This paper defends the view that knowledge about one's own intentions can be gained in part through perception, although not through introspection. The various kinds of misperception of one's intentions are discussed. The latter distinction is applied to the analysis of schizophrenic patients' delusion of control.

Perceivers generally show a poor ability to detect changes, a condition referred to as “Change Blindness” . They are, in addition, “blind to their own blindness”. A common explanation of this “Change Blindness Blindness” is that it derives from an inadequate, “photographical” folk-theory about perception. This explanation, however, does not account for intra-individual variations of CBB across trials. Our study aims to explore an alternative theory, according to which participants base their self-evaluations on two activity-dependent cues, namely search time and (...) perceived success in prior trials. These cues were found to influence self-evaluation in two orthogonal ways: success-feedback influenced self-evaluation in a global, contextual way, presumably by recalibrating the norm of adequacy for the task. Search time influenced it in a local way, predicting the success of a given trial from its duration. (shrink)

Proust’s In Search of Lost Time - Irfan Ajvazi.

This chapter is divided into three sections. In the first, I identify the mentions of Schopenhauer in À la recherche du temps perdu. I use an implicit reference to Schopenhauer by Swann to open a discussion of Schopenhauer’s theory of music. I attempt to downplay its identification, suggested by some commentators, with both the views about music expressed in the novel and the form of the novel itself. In the second section, I discuss Proust’s references to Schopenhauer in his (...) essay on reading. I confirm that Proust well understood Schopenhauer’s relationship with his own erudition and suggest that Schopenhauer’s influence on Proust may take the form of an incitement to think for oneself. In the third and final section, I consider several potential points of convergence between Proust and Schopenhauer concerning states of the will. However, in all cases I find, as I do throughout the chapter, that below the surface Proust and Schopenhauer often part ways. (shrink)

Irigaray's early work seeks to multiply possibilities for women's self-expression by recovering a sexual difference in which male and female are neither the same nor opposites, but irreducibly different modes of embodiment. In her more recent work, however, Irigaray has emphasized the duality of the sexes at the expense of multiplicity, enshrining the heterosexual couple as the model of sexual ethics. Alison Stone's recent revision of Irigaray supplements her account of sexual duality with a theory of bodily multiplicity derived from (...) Butler, Nietzsche, and certain German Romantics; but to the extent that Stone maintains the primacy of sexual duality, her revision fails to address the claims of multiplicity on their own terms. In this paper, I interpret a passage from Marcel Proust's novel, Sodom and Gomorrah, in order to develop an alternative theory of sexual difference in which sexual duality is affirmed in relation to a third, unsexed but sexual force which multiplies the possibilities for sexual pleasure beyond heterosexual coupling. Proust's emphasis on sexed ``parts'' rather than sexed morphologies is generative of maximally diverse combinations, all of which are equally natural and equally enhanced through artifice. (shrink)

For a certain ordinary class of desires, Marcel Proust’s thoughts on their satisfaction can be summed up in one word: don’t. Don’t satisfy your desires; doing so will fail to satisfy you. Should you therefore seek to eliminate desire? Absolutely not: desiring itself sustains you. The disappointment of attaining what you desire is one of Proust’s most persistent themes, elaborated in the florid unfolding of À la recherche du temps perdu but already expressed succinctly in an early story (...) from Les plaisirs et les jours: “Desire makes all things blossom; possession wilts them.” If you believed this, what should you do? Best to aim not to satisfy your desires at all. This paper is a development and limited defense of these baldly stated claims, and includes discussions of the role of the imagination in the formation of desire, the distinction between the hypothetical imagination and the imaginativeness that is involved in the perception of beauty, and the relationship between desire, desire satisfaction, and agent satisfaction. (shrink)

