We live today within a system in which state and corporate power aim to render space flat, transparent, and uniform, for only then can it be truly controlled. The gaze of power and the commodity form are capable of infiltrating even the darkest of corners, and often, we invite them into our most private spaces. We do so as a matter of convenience, but also to placate ourselves and cope with the alienation inherent in our everyday lives. The resulting dominant (...) space can best be termed totalitarian. It is space stripped of uniqueness, deprived of the “spatial aura” necessary for authentic experience. In Totalitarian Space and the Destruction of Aura, Saladdin Ahmed sets out to help us grasp what has been lost before no trace remains. He draws attention to that which we might prefer not to see, but despite the bleakness of this indictment of reality, the book also offers a message of hope. Namely, it is only once we comprehend the magnitude of the threat to our spatial experience and our own complicity in sustaining this system that we can begin to resist the totalizing forces at work. (shrink)

This volume focuses on dialogue and argumentation in contexts which are marked by truculence and discord. The contributors include well known argumentation scholars who discuss the issues this raises from the point of view of a variety of disciplines and points of view. The authors seek to address theoretically challenging issues in a way that is relevant to both the theory and the practice of argument. The collection brings together selected essays from the 2006 11th Wake Forest University Biennial Argumentation (...) Conference held at Florida Atlantic University in Boca Raton, Florida and the 2012 14th Wake Forest University Biennial Argumentation Conference held at Casa Artom in Venice, Italy. (shrink)

Abstract. In this essay, I compare the atheism of Friedrich Nietzsche with that of Richard Dawkins. My purpose is to describe certain differences in their respective atheisms with the intent of showing that Nietzsche's atheism contains a richer and fuller affirmation of human life. In Dawkins’s presentation of the value of life without God, there is a naïve optimism that purports that human beings, educated in science and purged of religion, will find lives of easy peace and comfortable wonder. Part (...) of my argument is that this optimism regarding the power of objective science is subject to Nietzsche's criticism of Socrates and what he calls the “theoretical man.” As such, it fails in terms of providing a true affirmation of life in the godless world. (shrink)

What is initially striking about Alfred Schutz’s phenomenological account of the musical experience, which encompasses both the performance and reception of music, is his apparent dismissal of the corporeal and spatial aspects of that experience. The paper argues that this is largely a product of his wider understanding of temporality wherein the mind and time are privileged over the body and space, respectively. While acknowledging that Schutz’s explicit or stated view is that the body and space are relatively insignificant to (...) his account, the paper reveals how they actually feature significantly in the latter, but in ways that remain largely implicit. First, the analysis demonstrates that the mental and temporal aspects of Schutz’s phenomenology of the musical experience cannot be considered independently of their interrelations with the equally important, albeit under-examined, corporeal, and spatial aspects. Concepts from Nietzsche’s early aesthetics are recruited to fulfil this task. Second, the analysis challenges Schutz’s dismissal of space in his theory of music perception. Lastly, it reveals the crucial, yet implicit, role of the body and space in his key examination of the intersubjective phenomenon he terms “making music together”. By presenting the above arguments, the paper aims to draw out the implicit dimensions of Schutz’s phenomenology of music and thereby enrich his influential account. (shrink)

Genetic engineering of life forms could well have a profound effect upon our sense of the sacred. Integrating the experience of the sacred as George Bataille does, we can characterize it as a phenomenological encounter with prelinguistic, noncategoreal experience. This view of the sacred is similar to Friedrich Nietzsche's Dionysian experience or Rudolf Otto's mysterium tremendum and diminishes one's sense of self. It seems similar to the eighteenth‐century aesthetic categorization of “the sublime.” Despite the dominant rational approach to religiosity in (...) the United States, intimations of this experience persist in popular culture. What possible relationship does genetic engineering have to this allegedly inevitable and profound experience? If certain modifications of life occur, they are likely to create such an experience of the sacred in us. In principle, we can now resurrect the mammoth or even create beings designed to directly potentiate our experience of the numinous such as satyrs or centaurs. The creation of such beings could become an art form associated with awaking the sacred, in turn appropriated by religion, as art has always been. Such experimentation, though morally questionable, is probably inevitable. (shrink)

The most important structural feature of the music of the New World is its often-time polyrhythmic and polymetrical character. This is also a key to unlocking the nature of social form and democratic persona in the diasporic and settler metropolises of the New World. In such settings, composers and musicians working with simultaneous temporalities, lines, groups, textures and characters offer intimations of a just totality for culturally fragmented societies.

