector-Tensor-Scalar Geometry, topology, the “eternal present”, Einstein’s Unified Field, the inverse-square law, and there being no Big Bang and no multiverse - but there will also be no equations). -/- The other subheadings in this essay are – -/- NONLINEAR TIME AND ELECTRICAL ENGINEERING (about a 2009 electrical engineering experiment at America’s Yale University, and cosmic wormholes) -/- BITS AND TOPOLOGY (base-2 maths aka Binary digiTS, Mobius strips, and figure-8 Klein bottles) -/- WICK ROTATION, CAUSALITY, AND UNITING TIME (do past, present and future co-exist in an “eternal present”?) -/- DIGITAL BRAIN, DIGITAL UNIVERSE (if the brain and the universe are ultimately composed of binary digits, we'll someday be able to do the same things with the brain and universe that we now do with computers) -/- PROPOSAL: HUMAN AND ANIMAL INSTINCTS ARE THE RESULT OF THE UNIVERSE BEING UNIFIED BY BINARY DIGITS (AND TOPOLOGY) (If everything in the universe is ultimately composed of electronic BITS, then the universe must possess Artificial Intelligence - some prefer the term Cosmic Consciousness) -/- INFORMATION THEORY CONQUERS A RED GIANT (preserving Earth by keeping the Sun near today’s level of activity forever). 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The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness – the experiential quality of subjective awareness – as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence (...) of something like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. (shrink)

Even though Husserl’s thinking has received a remarkable amount of attention over the last decades, the full extent of many of its central aspects still remains surprisingly unknown. It is in particular the development of genetic phenomenology that is at stake here, as it plunges ever deeper into “originary constitution” ferreting out the structural relations between inner time-consciousness, affectivity and intersubjectivity, while at the same time never giving up static phenomenology and a certain prioritizing of Cartesian subjectivity. In the following (...) I would like to point to a reading of Husserl’s philosophy of time and subjectivity that is based on material that was never examined by Derrida. A general problem for interpreting this theme is that Husserl never succeeded in presenting a systematic overview of a phenomenological “transcendental aesthetics”. As a consequence, the co-originality and mutual interdependence of the constitution of space and time, of originary spacing as flesh (Urleib) and originary temporization (Urzeitigung), which first enables a comprehensive grasp of the originary processes in the living streaming present, has remained virtually unknown. In order to reach these themes, the interaction between the radicalized and the universal reductions has to be outlined. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Humankind is currently confronted with a critical challenge that determines its very existence, not only on an individual, racial, or national level but as a whole species: the fight against climate change and environmental degradation. To win this battle, humanity needs innovations and non-linear thinking. Nature has long been a substantial information source for unthinkable discoveries that save human lives. The paper suggests that by understanding the nature, emergence, and mechanism of serendipity, the survival skill of humans, humanity can (...) capitalize on it to learn from nature and generate nature-based innovations that can address the climate and environmental degradation crises. In the era of Artificial Intelligence (AI) proliferation, AI will be a vital tool providing navigational and useful information to leverage the power of serendipity in climate and sustainability science. However, an eco-surplus culture that incorporates core values pertaining to nature and sees environmental sustainability as the conscience of the times needs to be built to direct and control the immense power of AI-leveraged serendipity. Insights applied in this paper are drawn from the book titled “A New Theory of Serendipity: Nature, Emergence and Mechanism”. (shrink)

In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically (...) autonomist approaches to art, assuming aesthetic experience to coincide with the disinterested contemplation of formal features, independently of cognitive, practical, and ethical implications, or whether the arts are considered an enhancement of the features of human expe- rience and developments of other human behaviours. The second part of the paper will investigate some recent developments in current neuroaesthetics and fresh enactivist proposals in the aesthetic field which display a tendency toward a non-reductive naturalism, views of the arts as continuous with other modes of behav- iour and more conscious attitudes about the risks of scientism within scientific in- vestigations. Generally speaking, we espouse an idea of culture as the natural development of human organic experience that involves new emerging properties depending on the re-organization of already existing natural resources and favour continuistic and emergentist views as more suited to dealing with specific prob- lems in the field of the arts and as better responding to the criticism of irrelevancy directed against the latter, compared to reductive naturalist approaches. (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)