One strand of recent philosophical attention to Marcel Proust's novel À la Recherche du Temps Perdu, exemplified by Martha Nussbaum and Rae Langton, claims that romantic love is depicted in the text as self-regarding and solipsistic. I aim to challenge this reading. First, I demonstrate that the text contains a different view, overlooked by these recent interpreters, according to which love is directed at the partially knowable reality of another. Second, I argue that a better explanation for Proust's (...) narrator's ultimate renunciation of romantic love appeals not to his impossible epistemic standard for knowledge of another person, but to his demanding evaluative standard for the permanence of love. This interpretation takes into account the broader scope of the novel, connecting with its larger themes of lost time and the desire for stability, and is more charitable, connecting to familiar worries about transience and constancy in loving relationships. (shrink)

Esta pesquisa tenciona apreender a moda das roupas, e afins, na obra de Marcel Proust, À la Recherche du temps perdu. Este escopo desdobra-se num exame sobre a fundação da estética proustiana da moda das roupas, assim como no exame acerca da história das roupas e sua função identitária, e no exame das vestimentas de importantes personagens femininas. O pensamento de Gilles Deleuze mostra-se presente em diversas etapas do trabalho, colaborando na costura do vestido proustiano. -/- This research intends (...) to capture the fashion of clothes and related subjects in the Marcel Prousts romance À la Recherche du temps perdu. The scope of this work is unfolded in an investigation on the foundations of the Proustian clothing fashions aesthetic, as well as the examination about the history of clothing and their identity role, and as well as the garments of important female characters. Ideas of Gilles Deleuze show up at various stages of this research, collaborating in Proustian fashion dress. (shrink)

Reading Deleuze's Proust and Signs -Irfan Ajvazi.

O LEITMOTIV FORTUNY E ODETTE: ESPAÇO E TEMPO NA TESSITURA DE PROUST Resumo A moda das roupas está plenamente integrada ao todo da obra de Proust, e é por essa razão que nos debruçamos sobre dois temas concernentes às roupas: o leitmotiv Fortuny, e a personagem Odette. O motivo Fortuny mereceu de Proust uma atenção delicada, pois emaranhado ao seu tecido literário, o desenvolvimento do tema manifesta uma minuciosa construção estética tramada por diferentes fios, que encontrarão em (...) seu término, a roupa e o tecido de Fortuny em consonância com a arte e as cidades, entidades refletidoras sobretudo do espaço afetivo tramado na tessitura proustiana. Em posição distinta, mas complementando o tecido literário, surge a personagem atemporal Odette, que não participa do leitmotiv; Odette, que, sem seguir uma moda, tem estilo, soube como poucas mulheres construir, por meio de sua representação indumentária sua própria identidade e alteridade, ou em outros termos, ser e estar no tempo. -/- THE FORTUNY LEITMOTIF AND ODETTE: A VIEW OF SPACE AND TIME ON PROUST TEXTURE -/- Abstract The fashion of clothing is fully connected into all Proust work, and it is for this reason which we descant over two issues concerning the clothes: the Fortuny Leitmotif, and the character Odette. Proust gave a very special attention to the Fortuny reason, due to – deeply in his literary thoughts – the developing of the theme evidences a thorough planning built by different kind of thoughts, which they will find in their end, the clothes, the Fortuny tissue in consonance to the art and the cities, reflecting entities especially about the affective space built by Proust texture. Adding to the literary issue, however in a different position, emerges the eternal character, Odette. She did not appear on leitmotif. She has style, even though does not follow fashion and she is one of the rare women, which know how to build her own identity and otherness through her clothing representation. In other words, being for real on her time. -/- . (shrink)

