McTaggart raised a famed paradox regarding the transientist conception of time, the idea that the present moves into the future to overtake future events (or, alternatively, that future events move into the present) and past events recede further and further into the past as time goes on. Schlesinger has recently attempted an ingenious transientist solution to McTaggart's paradox. We will argue that Schlesinger's solution to McTaggart's paradox itself gives rise to a new, yet perfectly parallel, paradox (...) which can only be resolved by abandoning the transientist view of time. (shrink)

McTaggart’s theory of time is the locus classicus of the contemporary philosophy of time. However, despite its prominence, there is little agreement as to what the theory actually amounts. In this paper, it is first argued that, contrary to the received opinion, McTaggart’s A-time/B-time distinction is not a distinction between static and fluid temporal series. Rather, it is a certain distinction between two types of static temporal series. It is then shown that in his temporal transience (...) paradox, McTaggart employs these two distinct notions of temporal series. The paper is concluded with the claim that McTaggart's temporal transience paradox is best understood not as a contradiction, but as a dilemma both horns of which are unsatisfactory. (shrink)

This chapter contains sections titled: Temporal Paradoxes Agency‐Based Disanalogies Objectivity‐Based Disanalogies Conclusion.

A contrary-to-duty obligation (sometimes called a reparational duty) is a conditional obligation where the condition is forbidden, e.g. “if you have hurt your friend, you should apologise”, “if he is guilty, he should confess”, and “if she will not keep her promise to you, she ought to call you”. It has proven very difficult to find plausible formalisations of such obligations in most deontic systems. In this paper, we will introduce and explore a set of temporal alethic dyadic deontic (...) systems, i.e., systems that include temporal, alethic and dyadic deontic operators. We will then show how it is possible to use our formal apparatus to symbolise contrary-to-duty obligations and to solve the so-called contrary-to-duty (obligation) paradox, a problem well known in deontic logic. We will argue that this response to the puzzle has many attractive features. Semantic tableaux are used to characterise our systems proof theoretically and a kind of possible world semantics, inspired by the so-called T× W semantics, to characterise them semantically. Our models contain several different accessibility relations and a preference relation between possible worlds, which are used in the definitions of the truth conditions for the various operators. Soundness results are obtained for every tableau system and completeness results for a subclass of them. (shrink)

In a recent paper in this journal, McCall and Lowe (2003) argue that an understanding of Special Relativity reveals that the A theorist’s notion of temporal passage is consistent with the B theory of time. They arrive at this conclusion by considering the twins’ paradox, where one of two twins (T) travels to Alpha Centauri and back and upon her return has aged 30 years, while her earth-bound twin (S) has aged 40 years. This paper argues that their (...) account of temporal passage fails to reconcile the A theoretic notion of temporal passage with the B theory of time since the B theorist is at liberty to adopt this as an account of temporal passage as understood by the B theorist. (shrink)

This chapter contains sections titled: Sorites paradoxes threaten identity across possible worlds, as Roderick Chisholm pointed out some time ago. This chapter develops one such paradox, arguing that it formally resembles the problems of personal identity, and can be resolved by means a modal paradox, which is discussed in the first section. Lest it be thought that the paradox depends on the special nature of possibility, similar paradoxes are sketched for identity over time in the second section. (...) The section underlines the point of a uniform approach by sketching temporal analogues of modal paradoxes about artifact identity. Both modal and temporal versions involve the identity of artifacts. Treatments of closely related problems by Graeme Forbes and Nathan Salmon do not generalize in the same way. The concern of this chapter is to see how much of the original conception can be saved; maximal M‐relations provide the appropriate technique. (shrink)

