No agreed-upon account of mirror reversal is currently available although it has been discussed for more than two thousand years since Plato. Mirror reversal usually refers to recognized left-right reversal of a mirror image. Depending on the nature and layout of a reflected object, however, top-bottom reversal may be recognized instead of left-right reversal; no reversal at all may be recognized; and the presence or absence of reversal may not be (...) decidable. Takano (1998) proposed a psycho-optic theory to explain all these cases of mirror image recognition in a consistent manner. The proposed theory assumes different causes of mirror reversal depending on whether an object's left-right axis is parallel or perpendicular to a mirror's surface. This theory was later criticized in that it provided no explanation when the left-right axis is neither parallel nor perpendicular but at an intermediate angle between zero and 90 degrees with a mirror. This article completes the theory by presenting psycho-optic anal.. (shrink)

Wittgenstein said in the Investigations, ‘A philosophical problem has the form: “I don’t know my way about”’ (§ 123). The problem of mirror reversal – specifically the twentieth-century transatlantic controversy between the psychologist Richard Gregory, the mathematical columnist Martin Gardner, the physicist Richard Feynman and various analytic philosophers, including David Pears, Ned Block and Don Locke – is presented here as an instructive case of our not knowing our way about. ‘Why do mirrors reverse left and right but (...) not up and down?’ We discover that our perplexity disappears as we get clearer about the employment of the familiar oppositions left and right, up and down, back and front, and others. Finding our way about in these logico-grammatical fells, we see connections with our troubles in more vertiginous landscapes. Our disquietude may not be deep (§ 111) but the ‘battle against the bewitchment of our intelligence’ (§ 109) is surprisingly severe. (shrink)

A flop is a picture that mirror reverses the original scene. Some flops are reversed copies. For instance, mirror reversal is systematic with technologies that require contact between a template and an imprint surface. Other flops are just pictures that have undergone the operation of flopping. For example, a slide that is inserted backwards into a projector is a flop.

Imagine a child′s toy arrow, sticking by its rubber sucker to a mirror′s reflective surface. We can call the direction in which such an arrow would point the finwards direction ; and we can call the opposite direction boutwards . When we look at things in a mirror, their images are apparently just as far finwards of the mirror as the things themselves are boutwards of it. For example, if we look at the tail of our arrow (...) and cast our glance finwards, we see first the tail, then the head, then the mirror, then the reflection of the head, and finally the reflection of the tail. We can therefore say that a mirror reverses things in the finwards/boutwards dimension. Moreover, the straight line connecting each thing to its image passes perpendicularly through the plane of the mirror. Hence there is no plane, apart from that of the mirror itself, such that the apparent location of each thing′s image is just as far to the one side of that plane as the original is to the other. This means that the reversal in the finwards/ boutwards dimension is the only reversal of its kind to take place. In particular, there is no such reversal in any dimension at right angles to finwards/boutwards. (shrink)

According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s (...) second argument is shown to be formally flawed. As a result, the case for the aesthetic irrelevancy of orientation seems still open. (shrink)

People tend to grossly overestimate the size of their mirror-reflected face. Although this overestimation bias is robust, not much is known about its relationships to self-face perception. In two experiments, we investigated the overestimation bias as a function of the presentation of the own face , the identity of the seen face, and prior exposure to a real mirror. For this we developed a computerized task requiring size estimations of displayed faces. We replicated the observation that people overestimate (...) the size of their mirror-reflected face and showed that the overestimation can be reduced following a brief mirror exposure. We also found that left–right reversal modulates the overestimation bias, depending on the perceived face’s identity. These data underline the enhanced familiarity of left–right reversed self-faces and the importance of size perception for understanding mirror reflection processing. (shrink)

The kind of self-reference which Perlis characterizes as strong, as opposed to formal self-reference which he characterizes as weak, is actually already present in standard forms of formal self-reference. Even if formal self-reference is weak because it is delegated, there is no specific delegation of reference for self-referential sentences, and their ‘self’ part is strong enough. In particular, the structure of self-reference in Godel's sentence, with its application of a self-referential process to itself, provides a model of Perlis’ characterization of (...) a self. This structure can also be interpreted visually, in a way relevant to self and consciousness, namely as self-recognition in a mirror. (shrink)

Structural analogies connect Williamson’s epistemology and action theory: for example, action is the direction-of-fit mirror image of knowledge, and knowledge stands to belief as action stands to intention. These structural analogies, for Williamson, are meant to illuminate more generally how ‘mirrors’ reversing direction of fit should be understood as connecting the spectrum of our cognitive and practically oriented mental states. This paper has two central aims, one negative and the other positive. The negative aim is to highlight some intractable (...) problems with Williamson’s preferred analogical picture, which links the cognitive and the practical through the nexus of direction-of-fit mirroring. The positive aim of the paper is to propose a better alternative. In particular, we show that an achievement-theoretic proposal captures what is in common across the range of attitudes that exhibit the kind of structure that knowledge-belief, action-desire/intention do, while at the same time avoiding the problems shown to face Williamson’s proposed picture. Moreover, we draw attention to several key theoretical benefits of embracing our proposed achievement-theoretic picture, including some of the key benefits of the knowledge-first programme that Williamson’s own analogies were designed to secure. (shrink)

In this paper, I develop a solution to the puzzle of mirror perception: why do mirrors appear to reverse the image of an object along a left/right axis and not around other axes, such as the top/bottom axis? I set out the different forms the puzzle takes and argue that one form of it – arguably the key form – has not been satisfactorily solved. I offer a solution in three parts: setting out the conditions in which an apparent (...) left/right reversal of mirror images is generated; explaining why these conditions are so often met; explaining why we are cognitively biased towards the perception of left/right reversal when these conditions are met. (shrink)

