This paper indicates how continental philosophy may contribute to a diagnostics of contemporary life sciences research, as part of a “diagnostics of the present”. First, I describe various options for an oblique reading of emerging scientific discourse, bent on uncovering the basic “philosophemes” of science. Subsequently, I outline a number of radical transformations occurring both at the object-pole and at the subject-pole of the current knowledge relationship, namely the technification of the object and the anonymisation or collectivisation of the subject, (...) under the sway of automation, ICT and big machines. Finally, I further elaborate the specificity of the oblique perspective with the help of Lacan’s theorem of the four discourses. Philosophical reflections on contemporary life sciences concur neither with a Master’s discourse, nor with university discourse, nor with what Lacan refers to as hysterical discourse, but rather with the discourse of the analyst, listening with evenly-poised attention to the scientific files in order to bring to the fore the cupido sciendi which both inspires and disrupts contemporary life sciences discourse. (shrink)

Long histories and entrenched habits of inattention among advantaged groups mean that even minor challenge and concession can provoke subjective perceptions of victimization. How, in such conditions, might claims of structural injustice break through? Drawing on field work with practitioners across conflict mediation, therapy, education, and performance – four sectors that facilitate listening in fraught contexts yet are undertheorized in politics – this article makes the case that among the most overlooked and powerful resources for cultivating receptivity and responsiveness among (...) advantaged groups are the arts of listening. Practices of engagement across these sectors establish listening as potent rather than passive, given the extent to which it constitutes the field of encounter and shapes what emerges within it, both in terms of expression and, more significantly in this context, receptivity of those to whom one listens. Yet this also means that how one listens is a pivotal consideration – particularly when listening might serve to reinforce and normalize unjustly dominant positions. In contrast to progressive politics’ emphasis on finding more forceful forms of voice and conventional reliance on direct communicative practices, this article explores how specific comedic, theatrical, and embodied tactics can generate ‘oblique forms of listening’ potentially useful to social justice struggles. (shrink)

Regard oblique Les essais réunis dans ce volume ambitionnent de rapporter aux théories philosophiques (principalement la phénoménologie) et aux avancées des sciences cognitives des oeuvres d'artistes tels que Marcel Duchamp, Giulio Paolini, Pep Agut, Thierry Kuntzel, Michael Snow, Peter Campus, Claire Savoie, James Coleman, Angela Detanico et Rafael Lain, James Turrell, Antony McCall, Joâo Fiadeiro et Juliao Sarmento, dont le principal projet aura été d'explorer les problématiques de la perception qui n'est pas seulement une relation sensorielle ou sensitive à ce (...) qui nous entoure, mais avant tout une forme et une manière d'être au monde, une manière d'être pour autrui et avec autrui. L'analyse de ces oeuvres indique bien que le dualisme n'est pas viable le sensible et l'intelligible ne peuvent ici être scindés et que les formes très singulières des oeuvres d'art ont pour propriété de présenter la perception en tant que telle, avec pour visée de nous reconduire continuellement au monde et, partant, à des questions pratico-morales et socio-politiques. (shrink)

In this article we will try to elaborate a reflection around aesthetic experience, more specifically a phenomenology of artwork (Soutine/de Kooning), in dialogue with Emmanuel Falque's thought. Even if the French philosopher has not yet dedicated an autonomous work to the aesthetic question, such reflection appears abundantly dispersed and sparse in his various writings. Among others, Francis Bacon and Lucian Freud were Falque's artists of choice, their work most closely reflected his underlying philosophical thesis. The preference for the figurative, that (...) which in us resists phenomenology, the incarnation as such, would thus bring the philosophical concept and the artistic intuition closer together. However, between figurative and non-figurative or abstract thought, is there not another possibility of thinking them together, without necessarily having to give primacy to one or the other or opposing them? The idea of an oblique incarnate thought (figuration-abstraction, resistance-deflagration, word-silence), or of the diagonal/oblique impastoed being (presence in absence, metamorphosed transcendental materiality, indirect ontology), might also be a third way of thinking about the great philosophical questions between realism and idealism, immanence and transcendence, visible and invisible, metaphysics and phenomenology. In this sense, the artistic work of Chaïm Soutine and de Kooning may be the aesthetic expression of incarnate thought, as a way of primordial access to being, to the world and to another, in the joining in act of the figurative and the abstract, as if multiple possibilities or dimensions of being inhabited in the same being (the articulation of the in-itself and the outside of the self, madness and normality, dream and reality...). Not by chance both were the subject of a recent joint exhibition, from which we propose this reflection, in dialogue with Emmanuel Falque's thought on finitude, which his most recent book radicalises. Our thesis, based on these two artists, aims to affirm that art, whether figurative or abstract, starts from an inalienable material dimension, that is to say, a sensitive dimension, the impasted (body) being, to the point that we may say that Hors phénomène maintains in itself this possibility of articulation between presence to the self and the outside of the self, distance and proximity, immanence and transcendence, even if here and there one can glimpse in its philosophical project an ontological preference for the figurative. However, in our view, what brings together Falque’s philosophy and the work of both artists is the fact that they are the expression of an embodied thought, whether through conceptual experience (philosophy) or through perceptual experience (aesthetics). (shrink)