Montague’s analysis of the well-known temperature paradox poses a problem for Gupta’s syllogism, whose surface syntax differs from the temperature syllogism in the addition of the intensional adverb necessarily. Lasersohn (2005) argues that the puzzle arising from these syllogisms can be solved if one adopts the Fregean presuppositional treatment of definite descriptions, and concludes that the temperature-Gupta puzzle provides an argument in favor of such treatment. This paper shows that the analysis of definite descriptions is in fact orthogonal to (...) the puzzle. Instead, it will be shown that the differences between the two syllogisms stem from the temporal interpretation of their premises. (shrink)

Most theories and models of memory are based on two assumptions that contain theoretical problems. These problems are reflected in the memory-trace paradox, which consists in believing that the past is contained in the memory trace, and in the fallacy of the homunculus, which consists in assuming the existence of an unconscious intentional subject. We will discuss these and present an alternative hypothesis concerning the relationship between memory, consciousness and temporality. This holds that consciousness is not a unitary dimension, (...) but is the set of distinct and original modes to address the object. Among the modes of consciousness, a distinction is made between Knowing Consciousness (KC) and Temporal Consciousness (TC). KC describes the mode of addressing the object in order to know it. TC describes the mode of consciousness that temporalizes its object according the subordinate structures of temporality, the past, the present and the future. Finally it is shown how the hypothesis accounts for a variety of memory disorders and phenomena while avoiding the memory- trace paradox and the fallacy of the homunculus. (shrink)

In a recent paper in this journal, McCall and Lowe (2003) argue that an understanding of Special Relativity reveals that the A theorist’s notion of temporal passage is consistent with the B theory of time. They arrive at this conclusion by considering the twins’ paradox, where one of two twins (T) travels to Alpha Centauri and back and upon her return has aged 30 years, while her earth-bound twin (S) has aged 40 years.Does this reconcile the A theoretic (...) notion of temporal passage with the B theory of time? I argue not. (shrink)

According to McCall and Lowe (2003) interpreting the twins’ paradox reconciles the A-theorist’s notion of temporal passage or flow with the special theory of relativity. Miller, however, recalls that “the B-theorist never denied that there was temporal passage in some sense of the term” (Miller 2004, 204), and argues convincingly that McCall and Lowe stipulate nothing other than this B-theorist’s sense of temporal succession. But, as I want to show, we need in fact the A-theorist’s or (...) even presentist’s account of temporal passage in the sense of a ‘moving now’ in order to preserve the temporal content of the twins’ paradox. It is essential, I think, that for a temporal understanding of the twins’ paradox proper times and coordinate times have to be combined in a way that only the presentists can cope. (shrink)

1) We will begin by offering a short introduction to Epistemic Logic and presenting Fitch’s paradox in an epistemic‑modal logic. (2) Then, we will proceed to presenting three Epistemic Temporal logical frameworks creat‑ ed by Hoshi (2009) : TPAL (Temporal Public Announcement Logic), TAPAL (Temporal Arbitrary Public Announcement Logic) and TPAL+P ! (Temporal Public Announcement Logic with Labeled Past Operators). We will show how Hoshi stated the Verificationist Thesis in the language of TAPAL and analyze (...) his argument on why this version of it is immune from paradox. (3) Edgington (1985) offered an interpretation of the Verificationist Thesis that blocks Fitch’s paradox and we will propose a way to formulate it in a TAPAL‑based lan‑ guage. The language we will use is a combination of TAPAL and TPAL+P ! with an Indefinite (Unlabeled) Past Operator (TAPAL+P !+P). Using indexed satisfi‑ ability relations (as introduced in (Wang 2010 ; 2011)) we will offer a prospec ‑ tive semantics for this language. We will investigate whether the tentative re‑ formulation of Edgington’s Verificationist Thesis in TAPAL+P !+P is free from paradox and adequate to Edgington’s ideas on how „all truths are knowable“ should be interpreted. (shrink)

Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...) protracted agony across the cycle. The centralization of suffering, I argue, parallels the distance between viewer and image with the isolating nature of embodied existence. Thus, this article seeks to probe the relationship between form and content, asking what the image of death reveals about the death of the image. -/- . (shrink)