An important open problem in Reverse Mathematics is the reduction of the first-order strength of the base theory from IΣ1IΣ1 to IΔ0+expIΔ0+exp. The system ERNA, a version of Nonstandard Analysis based on the system IΔ0+expIΔ0+exp, provides a partial solution to this problem. Indeed, weak Königʼs lemma and many of its equivalent formulations from Reverse Mathematics can be ‘pushed down’ into ERNA, while preserving the equivalences, but at the price of replacing equality with ‘≈’, i.e. infinitesimal proximity . The logical principle (...) corresponding to weak Königʼs lemma is the universal transfer principle from Nonstandard Analysis. Here, we consider the intermediate and mean value theorem and their uniform generalizations. We show that ERNAʼs Reverse Mathematics mirrors the situation in classical Reverse Mathematics. This further supports our claim from Sanders [19] that the Reverse Mathematics of ERNA plus universal transfer is a copy up to infinitesimals of that of WKL0. We discuss some of the philosophical implications of our results. (shrink)

Past public announcement operators have been defined in Hoshi and Yap :259–281, 2009) and Yap, to describe an agent’s knowledge before an announcement occurs. These operators rely on branching-time structures that do not mirror the traditional, relativization-based semantics of public announcement logic, and favor a historical reading of past announcements. In this paper, we introduce reverse public announcement operators that are interpreted on expanded models. Our model expansion adds accessibility links from an epistemic model \ to a filtrated submodel (...) of the canonical model for \. Here \ is the minimal normal modal logic together with \ axioms for the universal operator U. This yields a highly general pre-announcement version of \ that makes our operators potentially useful for studying non-standard interpretations of rescinded announcements in PAL. Indeed, we find that our reverse announcement operators cannot be represented by product update, and that they have an intimate connection with the knowledge forgetting of Zhang and Zhou :1525–1537, 2009). We show that the logic resulting from adding reverse announcements to PAL is sound and complete. (shrink)

Large Language Models (LLMs) have been transformative. They are pre-trained foundational models that are self-supervised and can be adapted with fine tuning to a wide range of natural language tasks, each of which previously would have required a separate network model. This is one step closer to the extraordinary versatility of human language. GPT-3 and more recently LaMDA can carry on dialogs with humans on many topics after minimal priming with a few examples. However, there has been a wide range (...) of reactions and debate on whether these LLMs understand what they are saying or exhibit signs of intelligence. This high variance is exhibited in three interviews with LLMs reaching wildly different conclusions. A new possibility was uncovered that could explain this divergence. What appears to be intelligence in LLMs may in fact be a mirror that reflects the intelligence of the interviewer, a remarkable twist that could be considered a Reverse Turing Test. If so, then by studying interviews we may be learning more about the intelligence and beliefs of the interviewer than the intelligence of the LLMs. As LLMs become more capable they may transform the way we interact with machines and how they interact with each other. Increasingly, LLMs are being coupled with sensorimotor devices. LLMs can talk the talk, but can they walk the walk? A road map for achieving artificial general autonomy is outlined with seven major improvements inspired by brain systems. LLMs could be used to uncover new insights into brain function by downloading brain data during natural behaviors. (shrink)

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has relations (...) which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has relations (...) which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

The following study examines the critical interplay between ideology, mediated reality, and the role that individuals’ perceptions, beliefs, and actions play in this process. In doing so, the study delves into the examination of the way power structures and dominant narratives proceed into influencing cultural expression and, consequently, impact social action. It is thus argued that in contemporary society, the Situationist notion of “the spectacle” has replaced any understanding of reality and created a reified social world dominated by commodities that (...) reinforce dominant ideologies and determine subjective perceptions. Furthermore, the paper addresses the impact of this mediated reality on personal subjectivity and agency. Drawing on Marx’s metaphor of the “camera obscura” as ideology, it argues for a transformative “reversal of perspective” that changes how individuals view and engage with their environment. Ultimately, this study underscores the profound impact of “the spectacle” on social relations, ideology, and perception. It argues for a transformative and creative approach that challenges individuals to resist the grasp of the spectacle, reclaim their agency, and develop new perspectives for interacting with the world. The extensions of the gaze subtly refer to the basis of economy manifested as “false consciousness” reflected by the camera obscura as an inverted image but readjusted with the tools of spectacles and mirrors within the reflective apparatus. (shrink)

Besides their ordinary cardinal and proportional meanings, many and few have been argued to allow for a ‘reverse proportional’ reading. This reading has later been characterised in two opposite directions: Cohen’s reading where the proportion \ matters and Herburger’s where it does not. We develop a compositional analysis that derives the correct truth conditions for both characterisations of Westerståhl-style sentences while maintaining conservativity, assuming a standard syntax/semantics mapping and reducing their context-dependence to mechanisms independently needed for degree constructions in general. (...) In a nutshell, mirroring the decomposition of other degree expressions like tall, many is decomposed into the parametrized determiner many and the operator POS, where POS combines with a contextually salient comparison class C matching the alternatives triggered by some element X\ in the sentence. Non-reverse readings obtain when X\ is external to the original host NP and reverse readings when X\ is internal to the host NP. Cohen’s truth conditions for Westerståhl-style sentences are derived as a reverse proportional reading and Herburger’s interpretation as a sub-case of the non-reverse cardinal reading. (shrink)