This article argues, against contemporary experimentalist criticism, that conceptual analysis has epistemic value, with a structure that encourages the development of interesting hypotheses which are of the right form to be valuable in diverse areas of philosophy. The article shows, by analysis of the Gettier programme, that conceptual analysis shares the proofs and refutations form Lakatos identified in mathematics. Upon discovery of a counterexample, this structure aids the search for a replacement hypothesis. The search is guided by heuristics. The heuristics (...) of conceptual analysis are similar to those in other interesting areas of scholarship, and so hypotheses generated by it are of the right form to be applicable to diverse areas. The article shows that the explanationist criterion in epistemology was developed and applied in this way. The epistemic value of conceptual analysis is oblique because it contributes not towards the main purpose of conceptual analysis but towards the reliable development of epistemically valuable hypotheses in philosophy and scholarship. (shrink)

The paper examines the relation of esotericism and oblique politics in the Byzantine philosopher Michael Psellos on the basis of Eva De Vries’ study of the letters that Psellos addressed to the statesman Leo Paraspondylos. Traditionally, the name of Psellos signifies a revival of Neoplatonism in medieval Constantinople according to researchers like Chr. Zervos in the beginning of 20th century. Contemporary researchers such as Anthony Kaldellis and Stratis Papaioannou point to a more organic than speculative theorization in Psellos’ work while (...) another contemporary scholar, Frederick Lauritzen, undertakes a synthesis of the two approaches. In any case, as this paper supports, it would be inadequate to consider the relation of esotericism to politics without referring to the evolution of the moral standards considered in a contextualized manner. (shrink)

Novelty, the creation of new information, has been the hallmark of Juri M. Lotman’s thought. This issue resurfaces in the discussion of his now famous article “On the semiosphere,” in which Lotman, drawing on Vernadsky, identifies the principles of symmetry, asymmetry, and enantiomorphism as pivotal aspects of the semiotic mechanism of the semiosphere. Specular phenomena and mirror reflections have not only found a prominent place in contemporary semiotic theories of different scholarly traditions – from general semiotics (Eco, Volli) to cognitive (...) semiotics (Sonesson) and to the semiotics of culture (Lotman, Levin) – but they also nail down a key element of the inner mechanism of Lotman’s concept of the semiosphere. By using the analogy of thefacereflecting in amirror, Lotman remarks: “It is also like a face, which, wholly reflected in a mirror, is also reflected in any of its fragments, which, in this form, represents the part and yet remains similar to the whole mirror.” By capitalizing on this excerpt, this study unpacks the significance of Lotman’s idea of specular mechanisms as generators of meaning within the semiosphere. (shrink)