The reader of RTP is granted just a few paragraphs before habit is introduced: Habit! That able but slow-moving arranger who begins by letting our minds sufer for weeks on end in temporary quarters, but whom our mind is nonetheless only too happy to fnd, for without it, reduced to its own devices, it would be powerless to make any room habitable. (SW, 9, translation altered; I 8) Implied is a view of mind: powerless to interfere with habit’s course, but (...) equally powerless to reconcile us even to something as innocuous as a room, were it not for habit’s work. Corresponding to this is a view of the world: hostile. The objects are nasty, imposing, menacing: a ‘mentally poisoning’ smell, malicious curtains and a cruel mirror (SW, 9; I 8). Habit, unbidden but welcome, steps in. The mirror becomes compassionate. Habit is a central aspect of the narrator’s worldview. It appears both at major plot points and in signifcant theoretical passages. Proust had already thematised habit in some of his earliest published work – notably in ‘Violante ou la Mondanité’ (1892) (‘Violante, or High Society’) – as well as in unpublished material (see II 1352 fn. 2). His ideas have their roots in his philosophical education, where habit formed a key part of the syllabus. Indeed, in retrospect, we can say that Proust may have been taught philosophy at a time and place where habit, as a philosophical topic, was approaching its high watermark, as a major theme in French philosophical thought. Another major theme, of course, was time. (shrink)

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

The Promise of Friendship investigates what makes friendship possible and good for human beings. In dialogue with authors ranging from Aristotle and Montaigne to Proust, Levinas, and Derrida, Sarah Horton argues that friendship is suited to our finitude—that is, to the limits within which human beings live—and proposes a novel understanding of friendship as translation: friends translate the world for each other so that each one experiences the world not as the other does but in light of the friend's (...) always-unknowable experience. The very distance between friends that makes it impossible for them to know each other wholly also makes it possible for them to be transformed by friendship. Friendship, then, is possible and good for those who love precisely that they can never wholly know the friend. Friendship is a profound, mutual self-giving that highlights the irreplaceability of each person, fundamentally shapes the self, and is one of the greatest joys of human existence. (shrink)

This article aims to explore the connection between freedom and language in T.W. Adorno's Notes to Literature, presenting freedom as a liberation of our way of thinking that has the potential to arrive at an unrestrained interpretation of art and representation of the intellectual experience. I also attempt to show some of Adorno's insights into language and freedom in The Essay as a Form and their role in his essays about Valéry and Proust. Namely I focus on the problematics (...) of the suspension of the subject of the artist within the production of the work of art. Through showing the connection between Adorno's insights into problematics of language, freedom and suspension of subject I hope to contribute to the explication of one of the constructive steps of Adorno's philosophy. (shrink)

Ο Marcel Proust στον Ξανακερδισμένο Χρόνο μας δίνει μια έξοχη εικόνα του νεωτερικού ανεκπλήρωτου έρωτα: «Από αυτή τη στιγμή εκείνη έχει καταλάβει ότι, αν του προσφέρει μόνο τη συντροφιά ή τη φιλία της, αυτή η εύνοια θα φανεί τόσο σημαντική σε εκείνον που έχει πιστέψει ότι την έχει χάσει, ώστε αυτή μπορεί να αποφύγει να του παραχωρήσει κάτι περισσότερο και να επωφεληθεί από τη στιγμή που αυτός, μην μπορώντας πια να μην τη βλέπει, θα είναι πρόθυμος να τελειώσει με (...) κάθε θυσία τον πόλεμο...» Ο εραστής εδώ παρουσιάζεται παγιδευμένος και όμηρος στον ιδιωτικό χρόνο της ερωμένης. Η ερωτική σχέση περιγράφεται σαν Πόλεμος και η απειλή της Στέρησης ισοδυναμεί με την περιφρόνηση της Θυσίας, αποτέλεσμα της οποίας δεν είναι η σωτηρία, αλλά η υποτέλεια. Η ερωμένη του νεωτερικού ανεκπλήρωτου έρωτα δεν είναι το απρόσιτο αντικείμενο του πνευματικού πόθου όπως η Δέσποινα του ιπποτικού μυθιστορήματος, ούτε το παιγνιώδες υποκείμενο του σωματικού πόθου. Είναι το ενεργό υποκείμενο της ψυχικής άρνησης. Ο εραστής δεν έχει να αντιμετωπίσει την ετερονομία των ψυχών, ούτε την ετερότητα των σωμάτων, αλλά την ανυπέρβλητη άρνηση μιας εχθρικής αυτονομίας. Ο δρόμος εκπλήρωσης του Έρωτα μπλοκάρεται από το ίδιο το αντικείμενο του πόθου, την ερωμένη, η οποία, ως αυτόνομη υποκειμενικότητα, είναι επίσης το υποκείμενο της άρνησης. Μετά την θανάτωση του Θεού και την εσωτερίκευση του Θανάτου, ο νεωτερικός ανεκπλήρωτος έρωτας εμφανίζεται ως η ετερονομία της σχέσης, η ετερονομία του Εγώ που προκύπτει ως αρνητικότητα της αυτονομίας του Άλλου. (shrink)