I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...) influenced by Kant’s claim that aesthetic pleasure is orthogonal to desire-satisfaction—becomes decoupled from his (further) Kantian view that aesthetic play essentially involves a harmony of sensuous receptivity and rational spontaneity. The result, I suggest, is a self-standing opposition between desires and passions. This motivates a recognizably Romantic vision of aesthetic disinterestedness, as freedom from desire realized in a state of creative determination by passion. (shrink)

Many commentators have claimed that Nietzsche views the “sublimation” (Sublimierung) of drives as a positive achievement. Against this tradition, I argue that, on the dominant if not universal Nietzschean use of Sublimierung and its cognates, sublimation is just a broad psychological analogue of the traditional (al)chemical process: the “vaporization” of drives into a finer or lighter state, figuratively if not literally. This can yield ennobling elevation, or purity in a positive sense—the intensified “sublimate” of an unrefined original sample. But it (...) can also yield drives that are attenuated or otherworldly, in a pejorative sense. One (but only one) kind of Nietzschean sublimation is the “translation” of drives to “imaginative and spiritual” (Imaginative und Seelische) modes of expression. I con­clude that, despite certain appearances to the contrary, Nietzsche ultimately values basic drives’ powerful expression, without preferring either that this occur specifically as “higher culture” or as “savage” natural impulse. (shrink)

Nietzsche sometimes praises the drive to order—to simplify, organize, and draw clear boundaries—as expressive of a vital "classical" style, or an Apollonian artistic drive to calmly contemplate forms displaying "epic definiteness and clarity." But he also sometimes harshly criticizes order, as in the pathological dialectics or "logical schematism" that he associates paradigmatically with Socrates. I challenge a tradition that interprets Socratism as an especially one-sided expression of, or restricted form of attention to, the Apollonian: they are more radically disparate. Beyond (...) strengthening the case for this basic point, I develop a distinctive account of what, exactly, distinguishes the Apollonian-classical and Socratic forms of order. To this end, I advance interrelated interpretations of Apollonian-classical simplicity and the "cold" calm that it elicits, by contrast to superficially similar Socratic phenomena. This illuminates Nietzsche's broader ambivalence toward science, in part by clarifying the nature and value of an idealized Apollonian science. (shrink)

This article examines Heidegger’s thoughts on Nietzsche’s philosophy of eternal return and the self-overcoming power of thinking. Scholarly commentators argue that Heidegger’s interpretation of Nietzsche reduces the open possibilities of thinking about temporality, becoming and difference into a rigid metaphysical framework of being as a whole. However, a close reading of Heidegger’s thoughts on the eternal recurrence shows that his interpretive attempt to disclose the metaphysical ground of Nietzsche’s thinking reveals a deeper, dynamic dimension of Nietzsche’s recurrent efforts of self-overcoming. (...) In this light, I argue that Heidegger’s interpretive thinking intends to uncover an empowering ground of Nietzsche’s philosophical struggle to overcome the metaphysical limit of human thoughts facing the lively unity of difference. For Heidegger, Nietzsche’s thinking of the eternal recurrence is not to suggest a metaphysical doctrine of being but to grasp a determinate basis of one’s own existence, repeatedly seeking the greater possibility of being with others. (shrink)

This article revisits the case of Woody Allen’s mockumentary Zelig via Friedrich Nietzsche’s diagnostic of mimicry in The Gay Science. It argues that the case of the “human chameleon” remains contemporary for both philosophical and political reasons. On the philosophical side, I argue that the case of Zelig challenges an autonomous conception of the subject based on rational self-sufficiency by proposing a relational conception of the subject open to mimetic influences that will have to await the discovery of mirror neurons (...) in the 1990s in order to find an empirical confirmation. On the political side, I say that Zelig foregrounds the power of authoritarian leaders in the 1930s to cast a spell on both imitative crowds and publics in terms that provide a mimetic supplement to Hannah Arendt’s account of the “banality of evil”. The philosophical purchase of Zelig’s cinematic dramatization of a mimetic subject is that it reveals how the “inability to think” characteristic of the case of Eichmann rests on unnoticed affective principles constitutive of the all-too-human penchant for “mimicry” the film dramatises. Thus reframed, the human chameleon reflects the dangers of mimetic dispossessions that reached massive proportions in the past century and continue to cast a shadow on the present century. (shrink)

