Both Heraclitus and Democritus, as the philosophers of historia peri phuseôs, consider nature and human character, habit, law and soul as interrelated emphasizing the links between phusis, kinesis, ethos, logos, kresis, nomos and daimon. On the one hand, Heraclitus’s principle of change (panta rhei) and his emphasis on the element of fire and cosmic motion ultimately dominate his ethics reinforcing his ideas of change, moderation, balance and justice, on the other, Democritus’s atomist description of phusis and motion underlies (...) his principle of moderation and his ideas of health and measured life. In this series, particularly referring to the main principles of motion, moderation and justice, I attempt to describe a coherent pre-Socratic ethical perspective based on the Heraclitean and Democritean fragments. I explore the connections between their physics and ethics also borrowing from Nietzsche’s lectures and writings on the Pre-Socratics. I redefine such Heraclitean and Democritean concepts as harmony, order, perfection, health, self-control, contentment, cheerfulness, concord, sound judgment, wisdom, measure and balance and discuss them under the principles of motion (phusis), moderation (sophrosyne) and justice. In doing so, I also expose the relevance of the Heraclitean notion of logos (interpreting it as the underlying categorical principle of transition between phusis and ethos) in bringing together these ideas and principles. Finally, based on this pre-Socratic Weltanschauung, I assess the possibility of a coherent picture of humanity, its nature and conduct as extending from or fitting into or extending-from-when-fitting-into the cosmos of moving forces and atoms. (shrink)

Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and (...) class='Hi'>phusis and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent. (shrink)

In this paper, I will discuss the need for a theory of essences within Object-Oriented Ontology (OOO) and then formulate one. I will do so by drawing on Graham Harman’s work on OOO and Martin Heidegger’s thought on the essence of being, presented in his Introduction to Metaphysics. Harman touches on essences, describing them as the tension between a withdrawn object and its withdrawn qualities, but fails to distinguish between essential and inessential qualities within this framework. To fill in the (...) gaps, I will turn to Heidegger’s explication of phusis in order to show that an essential aspect of being is how one enters into causal relations and continually reveals oneself to other beings. In bringing OOO and Heidegger together, I will find that each object has a unique way of exerting itself in the world and that the domestic relations that make up this unique profile are essential to it, while other domestic relations, those that do not influence its particular way of exerting itself, are inessential. Thus, the essence will be found to be the set of domestic relations that make up the determinate form, or unique causal profile, of the object. (shrink)

A ‘pious pessimism’ pervaded much of archaic Greek poetry: ‘It is for the gods to know and men merely to opine’ was the prevailing sentiment. However, in the late 6th century a set of independent-minded individuals began to move away from the older pessimism to embrace a more optimistic and secular outlook. In various ways they maintained that mere mortals could, if they were prepared to undertake the appropriate inquiries, achieve a clear and sure understanding of the entire cosmos. Heraclitus (...) and Parmenides offered the most detailed lines of investigation, but both Pythagoras and Empedocles presented themselves as savants able and willing to impart their wisdom to all those prepared to listen to and embrace their teachings. Among the most important elements in this transition were the concepts of phusis or the essential nature of a th’ing, and the logos or rational account in which that nature could be formulated. -/- . (shrink)

It has long been theorized that Heidegger’s idea for Dasein was highly influenced by the Chinese notion of the Dao. This is due to a misinterpretation on behalf of Heideggerian scholars and others of what the Dao represents. In fact, Heidegger, in explicating what he thought to be “the most extreme inversion of φύσης-ουσία [phusis-ousia],” made this equal to “Chinese-like ‘constancy,’” which is the basis of the Dao. Taking what Heidegger interpreted phusis to be (derived from Aristotelian metaphysics (...) and an assumption of pre-Socratic thought) as a process of unconcealment from continuing re-concealment which signals a kind of “truth” of being [phusis], that which calls for constant presence is inauthentic Dasein, rather than authentic Dasein. In other words, Heidegger’s idea of what inauthentic Dasein calls for could be explained within Aristotle’s system as equal to aiming to replace phusis with the know-how of τέχνη [techne]. The Dao, as rightfully understood and utilized by the master craftsman and the Sage, is accessible, constant, and knowable. This could not be in more opposition to Heidegger’s notion of phusis. (shrink)

This paper addresses a difficult passage from Aristotle’s Metaphysics (V. 4, 1015a11-13) in which he identifies a metaphorical use of the term “nature” (phusis) to refer to the entities which he calls “substances” (ousiai). I claim that the passage at stake deploys the very notion of metaphor on the basis of an analogy (as defined in the Poetics and in the Rhetorics), which is grounded on a weak (and, sometimes, very weak) similarity between two relations (each involving two relata). (...) The sentences found in 1015a11-13 belong to those kind of metalinguistic sentences which we usually employ to shed some light on the metaphorical use of a term. The similarity Aristotle is presupposing is this: both nature and substance are, in their respective fields, some kind of principle that guarantees (besides other things) certain persistence conditions for what they are the principles of. And this weak similarity is enough for the term “nature” to refer metaphorically to substances. (shrink)