We combine linear temporal logic (with both past and future modalities) with a deontic version of justification logic to provide a framework for reasoning about time and epistemic and normative reasons. In addition to temporal modalities, the resulting logic contains two kinds of justification assertions: epistemic justification assertions and deontic justification assertions. The former presents justification for the agent’s knowledge and the latter gives reasons for why a proposition is obligatory. We present two kinds of semantics for the (...) logic: one based on Fitting models and the other based on neighborhood models. The use of neighborhood semantics enables us to define the dual of deontic justification assertions properly, which corresponds to a notion of permission in deontic logic. We then establish the soundness and completeness of an axiom system of the logic with respect to these semantics. Further, we formalize the Protagoras versus Euathlus paradox in this logic and present a precise analysis of the paradox, and also briefly discuss Leibniz’s solution. (shrink)

In this article, we reflect on the particular temporal structure of pregnancies and prenatal entities with the aim to contribute to the field of the sociology of pregnancy. Medical models and technology shape today’s notion of pregnancy as a linear, nine-month developmental process that leads to the birth of a child. Through ultrasound technology and prenatal examinations, prenatal entities have thus historically gained a present ‘being’ as a developing, unborn child. While these ideas undoubtedly greatly influence the participants’ interpretations, (...) a culturalistic perspective on time alone does not do justice to the phenomenon’s lived tensions and the temporal complexity of the phenomenon. From a Schutzian perspective of time, we have worked out how practices of pregnancy and the production of meaning are shaped by an interwoven back and forth between orientations to the past, present and future. Drawing on relevant works from the sociology of pregnancy, we work out five modes of temporal references that mold the phenomenon of pregnancy: joint imagination of the couple, in which the born is anticipated as fantasies of the future, passivities of pregnancy, in which the desired future is experienced as unable to influence, the presentification of the unborn in and through visual and bodily-somatic contact moments, its futurization through the cultivation of a ‘not-yet’ and prenatal losses, as a critical rupture with the anticipated and desired future. Our analysis underlines the potential of a time sociological perspective on pregnancy and the constitution of relationships and persons. (shrink)

Essential for the concept of the law of nature is not only spatio-temporal universality, but also functionality in the sense of the dependency on physical conditions of natural entities. In the following it is explained in detail that just the neglect of this functional property is to be understood as the real reason for the occurrence of the Goodman paradox – with the consequence, that the behavior of things seems to be completely at the mercy of change of (...) unique unrepeatable temporal points. It is exactly this (mis-)understanding that also generated the induction problem. From the intrinsic connection between universality and functionality, however, – that is my claim – the ontological consequence of a nature results, for which lawfulness is coupled to essentially functionally defined time sequences, thereby implying a potentiality dimension of nature, too. (shrink)

The homogeneity of time (i.e. the fact that there are no privileged moments) underlies a fundamental symmetry relating to the energy conservation law. On the other hand the obvious asymmetry between past and future, expressed by the metaphor of the arrow of time or flow of time accounts for the irreversibility of what happens. One takes this for granted but the conceptual tension it creates against the background of time''s presumed homogeneity calls for an explanation of temporal becoming. Here, (...) it is approached with the help of a claim to the effect that the instant (moment) itself has a structure isomorphic to that of time as a whole. Then the asymmetry of past and future in regard to temporal becoming is associated with the internal structure of the very moment, and not with external relations between different moments of time. In this paper ideas of ancient atomism and contemporary dialectics are brought together. It is for the sake of a contrast to what is known as logical atomism that I choose to call this view dialectical atomism. The latter admits dialectical contradictions and, so far as the logical status of contradictions is concerned, bears reference to paraconsistent logics. In the paper there is an outline of a method of converting any consistent axiomatic formal system into a paraconsistent theory. (shrink)