Despre afinitățile elective dintre Mircea Eliade și diferiți oameni de cultură români și străini s-au scris multe pagini de-a lungul timpului. Cei interesați de opera savantului nu pot trece cu vederea legăturile spirituale și culturale cu Nae Ionescu, Mihail Sebastian, Emil Cioran, Constantin Noica, Goethe, C.G. Jung, Marcel Proust, Raffaele Pettazzoni etc. Și numărul acestora poate crește cu multe alte nume din țară și din străinătate, dovedind faptul că Mircea Eliade a fost și rămâne o personalitate care a marcat (...) istoria și cultura națională și universală și ale cărui idei încă fecundează spiritele preocupate de viața religioasă, de literatură sau de științele secolului în care trăim. Pornind de la aceste date, în cartea de față încercăm să creionăm felul în care ideile lui Eliade pot fi așezate alături de cele ale unor gânditori din arii diferite de cercetare, având în centru teme ce se regăsesc atât în lucrările savantului de origine română, cât și operele acestor personalități. În acest sens, ne-am oprit la câteva nume importante: Rudolf Otto, Sfântul Dionisie Areopagitul (alături de Meister Eckhart și Nicolaus Cusanus), Pr. Alexander Schmemann, Thomas J.J. Altizer, Sfântul Grigorie Palama (și isihasmul), I.P. Culianu, Marin Sorescu, Constantin Brâncuși, Nicolae Steinhardt, Pr. Dumitru Stăniloae. (shrink)

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as (...) developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

The volume Conceptual Figures of Fragmentation and Reconfiguration is a collection of revised versions of the papers presented at a research seminar which took place at the School of Social Sciences and Humanities, Universidade NOVA de Lisboa, between January and June 2019. The seminar is one of the core activities of the project “Fragmentation and Reconfiguration: Experiencing the City between Art and Philosophy”, based at IFILNOVA – Nova Institute of Philosophy in Lisbon. This volume strives to reassess the relationship between (...) fragmentation and reconfiguration, the contemporary relevance of which can be appreciated by focusing on the experience of the city, in particular the aesthetic experience of the city. Following the structure of the original seminar presentations, and drawing on key philosophical authors such as Goethe, Benjamin, Wittgenstein, Foucault, Deleuze, Joyce, Proust, and Perec, each of the nine contributors focuses on a specific conceptual figure: Catastrophe (Gianfranco Ferraro); Ruins (Maria Filomena Molder); Chaosmopolitanism (Bartholomew Ryan); Morphogenesis (Maurizio Gribaudi); Atlas (Nélio Conceição); Archive (João Duarte); Collection (Maria João Gamito); Panoramic Presentation (Alexandra Dias Fortes); and Aesthetic Experience (Nuno Fonseca). (shrink)

This is a contribution to a book symposium on Joelle Proust’s The Philosophy of Metacognition: Mental Agency and Self-Awareness (OUP). While there is much to admire in Proust’s book, the legitimacy of her distinction between “procedural” and “analytic” metacognition can be questioned. Doing so may help us better understand the relevance of animal metacognition studies to human self-knowledge.