Neuroscientific evidence requires a monistic understanding of brain/mind. Truly appropriating what this means confronts us with the vulnerability of the human condition. Ca‐muss absurd and Tillich's despair are extreme expressions of a similar confrontation. This crisis demands a type of courage that is consistent with scientific truth and does not undermine the spiritual dimension of life. That dimension is not a separate substance but the process by which brain/mind meaningfully wrestles with its crisis through aesthetic symbols, religious faith, and ethical (...) affirmation. The validity of these activities does not depend upon human autonomy but instead upon the fact that they exist. Furthermore, they constitute the self, which Dennett calls a “center of narrative gravity.”. (shrink)

I argue that there is no “roaring reality of rampant secularism” with “technological application as its chief agent,” as claimed by John Caiazza (2005). Two phenomena, techno‐religion and a spirituality of technology, suggest a different picture of reality: Technology may be an alternative spirituality rather than an ally of a secularism that makes “nutcrackers of the soul” out of people who should be “dancers” (Nietzsche). An analysis of secularism and its manifold causes indicates that secularism is a fruit of both (...) science and religion. The secular is a companion of religion rather than its enemy. Hence, I recommend a heuristic instead of an ontological use of the concept of secularism. In a technological age, religion is changing rather than being displaced. These changes are illustrated by the increase of private religiosity, megachurches, and cyber‐spirituality. Energized by the tension between finitude and creativity, technology shares in the marks of spirituality (Philip Hefner) and in the potential for good and evil. In this situation, fundamentalism and dogmatism in religion, science, and technology are a greater threat than secularism. (shrink)

This second part of the essay deals with the horns of the dilemma at the conceptual level and ?on the street?. The first part ended with that quandary where a deep understanding was precluded no matter which way one turned, whether an inadequate comprehension based on individual and partial notions, a perplexing pluralist path or a relinquishment of the hermeneutic enterprise altogether. The philosophical solution of existential overtones presently put forward deftly avoids the sharp ends of the predicament by means (...) of a three-tiered phenomenological analysis of the event. First, death is considered via Heidegger's and Sartre's existential examination; next, risk and related concepts, such as fear, are scrutinised; and third, Nietzsche's and Ortega y Gasset's life-affirming views lead us to the liberating conclusion: facing danger and death are means to an enhanced and joyful experience of life. As in the first part, this one also presents several photographs that complement the text at different levels. Once several objections are disposed of, readers are left with a philosophical elucidation of a sense of joy predicated on the ability to face daring challenges willingly undertaken for the fun of it. (shrink)

In Archaic Athenian vase-painting, silens are often sexually aroused, but only sporadically satisfy their desires in a manner acceptable to most Athenian men. François Lissarrague persuasively argued that the sexuality of silens in vase-painting was probably laughable rather than awe-inspiring. What sort of laughter did the vase-paintings elicit? Was it the scornful laughter of a person who felt nothing in common with silens, or the laughter of one made to see something of himself in their behavior? For three reasons, I (...) argue for the latter interpretation. First, some vase-paintings are constructed so as to invite the viewer to adopt imaginatively the persona of a silen. Second, parallels for the less-than-triumphant sexuality of silens occur in Archaic iambic poetry. Like the vase-paintings, the poetry was often constructed so that performers of the poems are incorporated into the narratives as all-too-human protagonists. Third, certain formal features of classical satyr-play encouraged the audience to identify with the point of view of the satyr-chorus, while others reminded it that there were better role models than silens. In all three media, a negative characterization of male characters or silens is combined with a manner of presentation that invites the viewer or performer to see himself among those characters despite their negative traits. That form of humor may have been common in Archaic symposia, but its presence in satyr-play suggests that it may also be a fundamental characteristic of silens. (shrink)

This article argues that the figure of Oedipus lies at the heart of Horkheimer and Adorno's Dialectic of Enlightenment. Oedipus is the prototypical Aufklärer as no one can rival him in his courageous attempt to employ his own autonomous reason `without direction from another'; yet self-knowledge remains beyond his grasp. Indeed, Oedipus' obsessive drive to bring the truth to light ultimately leads him to put out his own eyes because he is unable to bear the sight of the catastrophe that (...) this drive engenders. Oedipus' demise represents in allegorical form the self-destruction of enlightenment itself. Enlightenment is similarly driven to illuminate the world in its totality by reducing it to philosophical concepts. In the process, however, it becomes blind to the question of its dependence upon that which it purports to possess. In its attempt at total illumination, therefore, enlightenment does not effectuate an exit or Ausgang from the opacity of myth, as Kant had held, but rather is blinded, paradoxically, by the radiance of its own projections. Reading the dialectic of enlightenment through the tragedy of Oedipus leads back to the enigmatic question of art as the means by which the rationalization and disenchantment of the world can be reflected upon critically. (shrink)