In these compositions, the subjects that will both entertain and improve the mind, bid fair to be of the greatest public utility.From toddlers to teenagers, children are everywhere in Hogarth’s pictures. There are children of the drawing room and children of the streets; “little angels” shown putting on a play, “little devils” shown torturing animals; portraits of the sons and daughters of minor aristocrats and the upwardly mobile professional classes and gangs of youngsters gambling at cards on the pavements of (...) St. James’s Street. Biblical images may lend gravitas or satirical point to the messages of the pictures: for example, in the theme of abandonment that lies behind the painting of the infant Moses Brought... (shrink)

Mellor’s theory of time includes the doctrines that (a) objectively, time does not embody tense or temporal properties other than those contained in the B-series, (b) particular objects are endurers, and (c) objectively, time does not flow. I show that these theses cannot all be true together, and that one must be rejected. Since (a) is basic to Mellor’s approach, then assuming that he would not adopt a perdurantist ontology, it follows that he should give up (c). Denying (c), (...) however, is compatible with the essentials of his position. The falsity of (c) does not imply any version of the A-theory, and the B-theory can allow for the motion of diachronically identical entities through the dates over which their careers extend. (shrink)

We combine linear temporal logic (with both past and future modalities) with a deontic version of justification logic to provide a framework for reasoning about time and epistemic and normative reasons. In addition to temporal modalities, the resulting logic contains two kinds of justification assertions: epistemic justification assertions and deontic justification assertions. The former presents justification for the agent’s knowledge and the latter gives reasons for why a proposition is obligatory. We present two kinds of semantics for the (...) logic: one based on Fitting models and the other based on neighborhood models. The use of neighborhood semantics enables us to define the dual of deontic justification assertions properly, which corresponds to a notion of permission in deontic logic. We then establish the soundness and completeness of an axiom system of the logic with respect to these semantics. Further, we formalize the Protagoras versus Euathlus paradox in this logic and present a precise analysis of the paradox, and also briefly discuss Leibniz’s solution. (shrink)

Temporal logic is of importance in theoretical computer science for its application in formal verification, to state requirements of hardware or software systems. Linear temporal logic is an appropriate logical environment to formalize Yablo’s paradox which is seemingly non-self-referential and basically has a sequential structure. We give a brief review of Yablo’s paradox and its various versions. Formalization of these paradoxes yields some theorems in Linear Temporal Logic (LTL) for which we give syntactic proofs using (...) an appropriate axiomatization of LTL. (shrink)

Essential for the concept of the law of nature is not only spatio-temporal universality, but also functionality in the sense of the dependency on physical conditions of natural entities. In the following it is explained in detail that just the neglect of this functional property is to be understood as the real reason for the occurrence of the Goodman paradox. As a consequence, the behavior of things seems to be completely at the mercy of the temporal change (...) of unique absolute temporal points. It is exactly this (mis-)understanding that also generated the induction problem. From the intrinsic connection between universality and functionality, however, - that is my claim - the ontological consequence of a nature results, for which the potentiality of lawfulness is coupled to essentially functionally defined time sequences. (shrink)

Sigmund Freud’s reflections on transience left him surprised that someone could revolt against the process of mourning. In Jonathan Lear’s interpretation of transience, the revolt is not simply a passing struggle of the mind, but a response to a difficulty of reality, that is, an existential struggle. Central to the experience of transience, according to Lear, is the disbelief in the existence of an afterlife. How might we understand the idea of an afterlife philosophically? I first consider (...) three different philosophical conceptions of the afterlife that—in different ways—underline the relation between collective memory and the process of mourning. These reflections make it clearer which aspects of the afterlife play a role in the existential struggle that Lear describes. However, a further analysis of the temporality at stake in the denial of an afterlife is needed. I therefore look at two psychoanalytic interpretations of the refusal to mourn. The first considers the refusal to mourn as a way to deny change. The second interpretation sees the refusal as a realisation of meaninglessness that prevents the flow of time. I end the paper by arguing that the afterlife can be understood as a practice of articulation, which allows a shared time to flow. Such a practice will commit us anew to a shared world in which we survive with the wounding difficulties of reality. (shrink)