The aim of a comparison of two traditions is not an aim in itself. In the paper the,approximation" of two cultures has the role of a mirror of self-comprehension. Merleau-Ponty's intention to bring philosophy,down to earth" is implemented by the boundaries of ,,inner-outer" and crossing subjectivity and objectivity in the Cartesian paradigm. His phenomenology of the body is,understandable" or, better to say ,,elucidatory" through the term of pranayama - the yogic breath control. Emphasis on experiencing ,,movement in space" - (...) dimensionality, is endorsing this relationship. Moreover, both approaches have a common point: reversibility - switch, or reverse - of the figure and the ground back and forth at will. In Merleau-Ponty's concept of the Jived body" the reversibility is a continuum of the world and the body and in yoga it is pranic inspiration-expiration experience. (shrink)

Quando olha atentamente para os detalhes de uma obra literária, o leitor mais perspicaz toma consciência de mecanismos que regem e organizam o texto com objetivos específicos para a economia da narrativa. No romance Memorial do Convento , de José Saramago (1994), a relação entre Literatura e Religião é um desses mecanismos, algo que se torna visível no confronto entre sagrado e profano, na inversão de seus valores e na afinidade entre “poder espiritual” e “poder temporal”, o que se assemelha (...) àquilo que Giacomo Marramao definiu como “jogo de espelhos”, ou seja, a “estatização” da Igreja e a “eclesiastização” do Estado. Investigar o estatuto do sagrado e da relação entre a Igreja e a corte portuguesa do século XVIII, analisando suas implicações na narrativa literária, constitui-se como objetivo primordial deste texto. Dessa forma, o artigo se insere no movimento atual que Umberto Eco chamou de “a volta ao pensamento religioso”, um retorno frenético a tudo o que diz respeito ao sagrado e que se situa na contracorrente do cientificismo iluminista, trazendo explicitamente de volta à literatura a “questão de Deus”. Palavras-chave: José Saramago. Literatura portuguesa. Religião. Sagrado. Profano.When the more insightful reader takes a careful look at the details of a literary work, he realizes mechanisms that govern and organize the text with specifics goals for the arrangement of the narrative. In the novel "Memorial do Convento", by José Saramago, the relationship between literature and religion is one of such mechanisms, which becomes visible in the confrontation between sacred and profane, as well as in the reversal of their values and in the affinity between "spiritual power" and "temporal power", resembling what Giacomo Marramao has defined as "game of mirrors", i.e. the "nationalization" of the Church and the "ecclesiastization" of the State. The present text aims to investigate the status of the sacred and the relationship between the Church and the Portuguese court in the 18th century, analyzing its implications in the literary narrative. This article is part of the current movement that Umberto Eco called “the come back to religious thought", one frenetic regress to everything that reports to the sacred, somewhat that is in the countercurrent of Enlightenment scientism, explicitly bringing back the "question of God" to literature. Keywords: José Saramago. Portuguese literature. Religion. Sacred. Profane. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Titles, Labels, and Names:A House of MirrorsGreg Petersen (bio)An EducationAmong the harshest critiques ever received during my doctoral coursework came from a professor who was noticeably perturbed that I had researched and written a paper on an artwork without considering the title in the interpretation and analysis of the work. The professor insisted that the title is necessary to understand the piece. As a diligent student, the lesson was (...) learned, and the following semester I wrote a different paper for a different professor including the title as part of the interpretation and analysis. The professor's response asserted that the sections of the paper discussing the title should be deleted to improve the paper because a title is a name only—a linguistic referent to speak and write about the work that has no other relationship to the work. The discussions that followed with the two professors evolved into a permanent interest in the relationship between appellations and the works they represent. The debate of whether titles are or are not important is not a two-sided argument but rather a maze. This article is not a specialized theoretical argument but an explication of this maze of disjointed relationships among images, their appellations, and the theories espoused by various artists, art critics, art historians, and philosophers. Nevertheless, the clearest exits from the maze are found by treating the appellations as literature and applying literary theory to them.Between Text and ImageMuch of the world we live in is visual and linguistic in nature: visual to the extent that seeing is associated with knowing, and linguistic to the extent that we can communicate through the use of words and letters. For thousands [End Page 29] of years there has been a close relationship between images and language. Both are commonly represented through the use of pigments on a two-dimensional surface. While we know of no literary relationships in early paintings, it is extremely rare today to find paintings without a literary appellation attached. Today we study paintings through words, but only on the most elementary levels do we study words through paintings. It appears that literate cultures give dominance to textual symbols over those in paintings, while illiterate cultures reverse these relationships. The problem is that words have culturally agreed upon meanings, often more so than visual images. We read and listen and then write and speak about those things we have read and heard. Historically, it may be that the relationship between language and images has reversed itself, and perhaps even reverses itself in our own educational process as we begin teaching children letters and words through the use of pictures. After all, which came first: image or language?There has been little written on the use of word associations with iconographic images during the Middle Ages. Nevertheless, it is clear that identification characteristics other than linguistic ones existed. Hazard Adams is one of the few to raise this issue in his essay on titles: "Before I turn to literary titles it might be well to ask whether... I am correct in assuming that there has never been a nonverbal title of a literary work or of anything else for that matter, the word-objects relation of a title being irreversible. There are certainly nonverbal labels like coats of arms and crowns that imply title in a related sense."1 It may be true that titles are typically thought of as word associations identifying objects, but it may also be possible that medieval imagery was at least as communicatively accurate as our present textual system. For example, a man with arrows fixed in his flesh would still be recognized by a medieval illiterate as St. Sebastian, yet most of the depictions of this Catholic saint are simply titled St. Sebastian. Would hanging the text St. Sebastian next to these depictions have created more meaning or a deeper understanding to a medieval Catholic? Often sacred personages and other important visual images have their own identifying characteristics that make a correlative text unnecessary. These identifying characteristics, to those familiar with them, remain very effective nonverbal symbols that conjure the stories they represent.Furthermore, during the medieval... (shrink)