The topic of this article is consciousness and, in it, I will theorize what consciousness is like and where it arises from. The work began to emerge and develop over time starting from my belief that consciousness is a physical self-referential phenomenon; thus, my attention was focused on the research for a self-referential process. I was confident that I could satisfy my curiosity through the reductionist method adopted by science. Unfortunately, neuroscientists and philosophers of mind realized that the attempts to (...) explain consciousness with this method have all proved inconclusive. For this reason, they are now trying to address the problem of consciousness with non-reductionist methods. As for me, I have always remained faithful to reductionism, but with the conviction that quantum mechanics, even though capable of making predictions with an extraordinary degree of accuracy, is a theory founded on wrong concepts. Thus, surprisingly, I have found a solution to the mystery of consciousness, perceiving a way to explain what it is like at its fundamental level in the field of quantum mechanics and, particularly, in one of its counterintuitive and generally less debated aspects among physicists today, but which aroused great interest in me: I am referring to the spin of the electron that will be described in this paper as a self-interacting process. This paper will also offer a rational explanation of the results obtainable in all experiments for measuring the spin of electrons through Stern-Gerlach magnets. In addition, my theory of consciousness is susceptible to experimental control. (shrink)

The role and nature of imagination in Kant's Critique of Pure Reason is intensively examined. In addition, the text of Kant's Anthropology from a Pragmatic Point of View will also be considered because it helps illustrate this issue. Imagination is the fundamental power of the mind responsible for any act of forming and putting together representations. A new interpretation of imagination in Kant is given which recognizes its necessary roles as the factor responsible for producing space and time, as an (...) essential component in perception, as the mediator of concepts and intuitions, and as the synthesizing agent which groups together representations into categories. ;The work is divided basically into two parts. The first part looks at the imagination in the Transcendental Aesthetic. It will be shown that space and time themselves are products of imagination. As pure and a priori intuitions space and time are objects of thought and thus are conditioned by the synthetic power of imagination. Moreover, as forms of intuitions space and time are also conditioned by imagination; hence, imagination is a necessary factor in spatial and temporal perception. ;The second part of the thesis concerns the role of imagination in the Transcendental Analytic. Here the role of the imagination is more pervasive. In the Metaphysical Deduction the thesis argues that the imagination is responsible for uniting representations into twelve categories which are the conditions of thinking in general. Therefore the categories themselves owe their origins to imagination. This interpretation hinges on Kant's distinction between transcendental and general logic, which the thesis will discuss in detail. In the Transcendental Deduction the imagination is responsible for taking up representations in such a way that results in their belonging to a single framework of consciousness, thus showing that the categories apply to a posteriori representations. In the Schematism the imagination is necessary in forming the schemata, which join together concepts and intuitions so that both empirical and transcendental judgments are produced. Finally, a critique of Heidegger's idea on imagination as the "common root" of sensibility and understanding will be offered. (shrink)

This manuscript puts forth the contention that our consciousness resembles and reflects an all-pervading universal consciousness that was born from the manifestation of energy as the monadic agent of our universe. It relates that in the beginning, when energy kinetically came into being, it created, or distributed itself, into three derivative dimensions; that of space-time, materiality and consciousness. The definition of consciousness herein is that it is constituted from phenomenal attributes that are inherent within space, time and materiality (the other (...) two, dimensional derivatives of energy). Without those attributes (otherwise known as qualia), the universe could not exist – it would be impotent of any ability to have causes and effects, since nothing that existed would have any properties with which to bring about causes on each other. Everything would be the same and thus have no ability to influence or change anything else. The sum total of all attributes is effectually the consciousness of the physical world. By “tapping into” those attributes, we, through Will (attention), cognition and recognition, accrue to ourselves; consciousness. Therein lies the reflection of the universe, of the physical and phenomenal world. There is a good rendition of a flow chart showing this on page 89. I find that the best way for me to bring out the features and concepts of these theories is to compare and at times contrast, my theories to those of other notable authors on this subject. In this manuscript I analyze the ideas from a number of authors. Significantly from two of them – David Chalmers and Emanuel Kant. The form I take is to quote the authors in non-italicized type and to place my comments in italicized type. It is my hope and belief that by adhering to the conception of an externally conscious universe, which is responsible for our selfhood, we will begin to unite the worlds of physics with that of the phenomenal world, which is so obviously as great of a part of reality as physics is. This I believe is a key step toward finally devising a theory of everything – a true unification of our understanding of reality, its laws and its functioning. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

