Boring Formless Nonsense intervenes in an aesthetics of failure that has largely been delimited by the visual arts and its avant-garde legacies. It focuses on contemporary experimental composition in which failure rubs elbows with the categories of chance, noise, and obscurity. In these works we hear failure anew. We hear boredom, formlessness, and nonsense in a way that gives new purchase to aesthetic, philosophical, and ethical questions that falter in their negative capability. Reshaping current debates on failure as an (...) aesthetic category, eldritch Priest shows failure to be a duplicitous concept that traffics in paradox and sustains the conditions for magical thinking and hyperstition. Framing recent experimental composition as a deviant kind of sound art, Priest explores how the affective and formal elements of post-Cagean music couples with contemporary culture's themes of depression, distraction, and disinformation to create an esoteric reality composed of counterfactuals and pseudonymous beings. Ambitious in content and experimental in its approach, Boring Formless Nonsense will challenge and fracture your views on failure, creativity, and experimental music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Formless SelfNewman Robert GlassThe Formless Self. By Joan Stambaugh. Albany: State University of New York Press, 1999. 174 pp.For the past seven years I have been deeply involved in a worldwide experiment in global education. Students in the Comparative Religion and Culture (CRC) Program study the world's great religions for ten-week terms in each of East Asia, South Asia, and the Middle East, totaling one (...) academic year in all. Recent programming has taken place in Taiwan, Thailand, India, Nepal, and Turkey, with stops in Rome and Athens. Students have met with Buddhist and Christian teachers in Kyoto, Sojiji, Eiheiji, Taiwan, Bangkok, Chiang Mai, Bylakuppe, Dharmsala, Jerusalem, Rome, Athens, Ankara, and Istanbul. As part of their academic work, students write responses to each encounter and engage in term-end and year-end reflections on their own work. The program brings to light, in a very powerful way, some of the fundamental questions in cross-cultural study and interreligious dialogue. How do we come to understand a religion or culture other than our own? In analyzing their own work, students find themselves using terms from a Jain teacher's talk in Sravanabelagola to frame their response to the Dalai Lama's talk in New Delhi, and terms from the Dalai Lama's talk to understand and respond to the audience with the Pope in Rome. As the students become more sophisticated in understanding issues in interpretation, new questions are posed: How many people (other than ourselves) do we unknowingly bring to understanding an encounter with an other? When we use the Dalai Lama's talk in interpreting the Pope, does this enlarge our understanding of Catholicism, diminish or distort the Pope's message, or create something new altogether? What do we gain and what do we lose?Joan Stambaugh's The Formless Self is "an attempt to present Eastern ideas, or at least oneWestern interpretation of Eastern ideas, toWestern readers in a meaningful way" (p. x). The most referenced names in the index are Heidegger, Nietzsche, Plato, Keirkegaard, Descartes, and Meister Eckhart. These, then, are the key figures Stambaugh brings with her as she enters into conversation with the three Buddhist thinkers Dogen, Hisamatsu, and Nishitani. The latter two figures are themselves well known for their conversations withWestern thinkers. Stambaugh's book is best located within the larger body of work within and about the Kyoto School, that school of Japanese philosophy identified primarily with Nishida Kitaro, Tanabe Hajime, and Nishitani Keiji, and more recently with Abe Masao. In the United States, this school of philosophy reached its zenith of popularity in the late 1980s, culminating in an American Academy of Religion (AAR) award to Abe Masao's Zen and Western Thought and a series of annual AAR dialogues between Abe and John Cobb. Abe's presence hovers over Stambaugh's book as well, from an acknowledgment in the preface (p. x) to a reference in the index that seems to encompass the whole book. The Formless Self is a good short introduction to key beginning texts [End Page 300] in this larger field: Dogen's Genjokoan, the Hisamatsu-Tillich dialogues, and Nishitani's Religion and Nothingness.Stambaugh has in print translations of a substantial number of Heidegger's texts, including a recent translation of Being and Time. As might be expected, she seems to have a special affinity for Dogen's Uji (Being-Time; see especially pp. 31-40), and makes a creative contribution to the different understandings of these difficult concepts. Stambaugh also makes a brave attempt to work with Dogen's discussions of fire turning to ashes, fish in water, and mountains walking/ranging (pp. 39-48) in a productive way. Stambaugh's middle section on Hisamatsu may be the best place to begin, centering as it does on the dialogues with the Protestant theologian Paul Tillich. In 1957, the Zen Buddhist teacher and scholar Shin'inchi Hisamatsu was a visiting professor at Harvard lecturing on his recently published book Zen and the Fine Arts. Though Tillich's aesthetic approach to "ultimacy" made for a fine series of dialogues with Hisamatsu, the numerous difficulties in the dialogue serve as a warning... (shrink)

The paper in this volume challenge the concept of form and aim to set out, explore and develop different theories and examples of 'the formless'.

Gersonides has at times been viewed as an essentially orthodox Aristotelian in his metaphysical views. This designation, however, has been challenged on a number of grounds. This paper examines the way in which Gersonides revises the traditional conception of hylomorphism by positing that matter can exist without form. Motivated by a desire to reconcile Aristotelian natural philosophy with the Ptolemaic astronomical model, formless matter is seen as a necessary entity to posit in order for his cosmological model to be (...) coherent. By allowing for this exception case, Gersonides turns hylomorphism from a metaphysical principle to a general, though not universal, principle of physics that can must be revised if other observational and philosophical commitments are to be maintained, which speaks to a distinct attitude toward Aristotelian metaphysics than is otherwise assumed to be the case for Gersonides and his contemporaries. (shrink)

Moving education to Zoom, Microsoft Teams, and the many alternatives during the COVID19-pandemic raised the question of pedagogical form. In a sense, pandemic education in its two-dimensionality was a frictionless, sanitized reduction of education to pure form; it offered a more efficient transfer of knowledge and was marked by a heightened means-to-an-end logic. This has made the informal, unforming and deformational activity that Stefano Harney and Fred Moten call study even more difficult, if not impossible during pandemic education. In this (...) article, we consider the pitfalls of thinking in terms of pedagogical form and the formalization of education by engaging with Emile Bojesen’s work on education as (de)formation. Via Harney and Moten, we reflect on what the concept/practice of study by way of formless formation teaches us about (pre-)pandemic education and about pedagogical forms that might be in keeping with study in post-pandemic education. (shrink)

The Question of the Self Perhaps the clearest access to the question of the self in Dogen lies in the fascicle of Shobogenzo entitled "Genjo-koan. ...