In 1936, the writer Anaïs Nin wrote House of Incest, a book of prose on the themes of transgression and the taboo of incest, loosely based on a relationship with her father. In writing about these themes, did Nin want to emancipate herself from her father, with whom she allegedly had a sexual affair? Or was it an orchestrated strategy: a deliberate act of destruction and transgression to break down the male-centric world of sexuality, thus taking control of female sexuality? (...) What were Nin's philosophical, artistic, and intellectual underpinnings in writing this book? When Nin wrote House of Incest, she was in the throes of a sexual and artistic awakening that both emerged simultaneously. As a result, both awakenings overlapped and nourished the other's development. As a writer, Nin's influences at the time were Henry and June Miller, Proust, and many others, but the most significant influence was Otto Rank. Rank encouraged her as an artist and supported the expression of transgressive fantasies of her father in her art. This thesis argues that however one interprets the relationship with her father, it does not take away the fact that he had a profound and fertile effect on her writing. Nin's relationship with her father was the catalyst – the ultimate transgression – that enabled her as an artist and sexual woman to break away from the limitations of sexuality and discover a subjective, psychic experience of female sexuality, eroticized through her art in the prose of House of Incest. -/- Keywords: Incest, taboo, transgression, female sexuality. (shrink)

Cet article vise tout d’abord à manifester la profondeur phénoménologique d’une expérience proustienne, celle des demi-réveils dans l’obscurité, en engageant un dialogue entre l’artiste et le philosophe – Husserl, mais aussi Levinas – autour de la notion de souvenir. Il s’agit de montrer que l’expérience dont il est fait part dans l’œuvre littéraire, inenvisagée par la phénoménologie, vient questionner les descriptions existantes du phénomène de souvenir et exige dès lors de penser le sens de celui-ci à nouveaux frais. Notre propos (...) est le suivant : l’œuvre d’art, en particulier l’œuvre littéraire, doit être un milieu de recherche privilégié pour le phénoménologue. Elle fait renaître les énigmes et, ce faisant, remet la recherche en mouvement, en la forçant à un question­nement plus approfondi. (shrink)

With a Call for Essays, the special issue Multimodality sought contributions that accept not only the material but also the body-bound dependence of media perception and understanding. To this end, contributions were included that shed light on both the structural and signifying potential of artistic works through multimodal analysis. Particular attention was paid to contributions that clarify how the structural features - the modes - of the arts, their perception, and their signifying potential in terms of content are interrelated and (...) how they are to be understood in communicative and thus socioculturally relevant terms. Thus, in addition to neuroscientific contributions, those from cultural anthropology, art history, image and art studies, and literary studies were included. -/- Articles -/- 8 Martina Sauer and Christiane Wagner - Introduction -/- 11 Giada Lombardi and Giuseppe Di Cesare - From Neuroscience to Art: The Role of ‘Vitality Forms’ in the Investigation of Multimodality -/- 25 Martina Sauer - Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer’s, Langer’s and Krois’ Embodiment Theories -/- 49 Göran Sonesson - The Secrets of Plastic Language Revealed: Multimodality, Polysemiosis, and Iconicity -/- 71 Natalia Igl - Making Sense of the Material: Multisensory Reader Involvement in Contemporary Multimodal Novels -/- 87 J. Philippe Thompson - Art is All: Proust’s Life Lessons Through Perception and Art -/- 107 Hans Dieter Huber - Philippe Parreno and the Exhibition as a Multimodal Aesthetic Experience -/- 135 Jörg U. Lensing - The Performing Human Being in a Media Interaction Space: Multi- and intermodal productions by the Düsseldorf Theater der Klänge (Theatre of Sounds) . (shrink)