Human beings as self-conscious, aesthetic, sympathetic, and empathetic beings develop various ways to live in this world. They continue to aspire for a better version of themselves and their lives. In this process, they developed certain ethical norms, social practices, and ways to perceive and understand this world. These qualities become the basis for proactive steps of spirituality which in turn become the foundation of religion. In human history, religion has helped individuals to fulfill various human needs irrespective of their (...) culture. Despite differences in the content of various religious philosophies, mythological structures, and religious ceremonies, it gave a sense of meaning and purpose to human beings. Because of its omnipresence, many philosophers along with biological and cultural evolutionary researchers have suggested coming up with a universal explanation for religion. -/- Nevertheless, religion was also employed as a means of exploitation by the powerful elites in various societies. Thus, many times, it worked as an orthodox, deceptive, and enslaving force for humanity. Modern thought emphasized the later effects of religion and found it less emancipatory. -/- Hence, enlightenment philosophy focused on rationality as a significant aspect of human beings. Besides, the development of science has unfolded various hidden and hitherto mysterious natural phenomena to mankind. This change has brought rationality to the forefront of human existence every institution began to build around this notion of human being. Even the death of God was announced by Nietzsche with grief in 1885. -/- Was it really the death of God? Can human beings live without religion sanely? These questions become very relevant particularly in recent times when we see resurgence of religious identities in the political and social discourses. However, consumer mythology and consumer culture remain at the forefront while making decisions in our daily lives across cultures. Even sometimes, religious identities are absorbed by powerful market forces; how to understand this contradictory phenomenon? -/- Between both these understandings, this paper sets three objectives for itself – first, to analyze the human need for religion from a psychological and existential perspective. Second, it critically evaluates the secular thesis as put forward by European enlightenment thinkers in the light of contemporary consumerist mythology. The third objective involves a brief description of universal religion and its relevance at this time. (shrink)

Johann Joachim Winckelmann (1717–68) was not a philosopher. In fact, Winckelmann had a strong interest in distancing himself from academic philosophy as he knew it. As Goethe reports, Winckelmann “complained bitterly about the philosophers of his time and about their extensive influence.” Still less was Winckelmann a Kantian philosopher; the first edition of Immanuel Kant’s Critique of Pure Reason did not appear until 1781, thirteen years after the fifty-year-old Winckelmann was shockingly murdered in Trieste. Nevertheless, many of Winckelmann’s ideas were (...) philosophically rich and suggestive and interestingly relevant to the philosophical problems that were later to be addressed by Kant and his philosophical contemporaries. It is no wonder, then, that Winckelmann’s influence can be detected in the works of some of the most important philosophically oriented thinkers of Germany in the late eighteenth and early nineteenth centuries. In addition to Kant himself, these thinkers included Gotthold Ephraim Lessing (1729–81), Johann Gottfried von Herder (1744–1803), Johann Wolfgang von Goethe (1749–1832), Friedrich Schiller (1759–1805), Friedrich Hölderlin (1770–1843), Friedrich Wilhelm Joseph Schelling (1775–1854), and Georg Wilhelm Friedrich Hegel (1770–1831). (shrink)

The art of Simon Finn has always had a markedly temporal dynamic. Vast structures built and annihilated again and again across different media, their fragmentation across space and time simultaneously methodical and darkly chaotic. Roiling waters and eldritch surfaces held captive in their unrest. Finn’s works render cycles of construction and disintegration, of stasis and motion, in ways that shed light upon the underlying structures of our experience of time while shattering simplistic notions of linearity. This is nowhere more apparent (...) than in Instability, through which Finn allows us to explore the intertwining of personal and historical time, ancestral memory and radical futurity, artefactual form and temporal function. (shrink)

The human eyes and brain, which have finite boundaries, create a ‘‘virtual’’ space within our central nervous system that interprets and perceives a space that appears boundless and infinite. Using insights from studies on the visual system, we propose a novel fast processing mechanism involving the eyes, visual pathways, and cortex where external vision is imperceptibly processed in our brain in real time creating an internal representation of external space that appears as an external view. We introduce the existence of (...) a three-dimension default space consisting of intrapersonal body space that serves as the framework where visual and non-visual sensory information is sensed and experienced. We propose that the thalamus integrates processed information from corticothalamic feedback loops and fills-in the neural component of 3D default space with an internal visual representation of external space, leading to the experience of visual consciousness. This visual space inherently evades perception so we have introduced three easy clinical tests that can assist in experiencing this visual space. We also review visual neuroanatomical pathways, binocular vision, neurological disorders, and visual phenomenon to elucidate how the representation of external visible space is recreated within the mind. (shrink)

ABSTRACT This paper deals with the problem of characterizing the content of experience as either conceptual or non-conceptual in -/- Kant’s transcendenta -/- l philosophy, a topic widely debated in contemporary philosophy. I start out with -/- Kant’s pre -/- -critical discussions of space and time in which he develops a specific notion of non-conceptual content. Secondly, I show that this notion of non-conceptual intuitional content does not seem to match well with the Transcendental Deduction. This incongruity results in three (...) interrelated problems that are -/- inherent to Kant’s -/- Transcendental Deduction in the -/- Critique -/- 1 -/- : the ‘Independency Disagreement’, the ‘Conceptualism Contradiction’ and the ‘Intuition Inconsistency’. -/- These three problems derive from apparently contradictory claims concerning the possibility of non-conceptual content. Contemporary Kantian conceptualists and non-conceptualists tend to take a stance at either side of the dilemma rather than trying to dissolve these tensions. In response to this, I propose a new solution to these difficulties based on a distinction between two kinds of conceptualism. This will reveal why Kant is a non-conceptualist in one significant sense, but also why he is still better regarded a conceptualist. -/- . (shrink)

