The Aymara of the Andes use absolute (cardinal) frames of reference for describing the relative position of ordinary objects. However, rather than encoding them in available absolute lexemes, they do it in lexemes that are intrinsic to the body: nayra (“front”) and qhipa (“back”), denoting east and west, respectively. Why? We use different but complementary ethnographic methods to investigate the nature of this encoding: (a) linguistic expressions and speech–gesture co-production, (b) linguistic patterns in the distinct regional Spanish-based (...) variety Castellano Andino (CA), (c) metaphorical extensions of CA’s spatial patterns to temporal ones, and (d) layouts of traditional houses. Findings indicate that, following fundamental principles of Aymara cosmology, people, objects, and land—as a whole—are conceived as having an implicit canonical orientation facing east, a primary landmark determined by the sunrise. The above bodily based lexicalizations are thus linguistic manifestations of a broader macro-cultural worldview and its psycho-cognitive reality. (shrink)

In a time imbued with civilisation crisis, José Manuel Naredo's work is of particular relevance. Naredo, one of the most prestigious economists in Spain and a pioneer of ecological economics, first published his most popular book ( La economía en evolución. Historia y perspectivas de las categorías básicas del pensamiento económico) in 1987. This article reviews its most recent and updated version released in 2015. Beyond a brilliant criticism of neoclassical economics, he discusses the underlying ideology and implications of the (...) notion of economic system uncritically endorsed by most schools of economic thought. Transcending the usual dichotomy between ‘orthodox’ and ‘heterodox’ economics, Naredo calls for an economic transition built on the integration of different kinds of scientific knowledge as well as other intuitive, metaphysical and ethical fields in favour of a truly inclusive economics. This is, he warns us, a sine qua non for a socioecological transformation to flourish. (shrink)

The pregnant female body and, more generally, the generative process tout court have been linked with metaphors since the dawn of Western philosophy, though this history has only recently been taken up and critically discussed (Rigotti 2010; Cavarero 1995). The research hypothesis I test in this paper is that pregnancy and childbirth ought to be considered as absolute metaphors, as per their “indissoluble alogicality” (Blumenberg 2010). Following the analyses presented in Paradigms for a Metaphorology, the goal of the article (...) is to enhance dialogue between Blumenberg’s conception of the metaphor and those philosophical reflections that focus on the pervasiveness of metaphors concerning pregnancy and childbirth. This paper is therefore an investigation on the link between female reproductive functions and philosophical knowledge. (shrink)