The notions of information, representation and enaction entertain historical and complex relations with cognition. Historical relations because representational structures belong to the central hypothesis of cognitive sciences. Complex relations because cognitive sciences apply the notion of representation to animals, humans and robots, and also because the enactive approach tends to disregard the GOFAI type of representations. In this wide horizon of relations, we propose to look at a systemic approach that could bring up a common denominator for information and representations (...) in the build up of cognition, and also keep a link with the enactive approach. Our purpose is to show that systems submitted to constraints can generate meaningful information to maintain their natures, and consequently build up meaningful representations that have some compatibility with the enactive approach. Such a systemic approach to the notion of meaningful information could then make available a link between enaction and meaningful representations. The first part of the presentation is about reminding that cognition does not exist per se, but is related to the system that builds it. We look at cognition as constituted by dynamic meaningful representations built up by systems that have constraints to satisfy in their environments. Cognition is considered here at the level of the system that builds it and uses it in order to maintain its nature in its environment. Such a systemic approach fits with evolution. Organisms build representations to cope with survival constraints (frogs build representations of moving black dots in order to satisfy food constraints). Humans build representations and cognition to satisfy constraints that are conscious and unconscious. Artificial systems can use representations and cognition to run activities related to constraints implemented by the designers or coming from the environment (a goal to reach being considered as a constraint to satisfy). In the second part of the presentation we define what are a meaningful information and a representation for a system submitted to a constraint in its environment, and we link these to the enactive approach. We define a meaningful information (a meaning) as an information generated by a system submitted to a constraint when it receives an external information that has a connection with the constraint. The meaning is precisely that connection. The meaning belongs to the interactions that link the system to its environment. The function of the meaning is to participate to the determination of an action that will be implemented in order to satisfy the constraint. (Menant, 2003). The satisfaction of the constraint goes with maintaining the nature of the system in its environment. A Meaning Generator System (MGS) is defined correspondingly. It is a building block for higher level systems. We present some characteristics of the MGS (groundings of a meaning, domain of efficiency and transfer of meanings, networking of meanings, evolutionary usage). The MGS approach is close to a simplified version of the Peircean triadic theory of signs (Menant, 2003, 2005 ). We define the representation of an item for a system as being the dynamic set of meaningful information corresponding to the item for the system in its environments (an elementary representation being made of a single meaningful information). These representations link the system to its environment by their meaningful components related to the nature of the system. These representations are different from the GOFAI ones. The possibilities for linking these notions of meaning and representation with the enactive approach come from the structure of the MGS: the need for an action is the cause of the meaning generation by and for the system. The action on the environment is for the system to maintain its nature (its identity). The MGS links together the generation of meaningful representations, the nature of the system, and the interactions with the environment. This can be considered as close to enacting a world by meaning generation (Di Paolo and all 2007), and to the enactive concept of sense making (De Jaegher, Di Paolo 2007). We propose that basing the definition of a representation on the notion of meaningful information generated by a system submitted to a constraint can open a way for making the notion of representation compatible with the enactive approach. In the third part of the presentation, we consider some cases of meaningful information and representations for organisms and for robots. Regarding organisms, the MGS can be used in an evolutionary context by looking at the evolution of the systems and of the constraints. Purpose is to modelize the generation of meanings and of representations in order to make available a tool usable for different levels of evolution, as evolution has a place in cognitive sciences (Proust, 2007). Constraints for basic life are survival constraints (individual and species). Group life constraints are also to be considered. Reaching the level of humans in evolution brings in new constraints that cannot be clearly identified as they have to take into account human consciousness which is today a mystery (the “hard problem”). On an evolutionary standpoint, human constraints come in addition to the ones existing for non human organisms. We can make some hypothesis on the nature of human constraints (Maslow pyramid based constraints, anxiety limitation…). For robots, the MGS is initially based on the design of the robot. The meaning generated within a robot is initially derived from the constraints implemented by the designer and from the environment. But some non calculable or non predictable evolutions of the robot can introduce meanings that look proper to the robot. This last point can be linked to the notion of autonomy in robots. In such examples, the dynamic management of meanings thru the MGSs in their environments keeps the link with the enactive approach. We finish the presentation by summarising the points addressed and by proposing several continuations. (shrink)