Chinese culture is neither the first problematic thinking (analogy) claimed by the authors of Anticipating China , nor the second one (logical inference). On the one hand, analogies are one of the most remarkable aspects of Chinese thinking, while on the other hand, Yin-Yang, Dao and Fo are all universal codes that could neither be reached by analogy nor by logical inference. In fact, both the first and second problematic thinking share the same world view, taking the world as a (...) composite, and the difference lies merely in whether the components are irreplaceable particulars or substitutable elements. Both build their knowledge on the components and how they combine. In the terms of this paper, both systems are constructed with spatially definable forms, real or nominal. The highest codes in Chinese culture are not built upon the physical properties of an object, and could never be found by analysing the object, physically or logically. Yin-Yang, Dao and Fo are names without form, and thus are thinking modes that cannot be described by a spatial concept. They are non-structural systems and a way of formless thinking. (shrink)

This is a study of the correspondence between Forms and particulars in Plato. The aim is to determine whether they exhibit an ontological symmetry, in other words, whether there is always one where there is the other. This points to two questions, one on the existence of things that do not have corresponding Forms, the other on the existence of Forms that do not have corresponding things. Both questions have come up before. But the answers have not been sufficiently sensitive (...) to the intricacies of the questions. Nor have they been adequately resourceful with what little evidence there is in the original sources. The intention here is to make up for that deficiency, not just with better answers but also with better insight into the questions. (shrink)

Centers have been out of intellectual and political fashion, because they have been often oppressive. We both celebrate and worry about postmodern fragmentation as we enact it in our technology, while fearing hidden centralization. But centering is important. I would like to mull over some issues concerning centers and criticism.

According to the Chinese military philosopher Sunzi, a military commander's actions must be “formless.” Ender Wiggin, in Ender's Game, displays this formlessness in the fact that when we try to analyze his actions we are left with a sense of confusion about his reasoning. Sunzi advocates tactics including strengthening the martial spirit of your own soldiers through rewards and punishments, targeting the enemy's martial spirit through tricks, exploiting their fear and anger to inspire or sap their abilities, and outwitting (...) the opponent through a mix of orthodox and unorthodox maneuvers. Sunzi stressed the importance of psychological self‐control, unfeeling and cold analysis driven by practical considerations, and adroit maneuvering of soldiers and formations on the battlefield. This chapter demonstrates how Ender's own military decisions can be illuminated by the writings of Sunzi and other seminal Asian philosophers like Confucius and Laozi. By these standards, Ender qualifies as a military genius. (shrink)

In early modern European natural philosophy and medicine, scholars encountered the problem of the “formless birth” in their studies into generation, alongside “monstrous” and “perfect” births. Such formless births included the hen’s egg, the unformed bear cub, and the human false conception – said to be shapeless lumps of moving flesh – and these types of conceptions influenced how natural philosophers, like William Harvey and Jan Baptiste van Lamzweerde, approached experiments on, or explanations of, generation. This article suggests (...) that the history of these unformed births provides fresh insights into how early modern scholars “thought” with formlessness. That is, early modern scholars drew on a longstanding discourse of shapeless conceptions to address the mechanisms of formless generation, “true” generation, as well as to understand other unformed or interstitial creatures in nature. The article argues that this history of thinking with formless births contributes to our picture of the significant role that unnatural births, such as “monsters”, played in early modern natural philosophy. (shrink)

Depuis la Renaissance, une série de textes témoignent de l’intérêt des artistes pour l’informe, d’un passage du Traité de la peinture de Léonard de Vinci à Degas, Danse, Dessin de Valéry. Léonard de Vinci, Alexander Cozens ou Paul Valéry proposent des « exercice[s] par l’informe», selon l’expression de Valéry. Il s’agit bien d’« exercice[s] », d’activités répétées pour aiguiser les facultés de l’esprit. Ces exercices s’adressent avant tout aux artistes et plus particulièrement aux dessinateurs et aux peintres ; ils constituent (...) une préparation à la création artistique. Ils n’ont généralement pas pour but d’appréhender l’informe ; c’est pourquoi Valéry emploie la tournure « exercice[s] par l’informe» : travailler l’informe est un moyen, une activité qui a le plus souvent pour fin une œuvre qui manifeste un rapport renouvelé aux formes. Comme les « exercices spirituels » dont Pierre Hadot a montré l’importance dans la philosophie antique, ces exercices reposent sur une pratique plutôt que sur une théorie ; comme eux, ils engagent l’esprit — l’entraînement d’une faculté particulière réclame en fait le concours de plusieurs. Cette pratique, qui n’est jamais définitivement acquise, doit par conséquent être répétée. En effet, chacun de ces exercices possède une fonction critique et la critique doit être reconduite tant que perdure l’habitude ou l’illusion qu’elle combat. La différence essentielle tient à la visée de l’exercice : les pratiques que nous étudierons ne tendent pas à réformer le mode de vie du sujet et ainsi à transformer le sujet lui-même, mais à produire une œuvre. Vinci, Cozens et Valéry proposent des exercices artistiques. Si l’exercice spirituel est « une pratique destinée à opérer un changement radical de l’être », selon l’expression d’Hadot, l’exercice artistique possède sans doute un but plus modeste : il vise à développer les facultés fondamentales pour la création artistique, telles que l’imagination, « les capacités d’invention », selon l’expression de Cozens, ou la sensibilité. Les exercices spirituels tendent à apprendre à vivre, tandis que les exercices artistiques ont pour but d’apprendre à créer. Parmi ceux-ci, les exercices par l’informe se distinguent par leur radicalité. D’abord, ils jouent souvent un rôle liminaire : ils exercent l’esprit et dans certains cas le corps en vue de la première étape de la création artistique, l’invention. Mais surtout, ils exercent des facultés fondamentales pour la création artistique, en particulier dans le domaine des arts visuels, pour lesquels écrivent non seulement Vinci et Cozens mais aussi Valéry : les exercices par l’informe ont pour enjeu non seulement d’apprendre à créer, mais aussi d’apprendre à voir. (shrink)

Jaime Rodríguez Matos, Writing of the Formless. José Lezama Lima and the End of Time, New York, Fordham University Press, 2017. Djurdja Trajković.