Background: how mind functions is subject to continuing scientific discussion. A simplistic approach says that, since no convincing way has been found to model subjective experience, mind cannot exist. A second holds that, since mind cannot be described by classical physics, it must be described by quantum physics. Another perspective concerns mind's hypothesized ability to interact with the world of quanta: it should be responsible for reduction of quantum wave packets; physics producing 'Objective Reduction' is postulated to form the basis (...) for mind-matter interactions. This presentation describes results derived from a new approach to these problems. It is based on well-established biology involving physics not previously applied to the fields of mind, or consciousness studies, that of critical feedback instability. -/- Methods: 'self-organized criticality' in complexity biology places system loci of control at critical instabilities, physical properties of which, including information properties, are presented. Their elucidation shows that they can model hitherto unexplained properties of experience. -/- Results: All results depend on physical properties of critical instabilities. First, at least one feed-back or feed-forward loop must have feedback gain, g = 1: information flows round the loop impress perfect images of system states back on themselves: they represent processes of perfect self-observation. This annihilates system quanta: system excitations are instability fluctuations, which cannot be quantized. Major results follow: -/- 1. Information vectors representing criticality states must include at least one attached information loop denoting self-observation. -/- 2. Such loop structures are attributed a function, 'registering the state's own existence', explaining -/- a. Subjective 'awareness of one's own presence' -/- b. How content-free states of awareness can be remembered (Jon Shear) -/- c. Subjective experience of time duration (Immanuel Kant) -/- d. The 'witness' property of experience – often mentioned by athletes 'in the zone' -/- e. The natural association between consciousness and intelligence -/- This novel, physically and biologically sound approach seems to satisfactorily model subjectivity. -/- Further significant results follow: -/- 1. Registration of external information in excited states of systems at criticality reduces external wave-packets: the new model exhibits 'Objective Reduction' of wave packets. -/- 2. High internal coherence (postulated by Domash & Penrose) leading to a. Non-separable information vector bundles. b. Non-reductive states (Chalmers's criterion for experience). -/- 3. Information that is: a. encoded in coherence negentropy; b. non-digitizable, and therefore c. computationally without digital equivalent (posited by Penrose). -/- Discussion and Conclusions: instability physics implies anharmonic motion, preventing excitation quantization, and totally different from the quantum physics of simple harmonic motion at stability. Instability excitations are different from anything hitherto conceived in information science. They can model aspects of mind never previously treated, including genuine subjectivity, objective reduction of wave-packets, and inter alia all properties given above. (shrink)

The water scarcity crisis is becoming more severe across the globe and recycled water has been suggested as a feasible solution to the crisis. However, expanding the use of potable and recycled public water has been hindered by public acceptance. Previous studies suggest threat perception and trust of provided information have positive linear relationships with recycled water acceptance. However, given the complex filtering role of trust in the human mental process, we argue that the effects of threat perception and (...) trust may have non-linear relationships with acceptance of recycled water for drinking. To support and validate this argument, we employed Bayesian Mindsponge Framework analytics on 726 Spanish residents. We found that individuals more concerned about water shortage are less likely to accept using recycled water for drinking if their trust in the water quality and safety is low. Meanwhile, people more concerned about water shortage are more likely to accept using recycled water for drinking if they trust the water quality and safety. The findings suggest the non-linear relationships between threat perception, trust, and recycled water acceptance while validating mindsponge-based reasoning. Moreover, the results also highlight the importance of trust in influencing the mental process’s outcome: recycled water acceptance. (shrink)

Drawing from Koselleck’s Begriffsgeschichte, this paper explores how and why China’s linguistic revolutions took place alongside the country’s quest for scientific, economic and political modernity. When discussing the contributions made by translation of Western texts to China’s modernization process, scholars have been focusing on content issues. They have overlooked how translation, _through effecting changes in the Chinese language, has transformed the Chinese people’s Weltanschauung at a fundamental level—only with that transformation did China become truly ready for modernity_. For example, tenses (...) did not exist in classical Chinese. But given the prominence of the temporal dimension in Western languages, time markers were gradually invented for the Chinese language as intellectuals engaged in translations of Western texts. These time markers brought a linear concept of time to Chinese society, and only with that new way of experiencing time could “the modern” become conceivable for the Chinese people. I examine how the _time consciousness gave the Chinese a new concept of the future and laid the path for China’s modernization_, and elaborate the subject at hand via an analysis of two waves of temporalization of the Chinese language. (shrink)