I propose that the interpretation which I present of Nietzsche's central text, Thus Spoke Zarathustra, enables us to construct an account of his positive contribution to moral philosophy. I maintain herein that Nietzsche advances an aretaic moral program. That is, he is primarily concerned not with promoting right action, but with promoting a virtuous state of character. ;Negatively stated, my thesis represents a challenge to the standard interpretation of Nietzsche as an amoral critic who equates the good life with a (...) voluntaristic legislation of anti-social values. I maintain that Nietzsche's famous debunking of the canonical values of the Western moral tradition is in fact designed to clear the way for a revaluation of our approach to morality as an enterprise. According to Nietzsche, virtually all accounts of moral excellence hitherto have presupposed the deficiency of mankind. The moral enterprise has thus been understood as a systematic campaign to improve mankind by redeeming this original deficiency. In short, Nietzsche's critical position comes down to this: man cannot very well flourish if his pursuit of happiness is predicated on a view of himself as morally deficient. ;Nietzsche therefore recommends a moral program which pre- supposes the sufficiency of mankind: human nature requires no improvement in the traditionally moral sense. I have identified as the exemplar of these virtues of self-sufficiency the notorious Ubermensch; here again my interpretation of Nietzsche runs counter to the standard readings of his philosophy. The Ubermensch as a virtuous type is characterized by his command of a coherent and meaningful agency: because his pursuit of the good life is predicated on a prejudice in favor of his own sufficiency, he flourishes. ;Because of the unique problems of presentation which would attend a moral program based on man's sufficiency, I concentrate my attention on a non-standard philosophic text, Thus Spoke Zarathustra. Indeed, I propose that Zarathustra embodies Nietzsche's oblique contribution to moral excellence. That is, after having exposed the practicum absurdum of slave morality, he cannot then reject it on moral grounds without thereby compromising his original commitment to man's sufficiency. He therefore restricts himself to an aesthetic critique of slave morality. (shrink)

Dans cet article, nous chercherons à nouer un dialogue entre les philosophies de Ravaisson et de Jankélévitch. Tous deux mettent en évidence une manière « oblique » de saisir l’être, en tant que celui-ci ne peut être présenté de manière directe dans et par une intuition. Toutefois, il ne s’agit pas tant de relever l’impuissance de la pensée que de mettre en évidence l’excès de ce qui est à penser. Si la philosophie est en effet mue par une inadéquation initiale (...) vis-à-vis de ses objets, ce manque ne la condamne pas pour autant. Si l’on peut constater une filiation entre ces deux auteurs, la question de la saisie oblique va également mettre au jour une divergence entre eux. Pour le premier, la réflexion sur les médiations est soutenue par l’identité de l’être et de la pensée. Pour le second, en revanche, cette identité est sans cesse mise en question, au point que la discontinuité paraît caractériser l’essence de la réalité. C’est également l’examen de la philosophie de Bergson qui va permettre de mettre en évidence une telle divergence, au sens où le rapport de Jankélévitch à celui-ci se donne à la fois dans un héritage et dans une rupture. (shrink)

An unprecedented reading of Hegel’s Logic that sets this difficult work in a dialogue with literary texts. In this book, Angelica Nuzzo proposes a reading of Hegel’s Logic as “logic of transformation” and “logic of action,” and supports this thesis by looking to works of literature and history as exemplary of Hegel’s argument and method. By examining Melville’s Billy Budd, Molière’s Tartuffe, Beckett’s Endgame, Elizabeth Bishop’s and Giacomo Leopardi’s late poetry along with Thucydides’ History in this way, Nuzzo finds an (...) unprecedented and productive way to render Hegel’s Logic alive and engaging. She argues that Melville’s Billy Budd is the most successful embodiment of the abstract movement of thinking presented in Hegel’s Logic, connecting Billy Budd’s stutter to the puzzlingly inarticulate beginning of Hegel’s Logic, “Being, pure Being,” identical with “Nothing,” and argues that the Logic serves as an especially appropriate tool for understanding the sudden violent action that strikes Claggart dead. Through these and other readings, Nuzzo finds a fresh way to address interpretive issues that have remained unresolved for almost two centuries in Hegel scholarship, and also presents well-known works of literature in an entirely new light. This account of Hegel’s Logic is framed by the need for an interpretive tool able to orient our understanding of the contemporary world as mired in an unprecedented global crisis. How can the story of our historical present—the tragedy or the comedy we all play parts in—be told? What is the inner logic of our changing world? “Angelica Nuzzo presents an original interpretation of Hegel’s Logic by representing it as a logic of action. This novel approach is supported by insightful readings of the literary texts she covers in the book.” — Andrew Cutrofello, author of All for Nothing: Hamlet’s Negativity. (shrink)

The current paper offers a unique perspective of looking at oblique effects in cognition, language and aesthetics in a language where geometrical horizontal and vertical orientations are not considered cardinal and primary in nature. These oblique effects are termed as atypical in nature, offering a contrast to the other languages. In this attempt, a holistic framework is provided that is couched in terms of a single theory and explains effects from two separate fields in a similar manner. The proposed holistic (...) framework provides special place for the influence of language on cognition (?class-3? theory). The paper closes with directions for future research that could potentially work towards providing further empirical evidence for strengthening the framework. (shrink)

I here introduce a set of essays on William H. Poteat by quoting in full a 1968 letter from Poteat to Marjorie Grene. Poteat articulates reasons he cannot collaborate with Grene in editing the volume of Polanyi essays that was eventually published as Knowing and Being: Essays by Michael Polanyi in 1969.