A biographical account of Herbert Read's aesthetics. An excellent introduction to Read's work, it reveals a hidden order and presents a context which would have been familiar to Read's original readership but which is often indistinct today.

The deformation: Bataille and the irrepresentable The present article is focused on the interactions of matter and form in the writings of Georges Bataille. Starting with the notion of "formless" that he outlined in the journal Documents and through Georges Didi-Huberman's text on the "formless resemblance", we will try to show how, in Bataille's work, high and low respond to each other and intertwine to generate a "spastic" device of deformation that allows the desire to reshape the writing (...) and the images that surround it. For this purpose, we will apply Gilles Deleuze's approach to the painting of Francis Bacon, which is fundamentally opposed to "representation" in order to achieve what Deleuze calls the "pure figurative". The approach will help us to understand how Bataille's works respond to the same demand for "material deformation" and "formal materialization", which manifests itself by accident and is addressed less to the understanding than to sensibility. (shrink)

The Zhuangzi is one of the richest early Chinese sources for exploring conceptualizations of the visceral human form. Zhuangzi presents the human frame as a corpus of flesh, organs, limbs, and bone; he dissects it before the reader's eyes, turning it inside out and joyfully displaying its fragmented joints, sundered limbs, and beautifully monstrous mutations. This body is a site of immolation and fragmentation that ultimately evokes a larger wholeness and completeness. Drawing and quartering the body, Zhuangzi paradoxically frees it (...) from ordinary mortality. -/- Sommer explores the fields of meaning of different terms for the human body found in the Zhuangzi: the body might appear there as a gong body 躬, a sanctimonious ritualized body; as a shen body 身, a site of familial and social personhood; or as a ti body 體, a complex, multilayered corpus of multiple parts, each of which is consubstantial with the whole. Most commonly, however, the body in the Zhuangzi is the xing 形, an elemental or structural form. Zhuangzi enlivens and develops the xing form in ways that are not seen in other early Chinese texts. He mutilates and mutates it such that boundaries between form and formlessness disappear, and the physical frame becomes incorporated into a larger common body that includes all of life and death. (shrink)

In an age of nationalisation of international educational policy, or vice versa, the politics and conflicts behind such policies often take centre stage to the detriment of professional expertise. In response, this article develops a nuanced critical realism to propose a practice-based development and implementation of educational policy reforms. Based on empirical reports of head teachers’ subversive practice, the article concludes by highlighting that professional expertise is a central component, dubbed ‘formless capability’, that all stakeholders use to turn policy (...) intentions into policy actions. Actuality consists of the three traditional domains of critical realism – the real, the actual and the empirical – whose importance is derived from whether it is a means to or an end in itself. It is argued here that empirical experiences of leading schools are the stage of actuality that is directly... (shrink)

In the art of radical Informel, we encounter works with emphasised non-pictoriality, non-semantics and non-referentiality, as well as a tendency towards entropy, layering and the disintegration of form through destructive processes such as deformation, perforation, incision, scratching, the accumulation of structures and masses, fragmentation, stripping and burning. In this paper, theoretical models of interpretation for the art of radical Informel are pointed out through the concepts of the aesthetics of ugliness, i.e. brutal aesthetics, such as (1) deformation, (2) disfiguration, (3) (...) formlessness and (4) entropy – using the example of the informal works of Croatian authors Ivo Gattin, Eugen Feller and Marijan Jevšovar, which result from their attitude towards art and painting. The artists have deliberately created paintings that are not “beautiful” by opposing the classical values of art and beauty through oppositional and negative approaches, nihilism, destruction, deformation and the abolition of the surface of the painting as forms of anti-aesthetics. (shrink)

In its formlessness and potentiality, prime matter is a problematic entity of medieval metaphysics and its ontological limitations drastically affect human possibility of conceiving it. In this article, I analyse three influential strategies elaborated to justify an epistemic access to prime matter. They are incidental perception, negative abstraction, and analogy. Through a systematic and historical analysis of these procedures, the article shows the richness of interpretations and theoretical stakes implied by the conundrum of how prime matter can be known by (...) human beings. In particular, the reasons behind the later medieval acceptance of analogy as the main way to unveil prime matter become clearer by pointing out the correlation between the ontological and epistemological levels of the medieval examination of prime matter. (shrink)

Badiou explores the exponentially rich and varied world of French philosophy in a number of groundbreaking essays, published her for the first time in English or in a revised translation. Included are the often-quoted review of Louis Althussers's canonical works For Marks and Reading Capital and the scathing critique of 'potato fascism' in Gilles Deleuze and Félix Guttari's A Thousand Plateus. There are also talks on Michel Foucault and Jean-Luc Nancy, and reviews of the work of Jean-François Lyotard and Barbara (...) Cassin, notable points of interest on an expansive tour of modern French thought.Guided by a small set of fundamental questions concerning the nature of being, the event, the subject, and truth, Badiou pushes to an extreme the polemical force of his thinking. Against the formless continuum of life, he posits the need for radical discontinuity; against the false modesty of finitude, he pleads for the mathematical infinity of everyday situations; against the various returns to Kant, the argues for the persistence of Hegelian dialectic; and against the lure of ultraleftism, his texts from the 1970s vindicate the role of Maoism as a driving force behind the communist Idea. (shrink)

(Recipient of the 2020 Everett Mendelsohn Prize.) This article revisits the development of the protoplasm concept as it originally arose from critiques of the cell theory, and examines how the term “protoplasm” transformed from a botanical term of art in the 1840s to the so-called “living substance” and “the physical basis of life” two decades later. I show that there were two major shifts in biological materialism that needed to occur before protoplasm theory could be elevated to have equal status (...) with cell theory in the nineteenth century. First, I argue that biologists had to accept that life could inhere in matter alone, regardless of form. Second, I argue that in the 1840s, ideas of what formless, biological matter was capable of dramatically changed: going from a “coagulation paradigm” that had existed since Theophrastus, to a more robust conception of matter that was itself capable of movement and self-maintenance. In addition to revisiting Schleiden and Schwann’s original writings on cell theory, this article looks especially closely at Hugo von Mohl’s definition of the protoplasm concept in 1846, how it differed from his primordial utricle theory of cell structure two years earlier. This article draws on Lakoff and Johnson’s theory of “ontological metaphors” to show that the cell, primordial utricle, and protoplasm can be understood as material container, object, and substance, and that these overlapping distinctions help explain the chaotic and confusing early history of cell theory. (shrink)