Kant holds that the whole “higher faculty of knowledge” (‘reason’ or ‘understanding’ in a broad sense), is a spontaneous faculty. But what could this mean? It seems that it could either be a perfectly innocent claim or a very dangerous one. The innocent thought is that reason is spontaneous because it is not wholly passive, not just a slave to what bombards the senses. If so, then the rejection of Hume’s radical empiricism would suffice for Kant’s claim. But the dangerous (...) thought is that reason, and the ‘I think’ which expresses it, is free, having the power to produce something entirely from itself. While this freedom is characteristic of practical reason, could it be characteristic of reason in general, even in its theoretical employment? Some contemporary interpreters have admirably defended the ‘dangerous’ conception by stripping it of the implication that it makes reason in general entirely self-sufficient. I attempt to add to this effort. However, what I contend is that this weightier conception of spontaneity (‘absolute’ or ‘non-relative’ spontaneity) requires abandoning a certain approach to the question that has been assumed by virtually everyone in the debate—namely, that the question can be answered by siding with either the so-called ‘metaphysical’ or the ‘epistemic’ interpreters of Kant. My goal is to suggest that the proper perspective on reason’s spontaneity resists such characterizations all together, and thereby resists any of the conditions under which it could be understood as ‘relative’ to anything. (shrink)

I take up Kant's remarks about a " transcendental deduction" of the "concepts of space and time". I argue for the need to make a clearer assessment of the philosophical resources of the Aesthetic in order to account for this transcendental deduction. Special attention needs to be given to the fact that the central task of the Aesthetic is simply the "exposition" of these concepts. The Metaphysical Exposition reflects upon facts about our usage to reveal our commitment to the idea (...) that these concepts refer to pure intuitions. But the legitimacy of these concepts still hangs in the balance: these concepts may turn out to refer to nothing real at all. The subsequent Transcendental Exposition addresses this issue. The objective validity of the concepts of space and time, and hence their transcendental deduction, hinges on careful treatment of this last point. (shrink)

The article is aimed to describe one of the aspects of the phenomenological analysis of time, namely the role of motion. One of the not published manuscripts of Husserl in which he reconsiders the problematic of transcendental aesthetics of Kant from phenomenological positions undertakes a basis. Aspects of the problem of time are considered in the light of Husserl’s interpretation to the purposes of transcendental aesthetics. The concept of motion is connected with the process of a constitution of phantom, a (...) problem of identity of a thing, specific character of causality, a unity of perception. This spectrum of problems of the transcendental-phenomenological aesthetics underlines the difference of Husserl’s concept of consciousness of time as directed on the present, as «Gegenwärtigung». (shrink)

R Core Team. (2016). R: A language and environment for statistical computing. R Foundation for Statistical Computing. Supplement to Occipital and left temporal instantaneous amplitude and frequency oscillations correlated with access and phenomenal consciousness. Occipital and left temporal instantaneous amplitude and frequency oscillations correlated with access and phenomenal consciousness move from the features of the ERP characterized in Occipital and Left Temporal EEG Correlates of Phenomenal Consciousness (Pereira, 2015) towards the instantaneous amplitude and frequency of event-related changes correlated with a (...) contrast in access and in phenomenology. Occipital and left temporal instantaneous amplitude and frequency oscillations correlated with access and phenomenal consciousness proceed as following. In the first section, empirical mode decomposition (EMD) with post processing (Xie, G., Guo, Y., Tong, S., and Ma, L., 2014. Calculate excess mortality during heatwaves using Hilbert-Huang transform algorithm. BMC medical research methodology, 14, 35) Ensemble Empirical Mode Decomposition (postEEMD) and Hilbert-Huang Transform (HHT). -/- In the second section, calculated the variance inflation factor (VIF). In the third section, partial least squares regression (PLSR): the minimal root mean squared error of prediction (RMSEP). In the last section, partial least squares regression (PLSR): significance multivariate correlation (sMC) statistic. (shrink)

The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement as an (...) attitude to have. I claim that seeing that nature of aesthetic pleasure requires that we divest ourselves of the following dilemma: either feelings are the non-cognitive, passive ways through which we are affected by objects; or they are cognitive states by virtue of the theoretical beliefs they necessarily involve. On my reading of Kant, this dilemma is false. Aesthetic pleasure is neither passive, nor theoretically cognitive, and yet, it is an exercise of rational agency by virtue of belonging to a domain of rationality that is largely overlooked in the history of philosophy, but that deserves, I argue following Kant, our close attention: aesthetic rationality. In the first section, I explain this nature of aesthetic pleasure, and in the second section, I respond to a charge of “over-intellectualism.". (shrink)