Rather than assume—based on the contents of the Nachlass—that the Eternal Recurrence, in its initial formulation, coheres with the later theoretico-metaphysical sense (i.e., sharing abstract space with the Will to Power) I propose the inverse (contrary to Heidegger, Deleuze, and Nehamas (whose Proustian exegesis (Nietzsche: Life as Literature) I’m obliged to radically extend)); namely, that the rotary cosmology of recurrence, as a literal proposition, is a consequence of the poetic sense of the earlier parable (GS)–which, I find, ultimately prefigures the (...) design of his own virulent relapse into theoria (WP). (shrink)

Next SectionThis article argues against two dominant accounts of the nature of nostalgia. These views assume that nostalgia depends, in some way, on comparing a present situation with a past one. However, neither does justice to the full range of recognizably nostalgic experiences available to us – in particular, ‘Proustian’ nostalgia directed at involuntary autobiographical memories. Therefore, the accounts in question fail. I conclude by considering an evaluative puzzle raised by Proustian nostalgia when it is directed at memories that the (...) nostalgist herself regards as non-veridical. (shrink)

This article argues that we can construct a complex interpretation of the nature of time by linking Aciman’s gnostic thread to aspects of twentieth century theory, from philosophy and psychoanalysis. In brief, it attempts to demonstrate the roles of dislocation, deferral, and Otherness in constituting human temporality. The essay begins by surmising the conceptual history of time, touching on key ideas put forward by Augustine and Bergson. The second section takes a psychoanalytic turn after exploring Homo Irrealis to describe the (...) significance of desire and fantasy. Thirdly, we develop a unique and temporal application of difference and deferral, building off of Deleuze and Derrida. The fourth section will consider how the psychoanalytic concept of the Other is inhered within time. We conclude that an Acimanic analysis of time is the means by which we can understand existence not as a series of moments, but a rich progression of dissimilitude and Otherness defined moreso by its lack of cohesion and directness of being than by a unified and self-identifying subject. (shrink)

Let us begin with Lethe, a river in Hades whose waters caused forgetfulness to dead souls who drank from it. The daughter of Eris, Lethe was the sister of Thanatos , and with Zeus she bore the Graces/Charites. According to some myths, she was the mother of Dionysus. She was the goddess of oblivion and the river with the same name. When someone died and went to Hades, they had to drink from her water so they would forget their previous (...) existence on earth. Once they had drunk from the waters of Lethe, they were left with nothing to reminisce about for eternity. If ever anybody was allowed back to life, again they had to drink from the river so they would not remember the afterlife. One of memory’s earliest myths proclaims that at the dawn of philosophy, at the oracle of Lebadeia, a descent into Hades required that the questor be first taken to Lethe, the spring of forgetfulness, and then to Mnemosyne, the mother of the Muses, the second spring, the spring of remembrance. Jean Pierre Vernant recounts the legend thus: Before venturing into the mouth of hell, the questor, who had already undergone rites of purification, was taken to two springs named respectively Lethe and Mnemosoune. He drank from the first and immediately forgot everything to do with his human life and, like a dead man, he entered the realm of Night. The water of the second spring was to enable him to remember all that he had seen and heard in the other world. When he returned he was no longer restricted to knowledge of the present moment: contact with the beyond had revealed both past and future to him. 2 Two questions that immediately come to mind are concerned with the anteriority of forgetting in relation to memory. Why was the initiate taken first to Lethe? What was the motivation behind this unusual ritual in the cavern of Trophonius in Boetia that demands forgetfulness as the first step? Secondly, why is the power of memory, which enables him to remember what “he had seen and heard in the other world,” constituted as the second step – though unmistakably a step, an unmistakable step – toward knowledge? The dip in the Lethe cleanses the initiate from the distracting and unmitigated sorrows of the past like a clean slate. It is well known that for the ancient Greeks, knowledge, a source of immortality, derived from memory. One could ask, is the knowledge that memory brings to us the knowledge that memory is the first presence of what was before it, namely forgetting? (shrink)