Just as nothingness is a fundamental concept in Daoist philosophy, it is also a fundamental concept in Chinese aesthetics, where it has multiple meanings: First, nothingness, as a reaction against unaesthetic psychical activity, is a primary precondition of aesthetic and artistic activity. Second, as the void or intangible stuff juxtaposed to substance, it is an indispensable compositional property of artworks as well as an essential condition for the manifestation of an artistic form. Finally, as a reaction against the unaesthetic world (...) of daily life—the experiential world—nothingness is the fundamental basis and essential provision for establishing an artistic world. (shrink)

This article investigates the concept of time as it is laid forth in the Daoist text, the Zhuangzi 莊子. Arguing that authentic time lies with cosmogony and not reality as envisioned by humanity, the Zhuangzi casts off the ontology of the present-now in favor of the existentially creative negativity of Dao 道. As the pivot of Dao, nothingness not only allows us to side-step the issue of temporal directionality, it reflects the meontological nature of Daoist cosmology in general. Framing time (...) in terms of the motion of nothingness, this paper concludes that the authentic time of Dao reveals itself through the principle of creation qua rest. Experiencing such temporal self-grounding, the sage becomes existentially awakened such that temporal ekstases becomes unfathomable. (shrink)

This paper relocates the philosophical discourse on the Thing (das Ding) to the world of classical Daoism. In doing so, it explores the bond between the One, the Thing and its signifier before discussing how the Thing unveils itself to the world while receiving the gift of nothingness from Dao. It furthermore contends that the two most prominent discussions of the Thing in the Western tradition--those by Heidegger and Lacan--while philosophically valuable in their own right, fail to provide the degree (...) of profundity seen via a Daoist reading. What will become apparent is that the Thing qua the One serves to delineate the cosmological and human realms of reality, negating any inclination one might have of it as being anything but mystical. (shrink)

The book also sheds new light on many important allegories by showing how modern translations often conceal the wit and humor of the Chinese original.

Uses the concept of religiosity to challenge traditional views of Nietzsche and Zhuangzi as nihilistic and anti-religious.