In the Classical world, the language of cosmology was a means for framing philosophical concerns. Among these were issues of time, motion, and soul; concepts of the limited and the unlimited; and the nature and basis of number. This is no less true of Indian thought-Hindu, Buddhist, Jain, and Ājivika-where the prestige of the cosmological idiom for organizing philosophical and theological thought cannot be overstated. This essay focuses on the structural similarities in the thought of Plotinus and Buddhist cosmological/philosophical speculation. (...) It builds on research concerning the Buddha-field (buddhakṣetra), which identified two discrete numerologies central to this speculation: the thousands of worlds (sāhasralokadhātu) comprising the field of a single Buddha (buddhakṣetra), characteristic of the Hinayana, and the innumerable or incalculable (asaṃkhyeya) Buddha-fields filling the ten regions of space, characteristic of the Mahāyāna. The Enneads of Plotinus serve as a lens through which to view in a fresh way a broad range of difficult issues associated with Buddhist cosmology in three general areas. First, it asks whether Plotinus' understanding of Intellect and his treatment of infinite and essential number afford an understanding of the innumerables and thousands central to the concept of the Buddhā-field. This analysis involves a consideration of the Hindu creator god, Brahma, as 'demiurge.' Second, it suggests analogies between the One, Intellect, and Soul of Plotinus and the three Buddhist Realms-the Formless Realm, the Realm of Form, and the Realm of Desire. Finally, it explores the possibility that an understanding of the Enneads can provide a model for relating the cosmologies of the Hīnayāna and the Mahāyāna. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS The Glory of the Lord: A Theological Aesthetics. Vol. VI: Theology: The Old Covenant. By HANS Uns VoN BALTHASAR. Trans. Brian McNeil, C.R.V. and Erasmo Leiva-Merikakis. Ed. John Riches. San Francisco: Ignatius Press, 1991. Pp. 443. In this penultimate-volume of The Glory of the Lord, von Balthasar sets forth a " biblical aesthetics " in which the manner of the emergence of the Glory of God in (...) the world of man is spelled out. He proceeds by examining the bewildering variety of the manifestations of God's Glory in the Old Testament, but always as unified in their historical convergence upon Jesus, the Christ, the final and definitive presence in history of the divine Glory in whom Word and Image, Messiah and Servant, Son of Man and Son of God, are at one. This manner of proceeding is little consonant with contemporary Catholic exegesis, which prefers to regard the Old Testament as a free-standing hook, and is rather fastidious about reading it as " literally " the prologue and the Sitz im Leben of the New. For such exegetes, the literal and the historical senses are entirely distinct, because of their methodological enlistment in the historical pessimism of the Enlightenment. Balthasar, of course, is not of their camp. Balthasar's mastery of Old Testament exegesis is on a par with the effortless command of the Western philosophical, theological, and literary tradition which he has displayed in the earlier volumes of this work. While he relies heavily upon von Rad, a glance at the index shows that his knowledge of Old Testament scholarship is based upon a wide reading, upon which he levies throughout the book with practiced ease. The exegetical method implicit in his analysis is the one employed by scholars such as de Lubac, Guillet, and Ligier; its classic Augustinian understanding of the free unity of history, and of the consequently free meaning of Old Testament and the New as fulfilled in the Kingdom of God, needs no apology. The currently common supposition that the " literal " sense of Scripture is that which an Enlightened positivism will permit needs only to be recognized to be rejected. In the opening pages of the Introduction Balthasar sets the theme which will dominate the book: the rationally irresolvable dialectical 139 140 BOOK REVIEWS tension between God and all that is not God, a tension inherent in the revelation of the Glory of God. In keeping with the emphasis of his earlier volumes, Balthasar is insistent upon the radical gratuity of the revelation of the Glory of God. The revelatory manifestation of God as God, who is beyond all perception, all knowing, all communication, and yet is communicated, perceived the more surely where the more veiled, and definitively revealed on the Cross. The revelation of God's Glory is of God as the Absolutely Other, as formless, and so as in tension with all form which would mediate the revelation. This communication, this mediation, is utterly ex nihilo; it relies upon no capacity in man, upon no natural process of spiritual development, and is unrelated to, because absolutely transcendent to, all human projects. Impossible to prepare for, the manifestation is constantly new, arising out of no prior possibility in man or his world, and responding to nothing in him which might make the revelation capable of anticipation. The paradox of God's self communication of his formless Glory is then beyond all utterance, and yet is uttered, given form: the final Form is, of course, the Christ. This is the basic datum, the ground upon which all theology rests, and is pure grace, a gift beyond all expectation, incapable of being imagined. All the preparatory Old Testament images finally fail. The paradox, the self communication of God who is beyond all utterance, yet is uttered, has its resolution only in the Form, the personal unity, of Christ. The revelation always at once transcends and assimilates the concrete historical forms by which it is mediated. The pagan materials are transformed by their historical deployment in the revelatione.g., the pagan myths of creation, of divine wars and marriages, the pagan wisdom-and in their deployment, they converge, hut not within the Old... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 21.1 (2001) 95-99 [Access article in PDF] The Distinction between ego (e) and ego-Self (e/S): Notes on Religious Practice Based upon Buddhist-Christian Dialogue Yagi Seiichi Toin University The Goal of Religious Practice We cannot see the transcendent as an object. Nor is it the case that the transcendent and the human are two separated realities that are united afterwards. When the Self (Christ in me--Gal. 2:19-20) reveals (...) itself to and in the ego (Gal. 1:16), the ego becomes aware of the Self, which is divine--human or transcendent--immanent. This is called enlightenment.In enlightenment, the ego (hereafter: e) does not vanish.When the Self (hereafter: S) appears to and in the ego, the ego (now a relatively independent part of S) becomes the function of S. The ego, understanding itself as the knot of inner and outer reality, plays the role of the reason of the whole body, the center of which is S. In this case we represent such a person as e/S. e/S is the subjectivity of the religious life. D.T.Suzuki and one of his disciples, Ryomin Akizuki called e/S the "individual qua trans-individual." 1 In enlightenment, e/S as the authentic subject, which remains potential before enlightenment, is actualized or realized so that it understands itself as e/S, no more as the mere ego. In order for e/S to be realized and understand itself as e/S, egocentricity, egoism and the confusion of the verbalized reality with "reality as it is" must be overcome. This is the goal of religious practice. e/S From the point of view of interreligious dialogue,"Christ who lives in me" corresponds to "actualized Buddha-nature" or "the Formless Self" in Buddhist language, that is, the Self as we call it. 2 In the case of Paul,"Christ who lives in me" is the ultimate subject of him on the one hand, and "Christ the Son of God" is the object of his faith on the other (Gal. 2:19-20). That means: the ego of Paul that believes in the Son of God is borne by "Christ in me"; as Paul says, "Christ was revealed to and [End Page 95] in me" (Gal. 1:16). In this way, the subjectivity of Paul consists of e/S. Of S, namely, Paul is aware as e/S--neither as e, which is ignorant of S, nor as S. It is impossible for S to exist alone. Egocentricity and Egoism The distinction between e and e/S is of fundamental importance to our theme. e means in this essay the mere ego that is ignorant of S.When it becomes aware of S we represent it as the ego of e/S. e is egocentric and egoistic. It goes without saying that the ego-centered "I" driven by desires produces immorality and social anomies. The biblical word for this is sin, the transgression of the Law.But there is another problematic concerning e, namely egoism, which can be at work even in the effort to attain a high level of morality. We understand the egoistic ego as follows: the ego is to itself the only reality that concerns and moves it. It posits itself solely on itself apart from the relation to others and to S. By itself it projects itself and strives to realize itself. It can, among others, set up its own ideals and pursue their realization. It can, for example, conceive the moralistic ideal that seems to be the reverse of immorality and social anomie. Indeed, it can succeed in controlling egocentricity so that it seems to have attained perfect morality. In reality, it is interested only in its own moral perfection, not in the person encountered (moralistic egoism). Such e is illustrated in Luke 18:9-14 and described in Romans 7:7-24. Egoistic ego must die to itself and must be freed from egoism. (In Romans 6, for example, Paul does... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Contrasting Images of the BuddhaTaitetsu UnnoAll the Christian writers express a deep and sympathetic appreciation for the historical Sakyamuni Buddha, demonstrating some of the positive fruits of interreligious dialogue. But—speaking as a practicing Buddhist—their views appear to be focused on the human face of the Buddha and scant attention is paid to what might be called the numinous. It is this dimension of his enlightenment experience that constitutes his (...) very being and the reason for his appeal far beyond the borders of India. This sense of the sacred, the transhistorical, inspired the great civilizations of Asia and today attracts worldwide attention to the Buddhist path of liberation and freedom.Terry Muck makes an ironic allusion to the respective lives of the Buddha and of the Christ. He states that “Official Christian dogma teaches that Jesus was divine, a part of the Trinity, three gods in one: Father, Son, and Holy Spirit. Buddhist teachings dogmatize a different understanding of the Buddha—that he was human through and through,” but a reversal occurs in later history: “The popular Buddhist [End Page 133] approach to the Buddha tends to produce a ‘godlike’ Buddha in a religious tradition that insists on his humanity, and the popular Christian approach to Jesus tends to produce a very human Jesus in a religious tradition that insists on Jesus’ divinity. It is almost as if the populace has decided to emphasize what the buddhologians and theologians have decreed secondary. The evidence for this reversal is everywhere” (Muck, p. 107).This may be a valid observation, but the truth of the matter might not be so simple. That is, both religious figures may combine the practical and the spiritual in different, complex ways and, depending on the historical lens, a person may see one aspect and not the other. At any rate, in this paper I wish to note that Sakyamuni Buddha is more than simply “human, through and through.”Rudolph Otto was the first to use “numinous” as a religious category to describe Christian and Hindu experience, but it also can be applied to the Buddhist case. This is so if we subscribe to one of its basic characteristics: the quality of the inexpressible—“in the sense that it completely eludes apprehension in terms of concepts.” 1 In Buddhist literature we have an abundance of words suggesting this fact: the unconditioned, formless, ineffable, inconceivable, unthinkable, unattainable, indefinable, immeasurable, and so on.In order to understand the numinous fully, Otto writes that a person “must be guided and led on by consideration and discussion of the matter through the ways of his own mind, until he reaches the point at which ‘the numinous’ in him perforce begins to stir, to start into life and into consciousness.” 2 He continues: “The arising of the numinous from beyond discursive consciousness is central to the Buddha’s enlightenment experience. This point has been overlooked and has caused misunderstanding, as noted by John Ross Carter: ‘One is told repeatedly that one has to work out one’s own salvation—this is treated as a corollary to there being no savior or savior god. This has been pounded into the English-reading audience to such an extent that one has failed to discern what Theravada Buddhism has long known—one does not work out one’s own salvation or liberation or release.’” 3In the Theravada classic, Visudhimagga, the ultimate awakening does not result from human calculation. According to Mahinda Palihawadana, it comes from the “arising of magga.” Magga is the “path” in the eightfold scheme (ariya attahangika magga), but it has a further connotation: “the moment of spiritual change as well as the event and the content of the mind at the moment.” 4 He sums up this process by enumerating the fourfold goal of Theravada life. The first three are well known—sila, samadhi, and lokiya panna. There is also the fourth, which is crucial but often overlooked: supramundane or lokuttara panna. The first three are preliminaries to the fourth realization: “Personal effort is only the ‘setting’ for the realization of the highest religious truth, that the highest realization can take place only when effort ceases to be... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist Philosophy and New Testament TheologyYagi SeiichiPrologueBy way of Buddhist-Christian dialogue we Christians can become aware of the latent motifs in our own tradition. The dialogue gives us opportunities to rethink the Christian tradition, not to interpret it from Buddhist viewpoint but, based on these actualized motifs, to find a more adequate interpretation of its own. In this way Buddhist-Christian dialogue is relevant also for the construction of New (...) Testament theology.On the Philosophy of Nishida, Hisamatsu, and NishitaniThe central problems of Nishida Kitaro’s philosophy were (1) keiken (immediate experience) in his early period, (2) jikaku (seeing oneself in oneself) in his middle period, and (3) basho (topos) in his last years. 1 It should be noted that these terms together cover the essential fields of Buddhist cognition.Nishida began his book Studies of the Good 2 with statements concerning immediate experience. After the publication of the book, he felt compelled to consider the nature of the subject of philosophical cognition at the scene of immediate experience, for the subject in this case is not reason in the sense of Western philosophy. Thus in his middle period, jikaku became the main theme of his reflection. Jikaku means that the self sees itself in itself, and Nishida named the deepest, ultimate self, the self that embraces and sees all levels of cognition in “the field of transcendental predicate.” Then in his last years, Nishida grasped it anew as the topos, in which the individuals work on one another. The structure of the topos was defined as the “unity of the contradictory,” for in the topos the absolute and the relative define each other.His student, Hisamatsu Shin’ichi, made jikaku his central theme, whereas the thinking of Nishitani Keiji, another eminent student of Nishida, was centered mainly on topos. Nishida’s understanding of jikaku reminds us somewhat of the Hegelian Geist, for it concerns primarily the subject of cognition. Hisamatsu, however, spoke simply of ‘kaku’ (awakening) of the Formless Self. It means that the ego is awakened to the Formless Self. At the same time it is the awakening of the Formless Self to [End Page 165] Itself. We should note that kaku is not simply self-cognition but rather the actualization of the Self. As is well known, Hisamatsu rejected theism. God or Buddha as ‘other’ or ‘over against’ is at best a secondary human construction and not primary reality. So, if we call God the absolute Other, God must be at the same time the ultimate Self: God as the absolute Other, in Hisamatsu’s view, must be at the same time God who acts as the ultimate subject of humanity. 3 On the other hand, Nishitani preferred the terms common to Mahayana-Buddhism in general: ku (nothingness), engi (dependent orinination), and jijimuge (infinite-fold mutual penetration of the individuals). In his book What Is Religion, 4 Nishitani tried to rethink such Christian themes as personality, time, and history from the standpoint of ku. Remarkably, he stated that the topos of ku is the field of power: “As far as all beings penetrate one another in their being, they are not what they are. On the other hand they are as such what they are. This relation of mutual penetration itself is the power which gathers and binds all beings into one, the power which makes the world the world. The field of ku is the field of power.” 5 As is well known, from the viewpoint of jijimuge, the infinite-fold mutual penetration of the individuals, there is nothing transcendent. Therefore Nishitani, when he speaks of this aspect of reality, does not refer to the paradoxical unity of the absolute and the relative. The field of ku is simply the field of power in which mutual penetration of the individuals is realized.If we combine three keywords of these three philosophers, namely Nishida’s “immediate experience,” Hisamatsu’s “awakening to the Self,” and Nishitani’s “field of ku as the field of power,” they seem to me more genuinely Buddhist than Nishida’s terms: keiken, jikaku, and basho. Whereas Nishida—who as a pioneer attempted to construct a philosophical system from... (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The narrative of the Death of Emperor Hundun 混沌, who finally perishes from the seventh hole that his two fellow Emperors have drilled into his formless body to do him the favor of supplying him with a face, famously concludes the seven Inner Chapters of the Zhuangzi 莊子.1 Perhaps the sudden demise of the story’s protagonist is meant to signal paradoxically to the reader that he or she, too, has, unwittingly, now come to an end and reached a stage (...) of no return. With the completion of the seventh chapter, seven deep holes have been drilled into one’s head and have transformed one irredeemably. Zhuangzi, too, may have repaid the kindness of those who took him home with equal kindness and deprived them of their... (shrink)

Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitiveintellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful and the ugly (...) have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defi ning these categories. (shrink)

_ Source: _Volume 25, Issue 1, pp 5 - 35 In this essay, I place Buber’s thought in dialogue with Eckhart. Each understood that the theopoetic propensity to imagine the transcendent in images is no more than a projection of our will to impute form to the formless. The presence of God is made present through imaging the real, but imaging the real implies that the nonrepresentable presence can only be made present through the absence of representation. The goal (...) of the journey is to venture beyond the Godhead in light of which all personalistic depictions of the divine person are rendered idolatrous. Perhaps this is the most important implication of Eckhart’s impact on Buber, an insight that may still have theopolitical implications in a world where too often personifications of the God beyond personification are worshipped at the expense of losing contact with an absolute person that cannot be personified absolutely. (shrink)

Abstract The Suttas indicate physical conditions for success in meditation, and also acceptance of a not?Self life?principle (primarily viññana) which is (usually) dependent on the mortal physical body. In the Abhidhamma and commentaries, the physical acts on the mental through the senses and through the ?basis? for mind?organ and mind?consciousness, which came to be seen as the ?heart?basis?. Mind acts on the body through two ?intimations?: fleeting modulations in the primary physical elements. Various forms of r?pa are also said to (...) originate dependent on citta and other types of r?pa. Meditation makes possible the development of a ?mind?made body? and control over physical elements through psychic powers. The formless rebirths and the state of cessation are anomalous states of mind?without?body, or body?without?mind, with the latter presenting the problem of how mental phenomena can arise after being completely absent. Does this twin?category process pluralism avoid the problems of substance?dualism? (shrink)