This paper adds temporal logic to public announcement logic (PAL) and dynamic epistemic logic (DEL). By adding a previous-time operator to PAL, we express in the language statements concerning the muddy children puzzle and sum and product. We also express a true statement that an agent’s beliefs about another agent’s knowledge flipped twice, and use a sound proof system to prove this statement. Adding a next-time operator to PAL, we provide formulas that express that belief revision does not take (...) place in PAL. We also discuss relationships between announcements and the new knowledge agents thus acquire; such relationships are related to learning and to Fitch’s paradox. We also show how inverse programs and hybrid logic each can be used to help determine whether or not an arbitrary structure represents the play of a game. We then add a past-time operator to DEL, and discuss the importance of adding yet another component to the language in order to prove completeness. (shrink)

There are two conspicuous and inescapable features of this world in which time is real. One experiences a world in flux, a transient world in which things constantly come into existence, change and cease to be. One also experiences a stable world, one in which how things are at any given moment is permanent, unchangeable. Thus, there is transience and permanence. Yet these two features of the world seem incompatible. The primary purpose of this paper is to sketch a (...) metaphysics of time that embraces both features. Crucial to this undertaking is the notion of becoming, that is, coming into existence. I distinguish three distinct phenomena of becoming: temporal, absolute and atemporal. The last is the least familiar of these; it is the phenomenon of coming into existence outside of time. Although the idea that there are things that do not exist in time is not unfamiliar, it is largely taken for granted that if anything comes into existence, it must do so in time. (Indeed, I suspect many think that the idea of a thing coming to be outside of time is simply incoherent.) In this paper, I articulate and defend the notion of atemporal becoming. It is by means of this notion that one can develop a fully satisfactory metaphysics of time, one that honors both transience and permanence and finds for each its proper domain within the world. (shrink)

Considering whether existence, i.e., being, is a thing might seem like the height of aimless metaphysical chin stroking. However, the issue—specifically, whether existence is a quality—is significant, bearing on how reality, this all-encompassing totality, is. On one view, reality at large is ontologically fixed, the sum total of things does not (and cannot) vary; on another view, reality is ontologically transient, the sum total of things varies. I first show that if existence is a thing, that reality is ontologically fixed (...) follows. So I consider whether existence is indeed a thing. I demonstrate that “it” could not be: existence is no existent. I then discuss what it is to exist, given existence is nothing at all. I maintain there are no grounds for the view that reality is ontologically fixed. I argue, from the irrefragable basis of temporal differentiation—the world going from thus…to as so—that reality is ontologically transient. I consider some objections to ontological transience and conclude by considering the key to understanding the overall structure in reality and what it reveals about how very inconstant all this is. (shrink)

There is a profound paradox in modern medical knowledge production: The more we know, the more we know that we (still) do not know. Nowhere is this more visible than in diagnostics and early detection of disease. As we identify ever more markers, predictors, precursors, and risk factors of disease ever earlier, we realize that we need knowledge about whether they develop into something experienced by the person and threatening to the person’s health. This study investigates how advancements in (...) science and technology alter one type of uncertainty, i.e., temporal uncertainty of disease diagnosis. As diagnosis is related to anamnesis and prognosis it identifies how uncertainties in all these fields are interconnected. In particular, the study finds that uncertainty in disease diagnosis has become more subject to prognostic uncertainty because diagnosis is more connected to technologically detected indicators and less closely connected to manifest and experienced disease. These temporal uncertainties pose basic epistemological and ethical challenges as they can result in overdiagnosis, overtreatment, unnecessary anxiety and fear, useless and even harmful diagnostic odysseys, as well as vast opportunity costs. The point is not to stop our quest for knowledge about disease but to encourage real diagnostic improvements that help more people in ever better manner as early as possible. To do so, we need to pay careful attention to specific types of temporal uncertainty in modern diagnostics. (shrink)

