In presenting self-preservation as the most general law of nature, set at the summit of the structure of the natural world, Francis Bacon characterized the universal appe- tite for self-preservation as an innate instinct which, in the case of living beings, is primarily associated with the emotion of fear. Bacon’s philosophy offers several tech- niques of self-care to manage the fear of accidents of fortune from which the existence and well-being of the self is under constant threat. This article reconstructs (...) Bacon’s treatment of divinatory arts and their contributions to self-care. We will explore how he adopts traditional divinatory arts and reforms them: oneirocritics, physiognomy, and astrology. We will contend that Bacon’s approach to divinatory arts as techniques for self-care and the management of fortune shows some salient points shared with his natural philosophy: in both cases, the approach is hermeneutical, with the goal of exerting human power. With regard both to nature and to fortune, however, our power to modify the state of things extends only so far. The range of decisions we can make is not unlimited but encompasses only what is “in our power,” that is, what depends on us. (shrink)

Since the 1990’s, the debate concerning the ethical, legal and societal aspects of ‘neuro-enhancement’ has evolved into a massive discourse, both in the public realm and in the academic arena. This ethical debate, however, tends to repeat the same sets of arguments over and over again. Normative disagreements between transhumanists and bioconservatives on invasive or radical brain stimulators, and uncertainties regarding the use and effectivity of nootropic pharmaceuticals dominate the field. Building on the results of an extensive European project on (...) responsible research and innovation in neuro-enhancement, we observe and encourage that the debate is now entering a new and, as we will argue, more realistic and societally relevant stage. This new stage concerns those technologies that enter the market as ostensibly harmless contrivances that consumers may use for self-care or entertainment. We use the examples and arguments of participants in NERRI debates to describe three case studies of such purportedly innocent ‘toys’. Based upon this empirical material, we argue that these ‘soft’ enhancement gadgets are situated somewhere in the boundary zone between the internal and the external, between the intimate and the intrusive, between the familiar and the unfamiliar, between the friendly and the scary and, in Foucauldian terms, between technologies of the self and technologies of control. Therefore, we describe their physiognomy with the help of a term borrowed from Jacques Lacan, namely as “extimate” technologies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 8-21MuseSearchJournalsThis JournalContents[Access article in PDF]Klossowski's Reading of Nietzsche Impulses, Phantasms, Simulacra, StereotypesDaniel W. SmithIn his writings on Nietzsche, Pierre Klossowski makes use of various concepts—such as intensities, phantasms, simulacra and stereotypes, resemblance and dissemblance, gregariousness and singularity—that have no place in Nietzsche's own oeuvre. These concepts are Klossowski's own creations, his own contributions to thought. Although Klossowski consistently refused to characterize himself as a philosopher ("Je (...) suis une 'maniaque,'" he once said, "Un point, c'est tout!"),1 his work in its entirety was marked by an extraordinary conceptual creation. From this point of view, his Nietzsche and the Vicious Circle can be read as a work in philosophy—at least in the idiosyncratic sense given to this term by Gilles Deleuze, who defined philosophy as the creation or invention of concepts [Deleuze and Guattari 2]. No doubt, Klossowski remains an almost unclassifiable figure—philosopher, novelist, essayist, translator, artist—and attempting to analyze his work through the prism of philosophy may seem to be a reductive approach that belies the complexity of his exceptional oeuvre. Reading Klossowski as a conceptual innovator, however, at least has the advantage of allowing us to chart a consistent trajectory through his difficult and often labyrinthine text, without denying its other dimensions (affective, perceptive, literary, and so on). In what follows, then, I would like to examine three of Klossowski's most characteristic and important concepts—impulses and their intensities, phantasms, and simulacra and their stereotypes—as well as the precise interrelations he establishes among them. Taken together, these three concepts describe what Klossowski terms the tripartite economy of soul, which constitutes the implicit model through which he interprets Nietzsche's thought.1Impulses as Fluctuating IntensitiesKlossowski describes his books on both Nietzsche and Sade as "essays devoted not to ideologies but to the physiognomies of problematic thinkers who differ greatly from each other" ["Postface" 137, emphasis added]. This emphasis on the "physiognomy" of thinkers reflects Nietzsche's insistence on taking the body rather than the mind as a guide for philosophy since the body is a more accessible phenomenon, less surrounded by myth and superstition. "The body and physiology as the starting point," Nietzsche wrote. "Why?... The phenomenon of the body is the richer, clearer, more tangible [End Page 8] phenomenon.... Belief in the body is more fundamental than belief in the soul" [WP §§492, 489, 491]. Klossowski himself, however, when writing of the intensive status of the impulses, frequently makes use of the term "soul" (âme), owing in part, no doubt, to his interest in the theological literature of the mystics, such as Meister Eckhardt and Teresa of Avila. For the mystics, the depth of the soul is something irreducible and uncreated: it eludes the exercise of the created intellect, and can only be grasped negatively.2 Nonetheless, if one can find a similar apophaticism (or "negative theology") in Klossowski, it is related exclusively to the immanent and chaotic movements of the soul's intensive affects, and not to the transcendence of God. What is incommunicable in the soul (or body) are its "impulses"—their fluctuations of intensity, their rises and falls, their manic elations and depressive descents, which are in constant variation.Nietzsche himself had recourse to a highly varied vocabulary to describe what Klossowski summarizes in the term "impulse": "drive" (Triebe), "desire" (Begierden), "instinct" (Instinke), "power" (Mächte), "force" (Kräfte), "impulse" (Reize, Impulse), "passion" (Leidenschaften), "feeling" (Gefülen), "affect" (Affekte), "pathos" (Pathos), and so on.3 Klossowski frequently employs the musical term tonalité to describe these states of the soul's fluctuating intensities—their diverse tones, timbres, and changing amplitudes—which can take on various forms ("aggressiveness, tolerance, intimidation, anguish, the need for solitude, the forgetting of oneself" [NVC 6]). At bottom, what these impulses express are what Klossowski calls the "obstinate singularity" of the human soul, which is by nature noncommunicable; they constitute "the unexchangeable depth" (le fond inéchangeable) or "the unintelligible depth" (le fond unintelligible) of the soul. What makes every individual... (shrink)