Imagine that the person you see through the looking glass is a real person, with her own experiences, living in an environment that is the mirror-reverse of yours. You look at your right-hand glove as you put it on your right hand; she looks at her left-hand glove as she puts it on her left hand. You feel your heart beating on your left side; she feels her heart beating on her right side. You hear a bird chirping out (...) the window to your left; she hears a bird chirping out the window to her right. Is there any difference between your experience—your what-it-is-like phenomenal character—and hers? She is looking at her left-hand glove, the mirror-reverse of you as you look at your right-hand glove. Does she see what you see, a right-hand glove, or the reverse of what you see, a left-hand glove? Since her environment is the mirror-reverse of yours, and she seems to get by in it just fine, you'd probably assume, if you had to guess, that she sees it correctly. She is looking at her left-hand glove, after all. So it stands to reason that she is having an experience as of a left-hand glove, not a right-hand glove. And it stands to reason—it seems obvious—that an experience as of a left-hand glove differs in what it is like from an experience as of a right-hand glove. In this paper, I will argue that this last presupposition, obvious though it may seem, is false. I'll argue that (unless dualism is true) there is no intrinsic difference between what it is like to experience a left-hand glove and what it is like to experience a right-hand glove: if there are any relevant experiential differences, these are either merely comparative (differences in what it is like to compare gloves) or cognitive (differences in what it is like to bring an experience of a glove under a concept like LEFT or RIGHT). So your mirror-reverse twin, who won't differ from you in what she is comparing or thinking, will have the same (type of) experience as you. I'll call the position I am arguing against orientation–experience categoricalism, and the position I am arguing for orientation–experience relationism. Orientation–experience relationism is a surprising thesis, one whose falsity you might take for granted. I will argue for it by cases. Things go wrong for the orientation–experience categoricalist in one sort of way if we imagine that you and your mirror-twin's experiences differ: basically, this leads to absurdity if we imagine that you and she both live at a world with a non-orientable spatial topology (in the sense in which a Möbius strip or Klein bottle are non-orientable). Things go wrong for the orientation–experience categoricalist in a different sort of way if we assume that you and your twin would experience the same, but that someone else might have the experience that we were just imagining that your twin might have. Under these assumptions, we have to accept the existence of partial zombies, who lack the relevant phenomenology but behave as if they have it, at very close, empirically possible worlds. In an appendix, I argue that property dualism is the best alternative for those who cannot bring themselves to accept orientation-experience relationism. (shrink)

Explanations of Capgras delusion and prosopagnosia typically incorporate a dual-route approach to facial recognition in which a deficit in overt or covert processing in one condition is mirror-reversed in the other. Despite this double dissociation, experiences of either patient-group are often reported in the same way – as lacking a sense of familiarity toward familiar faces. In this paper, deficits in the facial processing of these patients are compared to other facial recognition pathologies, and their experiential characteristics mapped onto (...) the dual-route model in order to provide a less ambiguous link between facial processing and experiential content. The paper concludes that the experiential states of Capgras delusion, prosopagnosia, and related facial pathologies are quite distinct, and that this descriptive distinctiveness finds explanatory equivalence at the level of anatomical and functional disruption within the face recognition system. The role of skin conductance response as a measure of ‘familiarity’ is also clarified. (shrink)

My hypothesis is that the cognitive challenge posed by death might have had a co-evolutionary role in the development of linguistic faculties. First, I claim that mirror neurons, which enable us to understand others’ actions and emotions, not only activate when we directly observe someone, but can also be triggered by language: words make us feel bodily sensations. Second, I argue that the death of another individual cannot be understood by virtue of the mirror neuron mechanism, since the (...) dead provide no neural pattern for mirroring: this cognitive task requires symbolic thought, which in turn involves emotions. Third, I describe the symbolic leap of the human species as a cognitive detachment from the here and now, allowing displaced reference: through symbols the human mind can refer to what is absent, possible, or even impossible (like the presence of a dead person). Such a detachment has had a huge adaptive impact: adopting a coevolutionary standpoint can help explain why language is as effective as environmental inputs in order to stimulate our bodily experience. In the end I suggest a further coevolutionary reversal : if language is necessary to understand the death of the other, it might also be true that the peculiar cognitive problem posed by the death of the other (the corpse is present, but the other is absent) has contributed to the crucial transition from an indexical sign system to the symbolic level, i.e., the cognitive detachment . Death and language, as Heidegger claimed, have an essential relation for humans, both from an evolutionary and a phenomenological perspective: they have shaped the symbolic consciousness that make us conceive of them. (shrink)

In a classical mechanical world, the fundamental laws of nature are reversible. The laws of nature treat the past and future as mirror images of each other. Temporally asymmetric phenomena are ultimately said to arise from initial conditions. But are the laws of nature also reversible in a quantum world? This paper argues that they are not, that time in a quantum world prefers a particular 'hand' or ordering. I argue, first, that the probabilistic algorithm used in the theory (...) picks out a preferred direction of time for almost all interpretations of the theory, and second, that contrary to the received wisdom the Schr?dinger evolution is also irreversible. The status of Wigner reversal invariance is then discussed. I conclude that the quantum world is fundamentally irreversible, but manages to appear reversible at the classical level. (shrink)