Traiano Boccalini (1556-1613) auteur des Ragguagli di Parnaso (1612 et 1613) prend position dans le débat sur l’interprétation républicaine de Machiavel : l’auteur du Prince a-t-il écrit pour aider la monarchie ou bien contre elle ? Boccalini semble prendre une position nuancée, affirmant que si l’on condamne Machiavel c’est justement parce qu’il pourrait trop bien servir aux républicains. Lui-même utilise la métaphore du berger, traditionnellement liée à l’idée religieuse, pour montrer que le monarque n’est pas le berger désintéressé du troupeau (...) humain comme il voudrait le faire croire, mais un berger tout attaché au profit qu’il peut tirer de ses brebis. L’ironie dénonce une image pastorale (idyllique) de la monarchie mais Boccalini n’en n'appelle pas pour autant au soulèvement, source des plus grandes souffrances. (shrink)

Cartesianism appeared inexorably to produce disparate theoretical tendencies inside itself, and Spinoza’s philosophy was one of the most outrageous and strangest result of those tendencies. This explains why so many Cartesians felt the urge to deal with the thought of the Dutch philosopher, from time to time labelled as ‘monism’, ‘pantheism’, or ‘atheism’. The case of Fénelon, the Quietist theologian, tutor of the Princes of France and brilliant Cartesian philosopher, highlights the difficulties of such an operation. The Archbishop of Cambrai (...) devotes not only various letters to the criticism of Spinoza, but even a whole section of the Démonstration de l’existence de Dieu – his most ambitious work, from a theoretical point of view. For apparently no reason, the Réfutation du spinozisme was inserted in the middle of the second part of the Démonstration, the more specifically philosophical section. This paper aims to show how Fénelon actually wanted to criticize Descartes’ radical tendencies by attacking them where they were to be found inside Spinoza, without directly compromising Cartesianism – or, first and foremost, his own ‘apologetic’ Cartesianism. (shrink)

This article deals with the problem of different distributions of the Spanish pronouns le and lo ‘him, her, polite you’ that may be observed in different realms of the Spanish speaking world. In this paper, as a starting point, the more established and traditional case theory will be compared with the Control System Hypothesis in a particular corpus of a non-standard, Peninsular variant of Spanish. The hypothesis that will then be tested is that the use of the pronouns under focus (...) in this particular variant, as well as in all variants, is based on one and the same semantic substance, but that speakers may apply this substance for different communicative needs, resulting in different distributions of the forms in different language samples of the respective speakers. These differences, then, are not representative of different meanings, but may be representing cultural differences of the respective speech group. The case in focus is middle-class Spanish of the 60s as represented in a novel by Miguel Delibes, and particularly how men and women are addressed. This corpus was chosen because of its particular, non-standard distribution of the pronouns in question, being therefore of particular interest to test the hypothesis. (shrink)

À suivre Gérard Genette, son passage de la critique littéraire à la poétique, puis de celle-ci à l’esthétique résulterait d’un « processus génétique en quelque sorte oblique », d’une « filiation collatérale » qui voit le détail d’un livre devenir le sujet du suivant. Un retour sur son parcours fait apparaître que l’enchaînement métonymique est lissé par le tuilage des moments : ceux-ci, pour être focalisés, n’en sont pas moins cumulatifs. Mieux, même, au fil du temps, dans la dynamique cumulative (...) d’un œuvre complet in progress, le principe de cohérence se sera appliqué non seulement à l’idéalité des textes, mais à la physicalité qui détermine le régime d’immanence de la littérature. On peut voir dans « Du texte à l’œuvre », « exercice d’autodiction préposthume » qui ouvre Figures IV, en 1997, plus que le simple bilan d’un chercheur, fût-il de grande envergure, dressant le bilan de son parcours au soir de sa carrière : sous couleur de rendre compte des liens qui unissent ses livres, il s’agit ni plus ni moins de montrer en quoi les textes qu’il a publiés constituent une œuvre. (shrink)