Parrondo's paradox, in which losing strategies can be combined to produce winning outcomes, has received much attention in mathematics and the physical sciences; a plethora of exciting applications has also been found in biology at an astounding pace. In this review paper, the authors examine a large range of recent developments of Parrondo's paradox in biology, across ecology and evolution, genetics, social and behavioral systems, cellular processes, and disease. Intriguing connections between numerous works are identified and analyzed, culminating (...) in an emergent pattern of nested recurrent mechanics that appear to span the entire biological gamut, from the smallest of spatial and temporal scales to the largest—from the subcellular to the complete biosphere. In analyzing the macro perspective, the pivotal role that the paradox plays in the shaping of biological life becomes apparent, and its identity as a potential universal principle underlying biological diversity and persistence is uncovered. Directions for future research are also discussed in light of this new perspective. (shrink)

Benardete paradoxes involve infinite collections of Grim Reapers, assassins, demons, deafening peals, or even sentences. These paradoxes have recently been used in arguments for finitist metaphysical theses such as temporal finitism, causal finitism, and discrete views of time. Here we develop a new finite Benardete-like paradox. We then use this paradox to defend a companions in guilt argument that challenges recent applications of patchwork principles on behalf of the aforementioned finitist arguments. Finally, we develop another problem for (...) those applications by examining the notion of exact duplication. (shrink)

Charles Sanders Peirce is best known as the founder of pragmatism, but the name that he preferred for his overall system of thought was ‘‘synechism’’ because the principle of continuity was its central thesis. He considered time to be the paradigmatic example and often wrote about its various aspects while discussing other topics. This essay draws from many of those widely scattered texts to formulate a distinctively Peircean philosophy of time, incorporating extensive quotations into a comprehensive and coherent synthesis. Time (...) is not an existential subject with past, present, and future as its incompatible predicates, but rather a real law enabling things to possess contrary qualities at its different determinations, and Peirce identifies four classes of such states based on when and how they are realized. Because time is continuous, it is not composed of instants, and even the present is an indefinite lapse during which we are directly aware of constant change. The accomplished past is perpetually growing as the possibilities and conditional necessities of the future are actualized at the present, and the entire universe evolves from being utterly indeterminate toward being absolutely determinate. Nevertheless, time must return into itself even if events are limited to only a portion of it, a paradox that is resolved with the aid of projective geometry. Temporal synechism thus touches on a broad spectrum of philosophical issues including mathematics, phenomenology, logic, and metaphysics. (shrink)

The idea that temporal propositions are vague predicates is examined with attention to the nature of the objects over which the predicates range. These objects should not, it is argued, be identified once and for all with points or intervals in the real line (or any fixed linear order). Context has an important role to play not only in sidestepping the Sorites paradox (Gaifman 2002) but also in shaping temporal moments/extent (Landman 1991). The Russell-Wiener construction of time (...) from events (Kamp 1979) is related to a notion of context given by a string of observations, the vagueness in which is brought out by grounding the observations in the real line. With this notion of context, the context dependency functions in Gaifman 2002 are adapted to interpret temporal propositions. (shrink)

In recent years, a dramatic increase in the study of infrastructure has occurred in the social sciences and humanities, following upon foundational work in the physical sciences, architecture, planning, information science, and engineering. This article, authored by a multidisciplinary group of scholars, probes the generative potential of infrastructure at this historical juncture. Accounting for the conceptual and material capacities of infrastructure, the article argues for the importance of paradox in understanding infrastructure. Thematically the article is organized around three key (...) points that speak to the study of infrastructure: ruin, retrofit, and risk. The first paradox of infrastructure, ruin, suggests that even as infrastructure is generative, it degenerates. A second paradox is found in retrofit, an apparent ontological oxymoron that attempts to bridge temporality from the present to the future and yet ultimately reveals that infrastructural solidity, in material and symbolic terms, is more apparent than actual. Finally, a third paradox of infrastructure, risk, demonstrates that while a key purpose of infrastructure is to mitigate risk, it also involves new risks as it comes to fruition. The article concludes with a series of suggestions and provocations to view the study of infrastructure in more contingent and paradoxical forms. (shrink)