The present study applies a new method for investigating dynamic unconscious processes. The method consists of selection of words from patient interview and test protocols that in the clinicians' judgments capture the patients' conscious symptom experience and the hypothetical unconscious conflict related to the symptom, subliminal and supraliminal presentation of these words, signal analysis of event-related potentials obtained to the word presentations. Eight phobics and three patients suffering from pathological grief reactions served as subjects. A time-frequency ERP analysis revealed that (...) subjects' ERPs classified the unconscious conflict words better subliminally than supraliminally, while the reverse was true for the conscious symptom words = 2.82, p = .011). The relationship between frequency and latency revealed a similar mirror image pattern for the unconscious conflict and conscious symptom words . This method demonstrated that objective, brain-based evidence for unconscious conflict can be obtained. (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)

This essay aims to identify several related themes that regularly appear in posthumanist scholarship but which have not been theorized sufficiently, including the rhetoric of temporal and historical rupture, the logic of dialectical reversal, the effacement of human/animal difference, and above all the critical ascendancy of the term “posthumanism” itself. If one of the aims of posthumanism is to render the face of the human unknowable to itself, then to what extent does the human that re-names itself “posthuman” do (...) so in order to lay claim once again to a dubious self-knowledge? The rhetoric of posthumanism, moreover, implies a progressive narrative that ironically mirrors the Enlightenment principles of perfectibility that it would oppose. Drawing from Derrida’s notion of the “democracy to come,” I argue that the advent of the posthuman must always remain deferred. Just as the promise of democracy remains unfulfilled, the posthuman must infinitely postdate its arrival in any present. (shrink)

> Context • The alleged dichotomy between mind and matter is pervasive. Therefore, the attempt to explain mat- ter in terms of mind (idealism) is often considered a mirror image of that of explaining mind in terms of mat- ter (mainstream physicalism), in the sense of being structurally equivalent despite being reversely arranged. > Problem • I argue that this is an error arising from language artifacts, for dichotomies must reside in the same level of abstraction. > Method • (...) I show that, because matter outside mind is not an empirical observation but rather an explanatory model, the epistemic symmetry between the two is broken. Consequently, matter and mind cannot reside in the same level of abstraction. > Results • It then becomes clear that attempting to explain mind in terms of matter is epistemically more costly than attempting to explain matter in terms of mind. > Implications • The qualities of experience are suggested to be not only epistemically, but also ontologically primary. > Constructivist content • I high- light the primacy of perceptual constructs over explanatory abstraction on both epistemic and ontic levels. > Key words • Idealism, physicalism, pancomputationalism, anti-realism, hard problem of consciousness, epistemic symmetry, explanatory abstraction, levels of abstraction. (shrink)

FROM VARIOUS THINKERS and in different languages we have been receiving an identical message: the philosophy of the subject initiated by Descartes' cogito has reached a definitive impasse. Critical reactions range from attempts to dispose of the subject altogether to efforts to restore pre-Cartesian theories. The authors here presented adopt positions different from either of those extremes. Fully aware of the modern predicament they advocate neither a return to a pre-Cartesian past nor do they dismiss outright the post-Cartesian subjective starting (...) point. Theoretical attitudes once adopted cannot simply be discarded: philosophy has to work its way through them. Still, the proposed answers vary substantially. In Philosophy and the Mirror of Nature, Richard Rorty advocates abandoning traditional truth claims in favor of a rational "conversation" carried on between incommensurable positions. Francis Jacques's Différence et subjectivité reverses the traditional priority of subject to relation. In Généalogie de la psychanalyse Michel Henry attempts to reclaim a theory of "pure" subjectivity from the wild growth of its objectivist deviations. Alasdair MacIntyre exposes the disastrous moral consequences that have resulted from the primacy of an autonomous, isolated subject and proposes a program for a socially and historically more integrated ethical reconstruction. No idea has of late more consistently come under fire than that of the subject as sole source of meaning and value. Heidegger attributed it to Descartes, and three of the studies show the direct impact of his reading. Yet similar tendencies had been at work in analytic philosophy. Rorty presents pragmatic anti-subjective interpretations of language going back to Wittgenstein; Francis Jacques supports his attack by Russell's theory of relations. (shrink)

The usual interpretation of Republic 10 takes it as Socrates’ multilevel philosophical demonstration of the untruth and dangerousness of mimesis and its required excision from a well ordered polity. Such readings miss the play of the Platonic mimesis which has within it precisely ordered antistrophes which turn its oft remarked strophes perfectly around. First, this argument, famously concluding to the unreliability of image-makers for producing knowledge begins with two images—the mirror (596e) and the painter. I will show both undercut (...) the argument they introduce. Secondly, Socrates repeats the “three removes” argument three times. Each has its own object and philosophical axis. The “bed” argument (596a-598d) concerns the ontological status of images vis-à-vis human makers and the divine idea. The bit and bridle,” 601b-601d) emphasizes the epistemological status of image-making as beneath the human maker of bridles (having correct opinion) and the human user, who knows. This second takes away the ontological distinction which was the point of the first. Thus, any human being could be in any of the three positions—user, maker, imitator. This dance might bring one to doubt the conclusion that the imitator has “neither knowledge nor right opinion” (602a). Plato leads into his concluding psychological and moral argument (602c-605c) after a third variation of the 3 removes. This last gives us the image of the flute player (601d-602) as the one who knows and so can order the flute maker. We will conclude by considering what it is this flutist could know, and given that his art is itself a mimesis, who the imitator of this imitative artist could be. Thus attention to the differences among these examples opens a defense of the arts, which reverses many of the claims made against the arts within the ostensible “Platonic” argument. (shrink)