In response to Hegel’s thesis concerning the “end of art,” John Sallis suggests that the future or the “promise of art” may be opened in thinking through Heidegger’s essay “The Origin of the Work of Art.” Sallis proposes that this promise of art may lie in the capacity to “set forth various elements through transfigurement into shining.” In this paper I reflect on what this suggestion concerning the promise of art may mean. Furthermore, I propose that “The Origin of the (...) Work of Art” shows a resonance with Nietzsche’s Birth of Tragedy that Heidegger’s reading of Nietzsche obscures, and that this resonance is suggested in Sallis’ earlier work on Nietzsche’s book. I suggest that the Gestalt configuration of “world” and “earth” in Heidegger’s essay echoes the configuration of the Apollonian and Dionysian in Nietzsche’s thought. I further suggest in the conclusion that this resonance enables one to draw the connection between “The Origin of the Work of Art” and Heidegger’s later work in which the promise of art opens up a different mode of dwelling upon the earth. (shrink)

Kant's over‐reliance on universal reason and his subjection of free will to the moral law can be seen as normalising a particular and restrictive view of autonomous human existence—a view implicit in liberal accounts of education. Drawing on Nietzsche's critique of Kantian thought, this paper argues that the transcendental and unattainable realm of Kantian reason is insufficient as a sole basis for moral thought and action or as the basis of respect for others as ‘ends‐in‐themselves’. For Nietzsche, the possibility for (...) each individual goes well beyond compliance with any imposed system of values, his metaphorical ‘death of God’ leaving room for creativity and difference. (shrink)

Kant's over‐reliance on universal reason and his subjection of free will to the moral law can be seen as normalising a particular and restrictive view of autonomous human existence—a view implicit in liberal accounts of education. Drawing on Nietzsche's critique of Kantian thought, this paper argues that the transcendental and unattainable realm of Kantian reason is insufficient as a sole basis for moral thought and action or as the basis of respect for others as ‘ends‐in‐themselves’. For Nietzsche, the possibility for (...) each individual goes well beyond compliance with any imposed system of values, his metaphorical ‘death of God’ leaving room for creativity and difference. (shrink)

Today it would seem that being fatigued is a fairly common physical and psychological effect of educational systems based on an increasing demand for high-yield performance quotas. In higher education, ‘publish or perish’ is a kind of imperative to perform, perform better, and perform optimally leading to an overall economy of fatigue. In this paper we provide a critical theory of what we are calling the ‘fatigue university.’ While highlighting the negative costs of fatigue, we also provide a philosophical distinction (...) between tiredness and exhaustion that disrupts the biopolitics of fatigue from the inside. To do so, we turn to Gilles Deleuze and Giorgio Agamben whose writings on exhaustion point to its educational importance. Indeed, it is through the very ‘illnesses’ of exhaustion that the biopolitics of research can be problematized and opened up for new configurations. (shrink)

This article argues that language without the body does not `mean' at all; corporeality provides language with meaning under socio-cultural constraints. Traditional ways of interpretation have been dominated by the transference of linguistic interpretation to the non-linguistic. At the same time, traditional linguistically focused interpretation is heavily laden with orthodox value systems. This makes the body a secondary phenomenon. In many art forms, however, the body is primary and yet transient. This requires a reversal of traditional approaches. Recent liminal performances (...) have attempted to offer a non-verbal critique of both that linguistic dominance and such value orthodoxy. Unless the immediacy of the body, including corporeal readings (visual, tactile, haptic, olfactory, gustatory, kinetic, proximic, etc.) is made the focus of interpretation, such recent experimental genres as Viennese Actionism, Tanztheater, digitized music, high-definition television and its filmic consequences, cannot be appreciated. However, I suggest it would be a mistake to read their presentations of the immediacy of the body as an escape from representation altogether. Rather, what we are dealing with here is a radical transvaluation of corporeality. The article questions some recent theories from this perspective, using selected excerpts from liminal performances to illustrate this critique. (shrink)