Abstract Plotinus did not set out to be obscure. Difficulties of interpretation arise partly from his style of writing, compressed, elliptical, allusive. The allusions, easily enough recognisable by those he was writing for, are often not recognised at all by the modern reader who no longer has at his fingertips the texts of Plato and Aristotle that Plotinus undoubtedly alludes to, but whose authors he has no need to name. So it is pre-eminently with his subtle use of earlier ideas (...) in tackling the difficult question of the nature of matter and its place in the scheme of emanation. The frequent references to matter as `non-being' and as `privation' can be understood only if they are seen as a radical adaptation of the paradoxical definition of a `form that is, of what is not' in Plato's Sophist (258 D 5-7) and as a deliberate correction of Aristotle's unsuccessful attempt at including female desire in an analysis of privation in the Physics (i 9, 192 a 22-25). Only when the debt to Plato and Aristotle has been recognised for what it is are we able to appreciate that matter defined as `non-being' is not therefore `non-existent', and that the `privation' that is matter is not a terminus a quo of change, but a permanent substrate of change. The adaptation and the daring syncretism lead to deliberate paradox in Plotinus' own definition of matter as both `so to speak a form of sorts' and `formless' (I 8 [51] 3). The seeming inconsistency is Plotinus' acknowledgment of the use he has made of earlier ideas when he writes of matter, so defined, as `made' by a lower manifestation of soul, and therefore as the last and the least of the products flowing from, but not created by, the One. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Deconstructing Life-Worlds: Buddhism, Christianity, CultureRoger CorlessOn Deconstructing Life-Worlds: Buddhism, Christianity, Culture. By Robert Magliola. Preface by Edith Wyschogrod. American Academy of Religion Cultural Criticism Series, edited by Cleo McNelly Kearns, Number 3. Atlanta, GA: Scholars Press, 1997. xxii + 202 pp.How does one review a deconstructionist book—a book that seeks not only to discuss deconstruction but to be deconstructionist, a book that simultaneously takes books seriously and mocks (...) both the author and the reader for imagining there could ever be such a thing as a book, a something that is written and then read, a writing that says that everything is Writing but that all Writing/writing is written under erasure and so is (as p. 202 explicitly, self-reflexively proclaims itself) an empty page that is, by that very emptiness, marked? Derrida derides the Introduction, for, he asks (without speaking, parlant avec dénégations, denying that he is expressing denials) what is being Introduced? What do we think we are doing when we lead a reader into (introducere) something that is not there to be lead into until a reader is lead or leads himself or herself into it? Do we not, thus, need an Introduction to the Introduction, and another Introduction to that Introduction, a regressus ad infinitum introductionum? Edith Wyschogrod writes a Preface. Does she mean us to think that the book has a Face, and that it therefore needs a pre-Face? Does she think that she/we face toward the book, or does the book face toward her/us, or does/do she/we both together face toward the putative subject matter, which itself has two faces, Buddhism and Christianity? And who am I, the reviewer?This cannot be a review (a looking-over), but it might be a re-view (a looking-again), which informs (in-forms, incarnates) itself so that you, dear Introducer of Yourself, can review (look over) your presuppositions about Buddhism, Christianity, life-worlds, and reality in general, and re-view them (re-visit them, look again at them) so as to reform (re-view, see-again, as formless, and thus re-form) them.One draws a circle, says Charles Fort, beginning anywhere. So let us open the book at random. On page 84 we find: “Taiwan has over 25,000 students studying in the United States, the largest foreign contingent in American universities.” This aggressively logocentric sentence is provided with a footnote: “Statistic of 1987. Since then, the proportion of Chinese from the People’ [sic] Republic has become much more noticeable.” Hmm—a little typo, but nevertheless we are, to our surprise, deep in the overheated hotel conference rooms of the annual meeting of the American Academy of Religion. So, why are we told this? It is part of a section that cuts (“Lt. sect-, cut”, we are reminded on p. 175) across (cross-hatches) Magliola’s life/lives run/runs (Curriculum Vitae, Curricula Vitae, Curricula Vitae Novae, Curricula Vitarum, as the chapter headings have it) as an academic, a Catholic, an almost-priest, a Buddhist meditator, a husband, a divorcé, an Italian, an American, [End Page 216] a resident of Taiwan. All these spill out from the overstuffed closet of Magliola’s life/lives, which, without warning, he opens upon us and then sits among the salade challenging the reader to become bricoleur. But if we do, we feel we have missed the point. Or we have seen the point—which is just as bad.Crosshatch: that’s the theme, I think. Cross, “X” (both the Roman character “eks” and the Greek character “chi”), crucifix, saltire, cross-religions, cross-cultures, cross-countries, cross-country, crossing-out (rature), and finally, revelation by relationis oppositio under/through four forks (“Il ne s’écrit que sous la grille des quatre fourches”—p. 177, quoting Derrida).Magliola is on this cross, he is cross (angry/mad), he is crucified by it, he hopes to cross over by means of it. “This book is not written for the arrived by the arrived” (p. xix), yet he is “on the water, not at sea” (p. xx).It may not be incorrect to say that the book is in... (shrink)