Beyond Subjectivity and Representation extensively explores a connection in the thinking of Nietzsche, Heidegger, and Merleau-Ponty in relation to the interconnections among perception, creation, truth, and value in a way that allows the work of each author to shed light upon the others' ideas. Deborah Carter Mullen develops a non-dualistic notion of truth and value rooted in embodied, earthly existence, and considers them as ongoing happenings of metamorphosis rather than as static ideas. This idea of metamorphosis leads to an understanding (...) of the relationships among self, other, and world as temporal happenings of the flesh. In an intertwining relationship with one another, I and other, I and world, past, present, and future are considered occurrences of the moment that are redefined in each perception and in each expression, as each questions and responds to the other, creating a "mirror-play of flesh." Mullen proposes that reversibility and metamorphosis give rise to an aesthetic sense of truth and values that are not absolute, but truths that happen as they are expressed and values that occur as they are lived. (shrink)

Some propositions add more information to bodies of propositions than do others. We start with intuitive considerations on qualitative comparisons of information added . Central to these are considerations bearing on conjunctions and on negations. We find that we can discern two distinct, incompatible, notions of information added. From the comparative notions we pass to quantitative measurement of information added. In this we borrow heavily from the literature on quantitative representations of qualitative, comparative conditional probability. We look at two ways (...) to obtain a quantitative conception of information added. One, the most direct, mirrors Bernard Koopman’s construction of conditional probability: by making a strong structural assumption, it leads to a measure that is, transparently, some function of a function P which is, formally, an assignment of conditional probability (in fact, a Popper function). P reverses the information added order and mislocates the natural zero of the scale so some transformation of this scale is needed but the derivation of P falls out so readily that no particular transformation suggests itself. The Cox–Good–Aczél method assumes the existence of a quantitative measure matching the qualitative relation, and builds on the structural constraints to obtain a measure of information that can be rescaled as, formally, an assignment of conditional probability. A classical result of Cantor’s, subsequently strengthened by Debreu, goes some way towards justifying the assumption of the existence of a quantitative scale. What the two approaches give us is a pointer towards a novel interpretation of probability as a rescaling of a measure of information added. (shrink)

In a classical mechanical world, the fundamental laws of nature are reversible. The laws of nature treat the past and future as mirror images of each other. Temporally asymmetric phenomena are ultimately said to arise from initial conditions. But are the laws of nature also reversible in a quantum world? This paper argues that they are not, that time in a quantum world prefers a particular 'hand' or ordering. I argue, first, that the probabilistic algorithm used in the theory (...) picks out a preferred direction of time for almost all interpretations of the theory, and second, that contrary to the received wisdom the Schr?dinger evolution is also irreversible. The status of Wigner reversal invariance is then discussed. I conclude that the quantum world is fundamentally irreversible, but manages to appear (thanks to Wigner reversal invariance) reversible at the classical level. (shrink)

Introduction: The quickened and the dead -- Ontology for philologists : Nietzsche, body, subject -- "Be your self!" : Nietzsche as educator -- The life of thought : Nietzsche's truth perspectivism and the will to power -- Of slaves and masters : the birth of good and evil -- Moments of excess : the making and unmaking of the subject -- Lacan, desire, and the originating function of loss -- The word that sees me : the nexus of image and (...) sign -- The nothing as the reverse side of Lacan's mirror -- Nietzsche is dead, long live Nietzsche : in memory of paternal ghosts -- The "insiders" : Nietzsche's secret teaching and the invention of "the philosopher of the future" -- Finding one's home in the nothingness of Nietzsche's text -- Nietzsche's excessive demand and the question of the adulterous queen's desire -- High and low : the hierarchical structure of Nietzsche's texts -- Inside and outside : Nietzsche "incorporated"; or, Who incorporates whom in the act of reading Nietzsche? -- The father's indulgence of the prodigal son : ambiguity and the limits of "the position" -- The contagion of affect in Netzsche : Klein, Krell, Bataille -- Doing time with Melanie Klein : renouncing "the bad breast," mourning the loss of "the good breast" -- "Motivating this writingéis a fear of going crazy" : how Klein might read Georges Bataille sur Nietzsche -- David Farrell Krell's "novel" approach to reading Nietzsche -- Family romances and textual encounters : Sarah Kofman reading Nietzsche -- Reading Nietzsche I : explosions -- Autobiography or autothanography : killing with words in Rue Ordener, Rue Labat -- Reading Nietzsche II : le pris des juifs; Nietzsche, les juifs, l'anti-semitisme -- The vision, the riddle, and the vicious circle : Pierre Klossowski's reading of Nietzsche's sick body -- On the continuity and disjunction between the body and language -- Exquisite delirium : the thought of eternal return -- The conspiracy of philosopher/villains : Nietzsche/Klossowski/Sade -- From cannibalism to voodoo : the creation and control of the subject of Nietzsche's writing. (shrink)

Norbert Wiener’s idea of “cybernetics” is linked to temporality as in a physical as in a philosophical sense. “Time orders” can be the slogan of that natural cybernetics of time: time orders by itself in its “screen” in virtue of being a well-ordering valid until the present moment and dividing any totality into two parts: the well-ordered of the past and the yet unordered of the future therefore sharing the common boundary of the present between them when the ordering is (...) taking place by choices. Thus, the quantity of information defined by units of choices, whether bits or qubits, describes that process of ordering happening in the present moment. The totality (which can be considered also as a particular or “regional” totality) turns out to be divided into two parts: the internality of the past and the externality of the future by the course of time, but identifiable to each other in virtue of scientific transcendentalism (e.g. mathematical, physical, and historical transcendentalism). A properly mathematical approach to the “totality and time” is introduced by the abstract concept of “evolutionary tree” (i.e. regardless of the specific nature of that to which refers: such as biological evolution, Feynman trajectories, social and historical development, etc.), Then, the other half of the future can be represented as a deformed mirror image of the evolutionary tree taken place already in the past: therefore the past and future part are seen to be unifiable as a mirrorly doubled evolutionary tree and thus representable as generalized Feynman trajectories. The formalism of the separable complex Hilbert space (respectively, the qubit Hilbert space) applied and further elaborated in quantum mechanics in order to uniform temporal and reversible, discrete and continuous processes is relevant. Then, the past and future parts of evolutionary tree would constitute a wave function (or even only a single qubit once the concept of actual infinity be involved to real processes). Each of both parts of it, i.e. either the future evolutionary tree or its deformed mirror image, would represented a “half of the whole”. The two halves can be considered as the two disjunctive states of any bit as two fundamentally inseparable (in virtue of quantum correlation) “halves” of any qubit. A few important corollaries exemplify that natural cybernetics of time. (shrink)