I will here apply the classical Indian model of the dramatic actor as a methodology for interpreting the soteriological psychology of the Bhagavad Gītā, paying special attention to the usefulness of this approach for clarifying Kṛṣṇa's rationale in showing his divine form in Chapter 11. I argue that the Gītā advocates creative role-play as both the means and the end of liberation. Further, while Kṛṣṇa's teachings can be understood in terms of orthodox Hindu soteriologies that have in view an overcoming (...) of the emotions, I argue that Kṛṣṇa looks to transform Arjuna into an ‘athlete of emotion’, much like traditional Indian-based training methods do for theatrical actors. (shrink)

Kafka's writings are frequently interpreted as representing the historical period of modernism in which he was writing. Little attention has been paid, however, to the possibility that his writings may reflect neural mechanisms in the processing of self during hypnagogic (i.e., between waking and sleep) states. Kafka suffered from dream-like, hypnagogic hallucinations during a sleep-deprived state while writing. This paper discusses reasons (phenomenological and neurobiological) why the self projects an imaginary double (autoscopy) in its spontaneous hallucinations and how Kafka's writings (...) help to elucidate the underlying cognitive and neural mechanisms. I further discuss how the proposed mechanisms may be relevant to understanding paranoid delusions in schizophrenia. Literature documents and records cognitive and neural processes of self with an intimacy that may be otherwise unavailable to neuroscience. To elucidate this approach, I contrast it with the apparently popularizing view that the symptoms of schizophrenia result from what has been called an operative (i.e., pre-reflective) hyper-reflexivity. The latter approach claims that pre-reflective self-awareness (diminished in schizophrenia) pervades all conscious experience (however, in a manner that remains unverifiable for both phenomenological and experimental methods). This contribution argues the opposite: the. (shrink)

The article will attempt to show that Velasquez's Las Meninas can be viewed as an allegorical enactment of some of the current debates and controversies in the philosophy of cognition and self-representation. I will focus on two very different philosophical trajectories, to which the allegory of the painting can be linked. The first, analytic, trajectory relates Las Meninas to the notion of representation and self-representation in the work of philosophers David Rosenthal, Robert Van Gulick, Uriah Kriegel and Bruce Mangan, and (...) neurologists Bernie Baars and Rodolfo Llinas. The second, continental, trajectory begins by relating to the painting Merleau-Ponty's phenomenological 'embodied self-representation'. This trajectory, which can be further linked to John Ziman's 'second person view' of reality, proceeds to relate Las Meninas to Lacan's 'object gaze' and the 'unbearable fragility of representation', ending with Bataille's (non)concept of 'sovereignty' as essential yet non-representable losses in representation. I will conclude by suggesting that the evolution of the cognitive state experienced by an observer of Las Meninas can be viewed as an 'ontogenetic' recapitulation of the more 'phylogenic' progression of the philosophical history of representation and self-representation alluded to by the canvas. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

Professional higher education is expected to educate large numbers of students to become innovative professionals within a time frame of three or four years. A mission impossible? Not necessarily, according to Henriëtta Joosten who is a philosopher as well as a teacher. She uses the experimental, liberating, but also dangerous ideas of Friedrich Nietzsche to rethink contemporary higher professional education. What does it mean to teach students to strive for better in a professional world where horizons tend to disperse and (...) the possibility of long-term orientation is disappearing? Following Nietzsche, five key elements of striving for better are explored: uncertainty, excellence, critical thinking, truth seeking friendship, and learning through ups and downs. From these five perspectives, Joosten scrutinises existing educational discourses on professional higher education in search for openings to transform these discourses into new, more appropriate ones. Understanding excellence as rising above oneself, she argues for a learning environment in which all students are encouraged to excel. Such an environment allows for uncertainty and learning through ups and downs. Furthermore, teachers are prepared to risk their certainties in order to let a joined quest - that is, a quest of students and teacher - for better truths arise. Using the Nietzschean-inspired notions which have been developed in the study, Joosten describes two factual cases. One case relates to a course in close reading: first-year students jointly read philosophical and scientific texts. The second case involves a group of eleven senior students developing a course in project management. These descriptions and the recommendations serve as a catalyst for constructive debate on the question of how all students can be equipped for a dynamic professional world. (shrink)