abstract Postdiction effects are phenomena in which a stimulus influences the appearance of events taking place before it. In metacontrast masking, for instance, a masking stimulus can ren- der a target stimulus shown before the mask invisible. This and other postdiction effects have been considered incompatible with a simple explanation according to which (i) our perceptual experiences are delayed for only the time it takes for a distal stimulus to reach our sensory receptors and for our neural mechanisms to process (...) it, and (ii) the order in which the processing of stimuli is completed corresponds with the apparent temporal order of stimuli. As a result, the theories that account for more than a single postdiction effect reject at least one of these theses. This paper presents a new framework for the tim- ing of experiences—the non-linear latency difference view—in which the three most dis- cussed postdiction effects—apparent motion, the flash-lag effect, and metacontrast masking—can be accounted for while simultaneously holding theses (i) and (ii). This view is grounded in the local reentrant processes, which are known to have a crucial role in perception. Accordingly, the non-linear latency difference view is both more parsimonious and more empirically plausible than the competing theories, all of which remain largely silent about the neural implementation of the mechanisms they postulate. (shrink)

I examine here if Kant can explain our knowledge of duration by showing that time has metric structure. To do so, I spell out two possible solutions: time’s metric could be intrinsic or extrinsic. I argue that Kant’s resources are too weak to secure an intrinsic, transcendentally-based temporal metrics; but he can supply an extrinsic metric, based in a metaphysical fact about matter. I conclude that Transcendental Idealism is incomplete: it cannot account for the durative aspects of experience—or it can (...) do so only with help from a non-trivial metaphysics of material substance. (shrink)

The theorist who denies the objective reality of non-relational temporal properties, or ‘A-series’ determinations, must explain our experience of the passage of time. D.H. Mellor, a prominent denier of the objective reality of temporal passage, draws, in part, on Kant in offering a theory according to which the experience of temporal passage is the result of the projection of change in belief. But Mellor has missed some important points Kant has to make about time-awareness. It turns out that Kant's theory (...) of time-awareness also involves projection – but for him, the projection of temporal passage is necessary to any coherent experience at all, and for this reason events in the world cannot be represented except as exhibiting real tensed change. Consequently we cannot intelligibly suppose the world we know to be without the passage of time. This fact would permit a modest transcendental argument the conclusion of which is that we are entitled to describe the world in terms of temporal passage. (shrink)

This article presents modal versions of resource-conscious logics. We concentrate on extensions of variants of linear logic with one minimal non-normal modality. In earlier work, where we investigated agency in multi-agent systems, we have shown that the results scale up to logics with multiple non-minimal modalities. Here, we start with the language of propositional intuitionistic linear logic without the additive disjunction, to which we add a modality. We provide an interpretation of this language on a class of Kripke (...) resource models extended with a neighbourhood function: modal Kripke resource models. We propose a Hilbert-style axiomatisation and a Gentzen-style sequent calculus. We show that the proof theories are sound and complete with respect to the class of modal Kripke resource models. We show that the sequent calculus admits cut elimination and that proof-search is in PSPACE. We then show how to extend the results when non-commutative connectives are added to the language. Finally, we put the l.. (shrink)

I argue that, for Kant, there is a point at which the notions of self-consciousness and self-limitation become one. I proceed by spelling out a logical progression of forms of self-consciousness in Kant’s philosophy, where at each stage we locate the limits of the capacity in question and ask what it takes to know those limits. After briefly sketching a notion of self-consciousness available even to the animal, we look at whether there could be a notion of self-consciousness available to (...) the capacity of human sensibility. At this stage I argue that Kant and Heidegger (or Heidegger’s Kant) share a conception of what it is to be self-limiting through self-consciousness. I then critically examine this conception, and, specifically, the way in which it fails to account for the most essential form of self-limitation in Kant’s critical philosophy—namely, the form of self-limitation which rejects spatial and temporal articulation. The conclusion we reach is that Kant’s theory of transcendental self-consciousness is a theory of the activity of thinking as determining itself (including its limits) non-spatially and non-temporally. (shrink)

Temporal epistemic logics are known, from results of Halpern and Vardi, to have a wide range of complexities of the satisfiability problem: from PSPACE, through non-elementary, to highly undecidable. These complexities depend on the choice of some key parameters specifying, inter alia, possible interactions between time and knowledge, such as synchrony and agents' abilities for learning and recall. In this work we develop practically implementable tableau-based decision procedures for deciding satisfiability in single-agent synchronous temporal-epistemic logics with interactions between time and (...) knowledge. We discuss some complications that occur, even in the single-agent case, when interactions between time and knowledge are assumed and show how the method of incremental tableaux can be adapted to work in EXPSPACE, respectively 2EXPTIME, for these logics, thereby also matching the upper bounds obtained for them by Halpern and Vardi. (shrink)