In what follows I will provide an explication of what the principle of philosophical sufficiency (PPS) refers to as conceptualized by François Laruelle, whereas, at the moment, suffice it to say that it is comparable to Marx’s extolling of the principle of praxis over that of philosophy as a critique of the philosophical “self-mirroring,” a thesis that pervades Critique of Hegel’s Philosophy in General (Marx, Manuscripts), German Ideology (1968), Theses on Feuerbach (1969). The self-mirroring thought (philosophy is) subsumes the Real (...) itself reducing it to a postulate, to its transcendental aspect exclusively rather than reversing the hierarchy whereby thought submits to the Real albeit radically foreclosed for philosophy’s totalizing ambition. Instead of revisiting the dialectics between thought and the real, or reviving a Kantian dilemma, in his critique of Feuerbach’s materialism and the critique of Hegel’s philosophy under the aforementioned several titles, in particular in “Critique of Hegel’s Philosophy in General,” Marx proposes that a shift toward “objectivism” would proffer a proper foundation for a truly scientific discussion of human reality. It is probably an undisputable fact that subjectivity-centered thinking and anthropocentric ontology, epistemology, and morality have determined the civilizational legacy of modernity: it begins with Kant’s practical philosophy and metaphysics of morals, if we must choose a single philosophical threshold in the Western history of ideas. Certainly, it coincides with the birth of republicanism as the model state promulgated by the French and the American Revolution and the completion of the enlightenment project. In Karl Marx’s politico-philosophical project, subjectivity, political state, and secularism are not what a modern society should consist in but quite the opposite their transcendence by way of sublation when confronted with a materialist, objective science of the species-being of humanity. Secularism is, argues Marx in The Jewish Question, a name for a “political” state that has alienated itself from the society precisely by way of relegating everything pertaining to the individual to the so-called “civil society.”. (shrink)

The book explores the themes of a) “radical concepts” in politics (inspired by François Laruelle’s “non-Marxism” and “non-philosophy,” developed in accordance with Badiouan and Žižekian “realism”); b) politically relevant and applicable epistemologies of “Thought’s Correlating with the Real” (Laruelle), inspired by Laruelle, Badiou and Žižek and c) the possibility of hybridization of the epistemic stance of “radical concept” with the politics of grief and “identification with the suffering itself” proposed by Judith Butler. Radical concepts, the political vision and the theory (...) based on them, are always already succumbing to the “Lived” (Laruelle), to the singularity of the Event (Badiou), to the encounter with the “kernel of the Real” (Žižek) conditioning a political horizon and the grand and small political narratives taking place within it. The thesis of the book is that the instances of the “lived,” the “event” or the “Real” can be inherently inter-connected by virtue of the category of the “experience” which is an instance of the sheer lived, the bare being subjected to an occurrence which is always already an instance of trauma. The mere subjection to certain” taking place,” the passion (in the etymological sense derived from the Latin verb pati or in the Spinozian sense) which is category beyond the psychological notions of feeling, rational (or irrational) thought, i.e., an ontological category referring to our relation with the “Out-There” which always already happens to us, is that to which the radical (political) concept succumbs to as the ultimate authority rather than to a doctrine, a system of thought, to the “philosophy’s auto-mirroring” (Laruelle). Political revolt or the revolutionary stance stems from precisely this bare experiential, the sheer lived and thus, from the Real of the conatus of staying-in-life. Paradoxically the survivalist stance, the principle of self-preservation is also the revolutionary stance which is by definition destabilizing and destructive. Bodily resistance to subjection (i.e., to discipline) and the continuity of the Self in-the-Real is the source of resistance. The Real of grief and mourning, the identification with the purely experiential stance of the suffering itself is the foundation of a “radical concept” of political solidarity, which by virtue of its being grounded in the Real, i.e., in the Lived, provides the possibility of acting in a revolutionary way. But it is also a form of human universality or political universality, which yet again is not historic universality but rather purely categorical. Other concepts that can be called radical, concepts which are minimally transcendental (Laruelle) and are, therefore, of revolutionary potential are also violence, mourning, labor (work) and gender (the trauma introduced by the linguistic determination as a “he” or a “she”), life, death, animal. Yet, the main focus of the book is the exploration of the lived of vulnerability, trauma and the conatus of life as the determination in the last instance of the revolutionary (political) stance. Clearly, the revolutions and the revolutionary stance this book advocates, or rather, whose potentiality it explores, are not necessarily historical revolutions produced by the intentionality to create politico-historic change. They are not this necessarily. Yet again they are such possibly. Still all purely (on the formal level) revolutionary stance tends to introduce universal change, radically change the political horizon and to reverse the politically unthinkable into a thinkable by elevating it to the level of a universal political truth. (shrink)