Si la forme est la condition de toute pensée et si la matière est informe, comment Plotin peut-il la penser ? Le recours à la négation accompagné d'une orientation du regard vers l'extériorité permet de faire signe vers l'informité de la matière ; cette négation cependant ne doit pas conduire à un nom vide, mais à un résidu ; l'image apparaît comme une aide qui évite l'évanouissement de la pensée dans le néant. Plotin développe en particulier l'image du miroir pour (...) donner à penser la matière ; comme elle, il est créateur d'illusions et impassible. Cependant, comme toute image, le miroir a ses limites pour illustrer le statut paradoxal de la matière. Proclus, lorsqu'il essaye de penser la participation, met en évidence ces limites : le miroir suppose l'extension, l'extraversion et l'altération de celui qui s'y mire. L'image ne demeure qu'une aide et doit donc rester subordonnée à la négation. If form is the condition of all thought and if matter has no form, how is it possible for Plotinus to think it ? Using negation and considering exteriority allows to lead to the formless nature of matter ; however, this negation must not lead up to an empty name, but to a residue ; the image appears as a help which saves thought from vanishing into nothingness. Plotinus uses especially the image of the mirror to help to think matter ; the mirror is, like matter, an illusion-maker and impassive. Nevertheless, like every image, the mirror has its limits to illustrate the paradoxical status of matter.Proclus, when he tries to think the participation, shows these limits : the mirror presupposes the expanse, extraversion and alteration of he who gazes at himself in it. The image is only a help and must be subordinated to negation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Out of the Order of Number”: Benjamin and Irigaray Toward a Politics of Pure MeansPeter Fenves* (bio)At the heart of the legal orders that arose in conjunction with the Enlightenment idea of law as rules of conduct universally applicable to all those who belong to a properly instituted political body lies a formula for the justification of the violence on which the law depends in order for it to (...) be an actual, effective, and therefore “living” law—and not merely an idea: violence is justified insofar as it is a means for the control of those violent acts that are not themselves means for the control of immediate threats of violence. As Walter Benjamin indicates in the opening paragraphs of his most explicit exposition of legal and political theory, “Toward the Critique of Violence” (1921), the justification of violence as a means is the point of contention around which arguments over the origin, nature, and purpose of the modern state endlessly circle. Justified violence is supposed to be of a different order than unjustified violence, and so in the context of legal reasoning it is no longer called “violence” but “coercion” or “punishment.” Yet as the formula for the justification of violence indicates, the violence of the legal order is not in general sanctioned for the purpose of subduing immediate threats to one’s own life—this is the justification for the extralegal violence of “private persons”—but for the purpose of preserving the law itself: the law is inviolable. As long as the legal order makes the law effective and thus gives it life, it, too, is inviolable, and all violence other than its own can henceforth be interpreted as an immediate threat not to life itself—however this may be understood—but to the legal order. The end of legally sanctioned violence, its purpose and function, is not to put an end to violence as such but, instead, to thwart all threats to the law in the name of which violence can be sanctioned. Everything that enters into the space over which the legal order imposes its sentence is therefore implicated in the disquieting—or, as Benjamin says, “rotten” [GS 2: 188; SW 242]—ambiguity of legal violence understood as a means whose justification lies in the application of the law: the legal order can justify its own violence only insofar as this violence is a means to an end, but the end it serves can never be separated from itself as means, for the law, by virtue of its universality, is at bottom unconcerned with the life of those upon whom the violence it justifies is exercised or with the life of those whom this violence is supposed to protect. The violence of the legal order is concerned solely with itself, with its own majesty—without, however, ceasing to present itself as a means and reverting to what all legal violence once was: immediate manifestation.Nothing that enters into the space of the legal order can escape the ambiguity of the violence through which the law comes to life. Or at least nothing can escape this ambiguity as long as the space on which the legal order founds itself runs counter to the sole space that accords with the strict universality of the law: a universally accessible, indivisible, and undivided space that is nevertheless capable of the greatest degree of discreteness, differentiation, and individuation. In place of this space the legal orders that arose in Europe over the course of the last five centuries set out something like its parody: [End Page 43] homogeneous and yet fully divided domains whose divisions from one another are momenta of the extralegal violence to which each legal order owes its origin. At least one species of being has always been seen to move outside the space of the legal order—a species whose specificity, speciesness, and spatiality have thus given rise to interminable analysis: the angels. The space that angels traverse—and, in particular, the ones who enter into Luce Irigaray’s writings—does not suffer division into homogeneous domains but does not therefore amount to an undifferentiated expanse, a yawning abyss, or a formless chaos; it is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE SPATIO-TEMPORAL THEORY OF INDIVIDUATION MICHAEL POTTS Methodist Callege Fayetteville, North Carolina I. HISTORICAL OVERVIEW A. The Influence of Plato HE SPATIO-TEMPORAL theory of individuation has long history in the philosophical tradition. Its roots go ack to Aristotle's theory of individuation by matter,1 and ultimately back to Plato. In the Timaeus, Plato struggled with the problem of how forms are instantiated in the phenomenal world. Besides " a model (...) form (paradeigmatos eidos), intelligible and ever uniformly existent" and "the model's copy (mimeta paradeigmatos), subject to becoming and visible," Plato postulated a third thing, a " receptacle " (hupodochen), "the nurse of all becoming." 2 It is wholly indeterminate:... while it is always receiving all things, nowhere and in no wise does it assume any shape similar to any of the things that enter into it. For it is laid down by nature as a moulding-stuff for everything, being moved and marked by the entering figures, and because of them it appears different at different times. And the figures that enter and depart are copies of those that are always existent, being stamped from them...8 1 I recognize that this is a controversial claim. Since I am tracing the spatio-temporal theory of individuation from Aristotle through St. Thomas Aquinas, for the purposes of this paper I will follow St. Thomas's interpretation of Aristotle and accept the view that Aristotle took matter to be the principle of individuation. 2 Plato, Timaeus 49a. The version used is the Loeb edition by R. G. Bury (Cambridge, Mass.: Harvard University Press, 1966). a Timaeus 50b-c. 59 60 MICHAEL POTTS The receptacle, then, is like formless wax upon which the forms are stamped. It is " apprehensible by a kind of bastard reasoning (logismo tini notho), barely an object of belief." 4 B. Aristotle It may seem on the surface unusual that the idea of the receptable would later be modified and used to explain individuation. Plato himself was concerned with the universal, the form. The instantiations of the forms in the phenomenal world do not even deserve to be called "this " or " that." 5 With Aristotle, however, the individual gains new importance, since for him forms have their reality only in individuals and individuals are primarily called "substance." If this is the case, then Aristotle has to explain how " humanity " can be the same while " Socrates" and " Callias" are two different individuals. Since form is universal, it cannot individuate, so the source of individuation must be matter-two individuals are different human beings, for example, because they have different lumps of matter.... and when the whole has been generated, such a form in this flesh and these bones, this is Callias or Socrates, and this is distinct from that which generated it because the matter is distinct (hulen, hetera gar), but it is the same in species since the species is indivisible.6 This view raises problems. Matter is indeterminate; it is Aristotle 's modification of Plato's receptacle. How can anything indeterminate itself determine individual substances? More needed to be done to.bring out the meaning of individuation by matter, and St. Thomas Aquinas developed a more detailed and satisfactory position. 4 Timaeus 52b. 5 Timaeus 49d-50a. 6 Aristotle, Metaphyscis 28 (1034a5-8). The Greek text used is Metaphysica, ed. by Werner Jaeger (Oxonii : E Typographaeo Clarendoniano, 1957). The English translation is by Hippocrates G. Apostle (Grinnell, Iowa: Peripatetic Press, 1979). THE SPATIO-TEMPORAL THEORY OF INDIVIDUATION 61 C. St. Thomas Aquinas Aquinas, recognizing that prime matter is indeterminate and therefore not something that can individuate, argues that the principle of individuation is " signate" or " designated" matter. "Materia signata" is defined as matter as " sub determinatis dimensionibus consideratur," " considered under determinate dimensions." 7 While the exact meaning of this is unclear, it seems to refer to matter under determinate spatial dimensions or coordinates. While the form determines what sort of thing an entity is, what determines it to be this individual is this matter with a particular set of spatial coordinates. Henry Veatch puts Aquinas's view into more modern terms: In fact, matter as determined by dimensive quantity guarantees ontologically nothing more nor less than the... (shrink)

The paper is devoted to the development of Emmanuel Lévinas’ philosophy of the subject as expounded in his Autrement qu’être ou au-délà de l’essence. Levinas claims that the subject is good but emerges from a formless substrate; for this reason it belongs to something which can described as anonymous, dark, ignorant, sensual — the otherness. An attempt to define the structure of the subject as an abstract entity is only possible in virtue of the fact that its form has (...) been separated from something that is difficult not only to describe but also to understand, even by intuition. In this sense one may say that the subject discovers itself as the Other. The subject discovers its own belonging to the Otherness which precedes the process of becoming its own. Finally, the subject knows that the only way to be Itself is to take responsibility for the otherness through which it establishes its subjectivity as such. (shrink)