Deleuze is prominent among those philosophers who pronounce that difference must be understood as ontologically prior to identity. He teaches that identity is a surface effect of difference, so to understand the basis of logico-mathematical idealities we must uncover their genesis in the fecundity of differentiation. Deleuze wants to offer a foundation of number and mathematics as a subversive, creative force, an affirmation of Nietzsche’s eternal return as the ‘roll of the dice’. But he begins too late. For Deleuze, virtual (...) intensities (Eternal Return) generate the logical , conceptual, theoretical, lawful principles for empirical domains, and then are held steady in the background, beyond the reach of the conceptual and logical patterns, which cancel them by freezing and isolating them. Applying Heidegger’s deconstruction of Nietzschean subjectivity to Deleuze’s project reveals intensities to function as subjective enframings of the species and parts that develop from them. Intensive processes posit , set in place and represent the qualities that steadily remain throughout the calculation of difference in degree. Deleuze does not appear to recognize that the iteration of extensive quantity is devoid of meaningful sense. His failure to make this distinction leads him to confuse mathematical with non-mathematical idealities and prevents him from locating the fundamental sense of extensive duration. What Husserl, and Heidegger after him, recognized is that numeration never counts anything but its own self-iteration, devoid of sense and meaning outside of the empty ‘same thing, different time’. To experience an object as meaningful beyond this ‘how much’ is to no longer attend to it as calculative, countable iteration, as persisting self-identical presence. What holds only for intensities in Deleuze’s understanding of the structure of time, that every change in degree is simultaneously a difference in kind, constitutes the irreducible, absolute essence of all duration. (shrink)

We contest the unsubstantiated assumption of both materialists and non-materialist that the ontological status they propose applies to all humans and that the competing claim is false for all - ie we reject both the claim of non-materialists that all humans share the same fundamental aspect of having a "non-material consciousness" (nmc), as well as the contrasting claim of materialists that none do (being fully material as according to eliminative materialists/reductive physicalists etc). Instead, the basic proposition of this paper, our (...) ‘ontological conecture’ (OC) - an updated version of our 1998 website article “Mindless Materialists” - is that the central tenets of proponents on both sides are true, but only regarding themselves. A signature feature of nmc is that brains associated to it are capable of knowing of its existence directly, and as a corollary we would propose that if a sophisticated brain does not know it is associated to nmc then most likely this is because it is in fact not so associated. Thus, in accordance with our OC we will consider a brain’s statements on this issue (that it does or does not possess nmc) as not merely its ‘philosophical position’ but as an authoritative statement, a reflection of an ontological fact. Furthermore, we propose that only those who possess nmc are capable of understanding what it is, so that although they are well-qualified to know directly that they themselves possess it, in contrast those who lack nmc and possess only material consciousness (mc) cannot even comprehend what non-materiality means - they will understandably tend to consider it a non-existent absurdity, which contention would be quite correct in a purely-material reality, such as they effectively inhabit. -/- Terminology reflecting ontological status: Since according to our OC those brains which categorize themselves as non-materialists are presumed to indeed be associated to nmc, for usefulness in phraseology we’ll refer to people whose brain is so associated as being nmc’s (not merely “espousing nmc”). Materialists say they are conscious but that theirs is a material consciousness (abbrev: “mc”) , and since according to our OC we accept this self-determination we will refer to them as being “mc’s” or being materialist (not merely “espousing materialism”). -/- Are materialists mindless or are non-materialists delusional? Notoriously, it is impossible to prove that one possesses nmc (which is a sort of corollary to the fact that it is directly self-known) - being non-material, nmc cannot be detected via the scientific method. However just as those with nmc cannot prove they possess it so too one cannot prove or determine via measurement that materialists do not possess it. Nevertheless we feel that our OC is the simplest solution to the conundrum of how there are materialists if a brain can directly sense its associated nmc. In sum, although of course it is impossible to prove that any particular person possesses or lacks nmc, given all the above our OC considers - as stated by the title of this paper - a brain’s self-identification as "materialist" or “non-materialist” (dualist, panpsychist, idealist etc) as reflecting the absence or presence of an associated real non-material awareness/consciousness, rather than merely as a statement of a philosophical stance. An alternative solution is implicit in the above - that all humans possess nmc just that materialists are those whose brains lack the awareness of theirs, or that the brain-aspect which communicates to others has no access to it. -/- Towards developing more constructive dialogue between mc’s/nmc’s, and greater self-confidence and independence among nmc’s in the face of materialist dominance of the intellectual-climate: A large part of the overall paper is devoted to not just pointing out the futility of communication of the sort usually engaged in - ie based on the erroneous underlying assumption that both sides of the debate are ontologically the same - but also suggesting ways to make the debate less frustrating by a recognition of the OC. Greater clarity in discussions can be achieved partly via a deeper understanding of the different meanings the same term might have to nmc’s/mc’s and suggestions relevant the construction of a sort of translation algorithm to utilize in discussions (as a simple example, substituting ‘higher-level cognitive material brain-processes’ for ‘mind’ when that term is used by an mc); by the frank statement by nmc’s engaged in dialogue with mc’s that the existence of nmc is not up for discussion; by learning how the existence of our nmc colors the meaning we give to certain terms in ways we were not aware of, meanings which are absent for mc’s; and in general via the recognition by the nmc that the dialogue is with a person lacking nmc. -/- Perhaps materialists are right: In the interest of ‘reciprocity’, the paper also offers an alternative/opposing view to the central proposition, to the effect that the materialist claim is correct, and it is a defect of brain wiring or structure which is the source of an active illusion of "self-awareness" underlying the philosophical claims of non-materialists. A prospective source of this illusion is offered - an analog of the sense of presence experienced during ‘sleep paralysis’. (shrink)