A "concept" in the sense favoured by Wittgenstein is a paradigm for a transition between parts of a notational system. A concept-determining sentence such as "There is no reddish green" registers the absence of such a transition. This suggests a plausible account of what is perceived in an experiment that was first designed by Crane and Piantanida, who claim to have induced perceptions of reddish green. I shall propose a redescription of the relevant phenomena, invoking only ordinary colour concepts. This (...) redescription is not ruled out by anything the experimenters say. It accounts for certain peculiarities in both their descriptions and their subjects', and suggests that instead of discovering forbidden colours the experimenters introduced a new use of "-ish". Still, there is a point in speaking of "reddish green" in their context, which can be motivated by invoking what Wittgenstein calls a "physiognomy". (shrink)

This study critically explores, in the light of Christian theology, the singular inter- pretation that François Laruelle (1937) makes of the figure of Christ and his relation- ship with human being. First, we approach the way in which Laruelle’s Christology challenges the abidance between the apostolic narrative and the believing compre- hension about the unity between the Mystery of God and the Event of Jesus Christ. According to Laruelle, Christ has not only raised human freedom beyond the essence and existence (...) of an absolute (and, therefore, the founding axioms of Philosophy that require a prior foundation of the founded); but Christ exhibits the absolute in his finite existence as fully actual. Second, even briefly, we will trace the theological-anthro- pological physiognomy of the Mystery of the Incarnation by means of an inquiry in its soteriological sense. In that sense, the first formal Christian theology is precious: the theology of the Fathers of the Church. So, we intend to point to the way in which Christian faith contributes to the clarification of the singular super-natural quality that defines human nature in its divine connaturality: possibility of always being more and better in the world. (shrink)

Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is achieved (...) by various cinematic strategies of dépaysement, which render the familiar uncommon again by enabling us to recapture the uncanniness of what it is to be human. Most strikingly, seeing one another anew is facilitated in Visitors by the autonomous gradual musical processes of Philip Glass’s minimalist score, which not only affords a musical narrative for the imagery but also binds the film ironically to Beethoven’s Ninth Symphony. (shrink)

Ask most any cognitive scientist working today if a digital computational system could develop aesthetic sensibility and you will likely receive the optimistic reply that this remains an open empirical question. However, I attempt to show, while drawing upon the later Wittgenstein, that the correct answer is in fact available. And it is a negative a priori. It would seem, for example, that recent computational successes in generative AI and textual attribution, most notably those of Donald Foster (famed finder of (...) Ted Kazinski a.k.a. “the Unibomber”) speak favorably of the connectionist model's capacity to overcome the “aspect blindness” handicap in this domain. I argue however that such results are only achievable when rigid input‐to‐output parameters are given, and that this element is precisely what is absent in standard examples of aesthetic judgment. I thus conclude that while the connectionist model anticipated by Turing may provide the best approach for the AI project, its capacity for meeting its own sufficiency requirements is necessarily crippled by its inability to share in what can be generally referred to as the collective engagements of human solidarity. (shrink)

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the (...) body while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body. (shrink)

In an interdisciplinary discussion with an international group of experts, we address the question of why faces matter so much. We approach the issue from different academic, technological and artistic perspectives and integrate these different perspectives in an open dialogue in order to raise awareness about the importance of faces at a time when we are hiding them more than ever, be it in “facing” other human beings or in “facing” digital technology.