The backlash against the Olympic Games reflects the failure of the major global institutions in dealing with the social and ethical consequences of globalisation in areas such as the environment, poverty, terrorism and natural disasters. Disillusionment with the Olympic Games mirrors the disenchantment with the perceived values of globalisation, including winning at any price, commercial exploitation by MNCs, intense national rivalry, cronyism, cheating and corruption and the competitive advantage of advanced nations. How could the Olympic Movement reverse this perception? The (...) most important change would be in the area of leadership. Revitalising the Olympic spirit will require a revolution at the IOC. Character, credibility and communication will be the critical success factors. Before appointing the next President of the IOC, there is an exciting opportunity to reconceptualise the Games as a platform for building a framework of global values to counter-balance the naked economic priorities currently dictating the pattern of globalisation. In reinventing the Olympic Games, it is important to recognise that the modern Games are based upon an anachronism. The idea that amateur sport is both the key to individual moral development and world harmony is largely an invention of the British aristocracy, whereas the original Greek Games not only celebrated the classical ideal of `a sound mind in a sound body', but also involved professional athletes and commercial activity. In making the Olympic Charter relevant to the 21st century, and in making the Olympics more than just a speculator sporting event, there is a strong case for the Games to include a wider spectrum of activities, including arts programs and policy forums, which address the well-being of all humanity in a competitive global economy. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

La femme tableau et/ou miroir de l'homme — telle qu'il la crée, l'aime — renvoie de celui-ci l'image inversée : forme de l'« autre » elle montre dans ce qui se dit d'elle le désir de l'« un » comme désir d'être l'un et l'autre , désir d'être le « Tout » ou, désir de l'« Un ». Plusieurs textes freudiens marquent sans ambiguïté la « sexuation » du désir, marquent le désir comme principe mâle. Il s'agit ici de montrer, (...) avec ces textes, les places et les articulations de l'un et l'autre sexe dans la dynamique du désir.Woman as a picture and/or mirror of man — as he creates and loves her — gives an reversed image of him: she, a form of the "other", reveals in what is said of her the desire of "one" as the desire to be both the one and the other , the desire for "Whole"-ness, for "One"-ness. Several Freudian texts unambiguously mark the sexualisation of desire, desire as a male principle. What is shown here, with these texts, are the places and articulations of the one and the other sex in the dynamics of désire. (shrink)

Ruben Berrios Queen’s University Belfast Anti-realism and Aesthetic Cognition Abstract At the core of the debate between scientific realism and anti-realism is the question of the relation between scientific theory and the world. The realist possesses a mimetic conception of the relation between theory and reality. For the realist, scientific theories represent reality. The anti-realist, in contrast, seeks to understand the relations between theory and world in non-mimetic terms. We will examine Cartwright’s simulacrum account of explanation in order to illuminate (...) the anti-realist position. Science consists of phenomenological and theoretical laws. The former are concerned with appearances, or those phenomena that can be directly observed; the latter involve the unobservable reality that is alleged to underlie appearances, and are capable only of indirect confirmation. Phenomenological laws are said to be descriptive, whilst theoretical laws are understood as explanatory. Cartwright is concerned with the theoretical. She claims that the standard realist account of the explanatory efficacy of theoretical laws is faulty. The explanatory power of theoretical laws consists in their ability to provide an explanation of physical phenomena. According to Cartwright, the realist claims that laws explain phenomena by providing an abstract description of them, in terms of their micro-structural features, that is alleged to be true. On this view, explanatory power is entirely dependent on descriptive adequacy. As phenomenological laws describe appearances, so theoretical laws describe the fundamental reality that governs appearances. Cartwright rejects the preceding view and in its place proposes a simulacrum account of explanation. According to Cartwright, the explanatory power of theoretical laws is related not to descriptive adequacy, but rather to the construction of adequate models. To explain a phenomenon is to construct a model which best or most adequately accommodates the phenomenon to a theory. The model will consist of various posited objects that serve to explain the phenomena in terms that are consistent with a set of theoretical laws. Cartwright claims that theoretical laws are true of, or describe, the objects of the model. The objects of the model, however, are not descriptive of reality. They are simulacra. They have, that is, the form or appearance of things, without possessing their substance or proper qualities. In light of the foregoing account we can summarise the distinction between scientific realism and anti-realism as follows. The realist claims that theoretical laws literally represent real objects. The anti-realist claims that laws represent objects of a model that are simulacra of reality. Anti-realism has an aesthetic dimension. The movement from realism to anti-realism is also the movement from the mimetic conception of the scientist as holding a mirror to nature to the constructionist view of the scientist as engaging with nature through invention. There is a lot of the artist in the anti-realist’s view of the scientist. This is true for Cartwright as well as, for example, Van Fraassen in his doctrine of constructive empiricism. It would appear, then, that the philosophy of science has absorbed some concepts that are ordinarily housed in aesthetics. And it has done so profitably. The aim of this paper is to reverse the direction of disciplinary influence. Can art, in relation to its status as a cognitive enterprise, be illuminated by scientific anti-realism? I will argue that it can. In an unexpected reference to the Nicomachean Ethics, Cartwright draws a suggestive parallel between theoretical laws and general moral principles, on the one hand, and physical phenomena and everyday moral conduct, on the other hand. If we add to this the claim that a central component of art’s value is cognitive, then we have the basic materials with which to flesh out a broadly anti-realist view of art. In the production of art, artists can construct models that mediate between everyday ethical phenomena and general ethical tendencies. These models reveal the ways in which there are implicit consistencies or inconsistencies, conflicts or congruences and so forth, between the phenomena and the tendencies. On this basis art can contribute to the reflective understanding of ethical life. This constitutes to a large degree art’s status as a cognitive enterprise. To apprehend art cognitively as artist or critic is to engage in aesthetic cognition. (shrink)