In Aristotle’s physics and biology, matter’s capacity for spontaneous, opaque, chance deviation is named by automaton and marked with a feminine sign, while at the same time these mysterious motions are articulated, rendered knowable and predictable via the figure of ta automata, the automatic puppets. This paper traces how automaton functions in the Aristotelian text as a symptomatic crossing-point, an uncanny and chiasmatic figure in which materiality and logos, phusis, and technē, death and life, masculine and feminine, are intertwined (...) and articulated. Automaton permits a mastery of generative materiality for teleological metaphysics, but also works to unsettle teleology’s systematic and unifying aspirations. (shrink)

The relationship between nature and normativity in Aristotle’s practical philosophy is problematic. On the one hand, Aristotle insists that ethical virtue arises through the habitual repetition of ethically good actions, and thus no one is good or virtuous by nature. Phusikê aretê or “natural virtue” is more like cleverness (demotes) than prudence (phronêsis) and it can result in wrong actions. Yet on the other hand, at times Aristotle appears to use nature to justify normative claims. Thus the problem with Aristotle’s (...) use of the notion of nature in his practical philosophy is that in some instances what is natural seems to be ethically neutral, but in other instances it seems to set the standard for human perfection. Modern Aristotle exegetes have sometimes argued that Aristotle must, consciously or not, be using the term “nature” in at least two different senses here. To use the language of Julia Annas, when Aristotle talks about “natural virtue” in the sense of the talents or abilities which one possesses from birth, he has in mind the notion of “mere nature,” but when he discusses the perfections which a virtuous individual enjoys by his or her nature, Aristotle has in mind the notion of nature as an “ethical ideal.” I would like to suggest an alternative solution to the problem of reconciling Aristotle’s different senses of nature in his Ethics. In Nicomachean Ethics V.7, Aristotle claims that political justice {to dikaion politikon) possesses a “natural” {phusikon) part and a “conventional” {nomikori) part. Aristotle claims that both nature and convention admit of variation, and his language suggests that the two are ultimately parts which need to be interwoven or combined. Scholars who have struggled with Aristotle’s apparently disparate senses of the idea of nature have assumed that nature is an ethical ideal which can be separated from and serve as a guide for that which is merely conventional. I argue that when Aristotle invokes what is “natural” as a norm, he does so under the assumption that the natural component of a norm is ultimately separable from its conventional part only in abstraction. Just like the syllable “BA” is not reducible to the letters “b” and “a,” but instead is a whole greater than its two parts, political justice is a composite unity of nature and convention which, in unifying the two parts, transforms them. (shrink)

Kant makes a much-unexpected confession in a much-unexpected place. In the Criticism of the third paralogism of transcendental psychology of the first Critique Kant accepts the irrefutability of the Heraclitean notion of universal becoming or the transitory nature of all things, admitting the impossibility of positing a totally persistent and self-conscious subject. The major Heraclitean doctrine of panta rhei makes it impossible to conduct philosophical inquiry by assuming a self-conscious subject or “I,” which would potentially be in constant motion like (...) other thoughts. For it rules out the possibility of completely detached reasoning which necessitates an unchanging state of mind. In this paper, Kaplama uses panta rhei to critically examine the philosophical shortcomings and contradictions of Kantian and Enlightenment ethics. In his examination, he specifically focuses on the teleological nature of Kant’s principle of freedom and ideal of moral autonomy which have dominated the Enlightenment thought. By doing so, he argues that it is essentially inaccurate to posit Überlegenheit (the state of being superior to nature) as the foundation of philosophical inquiry mainly because this would contradict the Enlightenment’s claim to constitute a rupture from classic and medieval metaphysics and would render Enlightenment a mere extension of Christian metaphysics. As in Christianity, Überlegenheit presupposes two separate realms, the actual (contingent) and ideal (pure) realms of thought and assumes that the transcendence commences from the level of the late metaphysical/teleological construction of the ‘subject’ who is completely persistent, self-conscious and immune to change. He then substantiates these points with reference to the philosophical roots of ethnic prejudice displayed by the post-Enlightenment colonialists and the missionaries in Fiji and the Pacific. This brief critical examination of the post-Enlightenment ethnocentrism will be conducted under the following three points: a) On the Enlightenment’s teleological and universalistic understanding of humanity and the concept of progress versus the Fijian concepts of the continuity of life, regeneration, and reproduction b) On the Enlightenment’s ideal of the free-willing and independent individual subject versus the Fijian ideas of 'the cord', reciprocity, and vanua, and c) On the Enlightenment’s (and Christianity’s) strict dualism between physics and metaphysics, nature and human mind, body and soul versus the Fijian bio-centrism, the sanctity of vanua and the cosmological concept of mana. (shrink)

This book is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the book is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. Finally, Cosmological Aesthetics employs the principles of transition and motion to analyze Van Gogh’s Starry Night in an excursus. (shrink)