A recurring theme dominates recent philosophical debates about the nature of conscious perception: naïve realism’s opponents claim that the view is directly contradicted by empirical science. I argue that, despite their current popularity, empirical arguments against naïve realism are fundamentally flawed. The non-empirical premises needed to get from empirical scientific findings to substantive philosophical conclusions are ones the naïve realist is known to reject. Even granting the contentious premises, the empirical findings do not undermine the theory, given its overall philosophical (...) commitments. Thus, contemporary empirical research fails to supply any new argumentative force against naïve realism. I conclude that, as philosophers of mind, we would be better served spending a bit less time trying to wield empirical science as a cudgel against our opponents, and a bit more time working through the implications of each other’s views – something we can accomplish perfectly well from the comfort of our armchairs. (shrink)

Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...) pleasure in contemplation, not value extracted from the object by activities other than contemplation. The theory is that aesthetic pleasure is a motivation for learning skills. Two forms of pleasure are postulated. The first accompanies the spontaneous activity necessary for learning a more or less universal basic level of skill. The second accompanies highly skilled activity. This second kind of pleasure is specific to art as such. (shrink)

In this paper I offer an interpretation of Kant’s theory of perceptual error based on his remarks in the Anthropology. Both hallucination and illusion, I argue, are for Kant species of experience and therefore require the standard co-operation of sensibility and understanding. I develop my account in a conceptualist framework according to which the two canonical classes of non-veridical experience involve error in the basic sense that how they represent the world as being is not how the world is. In (...) hallucination this is due to the misapplication of categories and in illusion to the misapplication of empirical concepts. Yet there is also room in this framework for a distinction in terms of cognitive functionality between the level of experience, which is merely judgementally structured, and that of judgement proper, which involves the free action of a conscious agent. This distinction enables Kant to allow for the otherwise problematic phenomenon of self-aware non-veridicality. (shrink)

Abstract The subjectivity of conscious experience is a central feature of our mental life that puzzles philosophers of mind. Conscious mental representations are presented to me as mine, others remain unconscious. How can we make sense of the difference between them? Some representationalists (e.g. Tye) attempt to explain it in terms of non-conceptual intentional content, i.e. content for which one need not possess the relevant concept required in order to describe it. Hanna claims that Kant purports to explain the subjectivity (...) of conscious experience in this way. This paper examines this claim in some detail in the context of a more general criticism of this kind of attempt to explain subjectivity and proposes a different reading of Kant that also leads to an alternative account of subjectivity independent from content. (shrink)

In recent debates about the nature of non-conceptual content, the Kantian account of intuition in the first Critique has been seen as a sort of founding doctrine for both conceptualist and non-conceptualist positions. In this paper, I begin by examining recent representative versions of the Kantian conceptualist (John McDowell) and Kantian non-conceptualist (Robert Hanna) positions, and suggest that the way the debate is commonly construed by those on both sides misses a much broader and more important conception of non-conceptual content, (...) one for which resources can be found in Husserl’s later thought. Husserl’s account of the object as “transcendental clue” [Transzendentaler Leitfaden] in the context of his later genetic phenomenology suggests a less reductive account of non-conceptual aspects of experience that respects central insights of Kant’s transcendental idealism but does not reduce the role of the non-conceptual to a mere formally-determined, not-yet-conceptualized “fodder.”. (shrink)

This chapter argues that Kant’s aesthetic theory of the sublime has particular relevance for his ethics of virtue. Kant contends that our readiness to revel in natural sublimity depends upon a background commitment to moral ends. Further lessons about the emotional register of the sublime allow us to understand how Kant can plausibly contend that the temperament of virtue is both sublime and joyous at the same time.