At one point in We will never have been modern Latour notes that his thinking is a “challenge to philosophy”. This article argues that Latour's challenge lies in his repeated claim that his ontology makes us able to think again about the “passing of time”. If this is indeed the case then, this essay looks to Martin Heidegger to think of the question of temporality and ontology. This essay will in effect find that on a deeper level Latour repeats crucial (...) Heideggerian insights with regard to the ontological difference between being and beings. Yet on other points too Heidegger's impact is notable: for Heidegger too, something has gone wary with modernity and our modern constitution. Here too Latour's metaphors point in a rather Heideggerian direction, for the “invisible” modern constitution has become “visible” in certain ontic events—Latour notes the end of communism. This recalls Heidegger's critique of metaphysics. The article will then focus on Latour's distinction between delegation and what is being delegated, a distinction that pervades the conclusion of his 1991 book. Latour thus introduces a difference between delegation and what is being delegated. How not to recognize a duplicate of Heidegger's ontological difference? And, once recognized, what does this mean for our thinking of being and the thinking of the event of world which has been delegated to us? (shrink)

Contemporary phenomenological discussions on relationship between painting and nothingness have mainly employed Sartrean and Heideggerian notions of nothingness. In this paper, I propose another perspective by discussing the possibility of pictorially depicting Levinas’s notion of the nothingness of being, which he develops in his early works in terms of the il y a. For Levinas, the il y a intimates itself in moments like insomnia, where the world as a horizon of possibilities slips away and all there is left is (...) an experience of present absence, an enchainment to the night, which renders the insomniac utterly impotent and exposed. The possibility of eliciting an experience of the il y a through artistic means has been extensively discussed in literary theory, but so far there has been hardly any discussion regarding the pictorial depiction of the il y a. In this paper, I suggest that the atmospheric interior paintings of the Danish artist Vilhelm Hammershøi exemplify par excellence a painterly rendering of the experience of Levinasian nothingness. Through an analysis of Hammershøi’s compositional techniques, I show how figurative means can bring about an anonymous, non-figurative presence which eludes reification. (shrink)

The paper works out an account of the piety proper to philosophical thought. The investigation proceeds as a critical interpretation of three enigmatic claims made by Martin Heidegger about ‘the piety of thinking,’ but the paper is not simply exegetical; the interpretive work is constantly in service of an attempt to think through the phenomenon independently. Plato’s Euthyphro and Nietzsche’s critique of scientific piety both hover in the background of Heidegger’s pronouncements, and they are given special attention here. Through the (...) investigation, philosophical piety is shown to be a virtuous capacity to respond with fitting submission to the truth as what is insurmountably prior to us. To respond fittingly is, at least, to deal well with sameness and difference, which in the case of piety means to recognize two features of our situation: that philosophical questioning necessarily arises out of a fundamental listening, or affirmation, and that we always belong to being but only ever across a gap. (shrink)