Perhaps I should define what I mean by "ontological status" here, since much of the ensuing argument is concerned with it. I do not mean verifiability or confirmability in any reductive sense, physicalistically or phenomenologically, although it is perfectly clear that the description of how things exist requires such criteria. But to translate such criteria into ontological proofs, of the sort "what has effects, is real" is to fall prey to circularity. The alternative to such an apparently "inferred" ontology is (...) not necessarily pure, non-ontological descriptionism. Hume's suggestion was that "whatever we conceive, we conceive to be existent." In the context of Hume's conditional view of conception, such an attribution of existence to what we conceive is always probative, hypothetical. In this sense, the criteria for verifiability or confirmability also presuppose existence, even if only as the matrix in which hypothetical objects or events either do or do not have a place. If Hume's formulation is understood reflexively, then not only is what we conceive conceived to be existent, but the conception itself is conceived to be existent, since we can conceive of the fact of conceiving. This involves, of course, a distinction of levels, and the whole range of problems of metalanguages and types. For my purposes here, I shall only point out that, over the range of levels, what we conceive is neither more nor less existent than the conception itself; the empirical concept is neither more nor less existent than its extension. Existence is not a matter of degree, whatever the distinction of levels or types. Yet, there is a certain sense to the common sense appreciation that some things seem to be "more real" than others. What does break the circle of a uniform, non-modal existentiality, and makes sense out of the vaguely intuited "more real," is the hypothesis of derivative relationships between existences, i.e., the hypothesis of genetic sequence and the emergence of qualities in this sequence. In this sense, to establish the ontological status of judgment is to establish the derivative sequence of which judgment is the final term. Yet, to establish ontological status in this way, to say things are the way they have become, is to assume that genetic sequence ends, or is abolished in some instantaneous now, outside of which it is meaningless to speak of ontological status. To press this further, every genetic sequence can be differentiated into a series of "nows" each one of which paradoxically constitutes a final term in the series. As derivation has to do with coming-to-be, and apparently ends with being, in the partial sense of being constituted, so ontological status requires the additional parameter of function, as well as derivation; it requires us to speak of effects, which lie beyond the end term in any genetic sequence; to define what is also in terms of what "it" does, or what "it" becomes, or what "it" causes, or with operationism, in terms of "goings-on," without the antecedent subject-term. (shrink)

A distinction is made between the indexicality theme and the elapsive theme. The first theme is concerned with the question of whether nowness and other irreducibly indexical A-determinations are mind-dependent or not. It is argued that there are no such A-determinations, within or outside of mind. The second, elapsive theme, which is often not distinguished from the first, deals with whether or not non-indexical felt transiency or elapsiveness is mind-dependent. Four arguments for the mind-dependence of "temporal becoming" are assessed (...) as they apply to these two kinds of temporal becoming. (shrink)

To counter a general belief that all the paradoxes stem from a kind of circularity (or involve some self--reference, or use a diagonal argument) Stephen Yablo designed a paradox in 1993 that seemingly avoided self--reference. We turn Yablo's paradox, the most challenging paradox in the recent years, into a genuine mathematical theorem in Linear Temporal Logic (LTL). Indeed, Yablo's paradox comes in several varieties; and he showed in 2004 that there are other versions that are (...) equally paradoxical. Formalizing these versions of Yablo's paradox, we prove some theorems in LTL. This is the first time that Yablo's paradox(es) become new(ly discovered) theorems in mathematics and logic. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)