Translated by Drew S. Burk and Anthony Paul Smith. Excerpted from Struggle and Utopia at the End Times of Philosophy , (Minneapolis: Univocal Publishing, 2012). THE END TIMES OF PHILOSOPHY The phrase “end times of philosophy” is not a new version of the “end of philosophy” or the “end of history,” themes which have become quite vulgar and nourish all hopes of revenge and powerlessness. Moreover, philosophy itself does not stop proclaiming its own death, admitting itself to be half dead (...) and doing nothing but providing ammunition for its adversaries. With our sights set on clearing up this nuance, we differentiate philosophy as an institutional entity, and the philosophizability of the World and History, of “thought-world,” which universalizes the narrow concept of philosophy and that of “capital.” We also give an eschatological and apocalyptical cause to this end, of “times” or “ages” rather than those of philosophical practice. Last but not least, it is the Future itself in the performativity of its ultimatum that determines this end times, reversing these times from the Identity the Future accorded to it, withdrawing the thought-world from the lie of its death. Why this style of axioms and oracles, these more or less subtle distinctions, old and debased, with an appeal to the ultimata , to end times and last words? We fight to give, parallel to the concept of Hell, its new theoretical position, for its philosophical return and its non-philosophical transformation. No more so than any other word, Hell is not a metaphor here, just the Principle of Sufficient World. Every man, no doubt, has his “hell” readily available, connivance, control, conformism, domestication, schooling, alienation, extermination, exploitation, oppression, anxiety, etc. We have our little list that the Contemporaries established in the previous century in the same way one used to construct lists of virtues and vices or honors and wealth. They invented it for us without knowing it, for us-the-Futures who have as our responsibility to invent its use. In the Christian and Gnostic tradition, the struggle of the End Times takes place “on earth.” The most sophisticated of believers have it taking place in Heaven as well, above all in Heaven. The various kinds of gnosis imagine infinite falls and vertiginous highs, the vertigo of salvation. On Earth as in Heaven, a hell is available. The Marxists have the law of profit and the control of production, the class struggle Capital imposes on man. The Nietzscheans, the dull grumble of the struggle in the foundations of World and History, the domestication of man, the society of control. The phenomenologists, the capture of being, the most superficial amongst them, the age of suspicion. But all of these “hells” are taken from World, History, Society, and Religion. What we call Hell is no longer of the order of these specific and total intra-worldly generalities, it is both more singular and more universal, no longer being at all of the same order, it is the determinant Identity of these small hells strung out through history but unified here in the name of the last Humaneity. It is even found within the French idiom for hell [ enfer ], en-fer literally means “in-irons.” We are as much “in-irons” as we are “alive” [ en-Vie ]. We believe in Hell but as non-philosophers and it is even because we are non-philosophers that we can believe in it outside of any sort of religion. Hell is less mythological than ideological, it combines philosophizability with universal capital. Under what form? A single term could work for them without being a metaphor or something they would participate in by analogy, a more innovative and conjectural term than control, more universal than profit. It would denote the growing and permanent extortion of a surplus-value of communication, of speed and of urgency in change, in productivity and in work, in the pressure of images and slogans. It would be worse than solicitation, more tenacious than capture, more active and persecutory than control, softer and more insidious than a frontal attack, just as perverse as questioning and accusation, less brutal and offensive than extermination, less ritualized than inquisition, it would be soft and dispersed, instantaneous and vicious, it would be a crime without declared violence. Collusion and conformism, it would be afraid to show itself. Related to rumor, from which it borrows its infinite and tortuous ways. It is harassment. As a modernized form of Hell, perhaps harassment has a long future in front of it, of innocent torture, slow assassination, in short the fall, but radical with no way of recovering and which tolerates only salvation. THE PHILOSOPHICAL PAST OF NON-PHILOSOPHY Non-philosophy is thus Man as the utopian identity of the philosophical form of the World, a utopia destined to transform it. We still have to understand these equations, in particular that of the being-uni-versed from Man, and this book adheres to this by re-exposing non-philosophy in a different way via one of its new possibilities. It uses this opportunity to once again take up formulations that lead to objections answering certain external critics, as well as revisiting diverging interpretations specific to non-philosophers. A portion of this book is devoted to going through these theories via a strict or “lengthy” presentation of non-philosophy, and its defense against more expeditious solutions. This work of rectification is the occasion, merely the occasion, for refocusing non-philosophy on Man (the “Man-in-person,” “Humaneity”), and in a more innovative manner, on its utopian vocation established since the book Future Christ . As for this “occasion,” it is quite obvious. A school of posture, not to say a school of thought, supposes a minimum of closure from the most liberating of knowledge, a heritage, its utilization, and its no less certain dispersal. Within its development, a variety of interpretations will no doubt appear, deviations that are as much normalizations, and a struggle against this multiplication of divergent tendencies. These are perhaps not inevitable evils, especially here, merely a normal development according to the twisting paths of history. But the problem is made worse by the fact that this school of non-philosophers is that of utopia. Not the former attempts devoted to commenting on the worst authoritarian and criminal forms of the past and the present, but utopia as the determinant principle for human life, or to put it another way, of the Future as an irreducible presupposition of (for) thinking the World and History. Non-philosophers are engaged in an aleatory navigation between the respect for the most rigorous utopia, whose rules are not that of the reproductive imagination but those from the Future determining imagination itself, as well as the temptations, diversions, and remorse of history. Little by little, we will begin to understand that the Future as we understand it no longer has any temporal consistency or positive content, without being an empty form or a nothingness, but that it is foreclosed to past and present History, just as it is foreclosed to the place of places, the World, and that it is the only method for establishing the practice of thinking in a non-imaginary instance. Because it is the World and History that are imaginary and have a terrible materiality, it is not necessarily utopia. We will overlap two objectives here: the defense of non-philosophy against the (non-) philosophers that we are, only occasionally, and the introduction of philosophy to a rigorous future. Together they set out to definitively render, without any possible return to philosophical conformism or towards the facilities of the past and present, the non-philosophical enterprise understood as utopia or uchronia. Imagination and speculation, left to themselves and thus undistinguished, are quite good for participating in the grand game of History but have little value or worse for the Future which is unimaginable and unintelligible and must be maintained as such. MAN-IN-PERSON AS SUSPENSION OF THE PHILOSOPHICAL CHORA The point where philosophical resistance is concentrated is without a doubt the invention of the Name-of-Man, first name, oracular as much as axiomatic, of the determining cause for the non-philosophical posture. And that which concentrates the differends is the style of non-philosophy as identity that possesses the dual aspect, of discipline and of the oeuvre, of the theorem and of the oracle. But the real difficulty in understanding the simplicity of non-philosophy is profoundly hidden in the depths of philosophy itself. Because philosophy, from Parmenides to Derrida, even Levinas, continues to be a divided gesture, without a veritable immanence, transforming its thematic contents of transcendence in also forgetting to transform the operative transcendence in the element from which the ontology of surface is established which we will call, in memory of Plato, the chorismos. The general effect of the chora literally gives place to philosophy, demanding binding and sutures to which we will once and for all “oppose” the Man-in-person, his power of cloning, and his future being. All philosophy contains a hinter-philosophy in which it deploys its operations and weaves its tradition like an understudy of a topographical nature and in the best of cases being itself topological. Philosophy as well consists of two levels, its pre-ontological operative conditions on the one hand, and its superficial theme on the other, it too has its presupposed, but is not aware of it or erases it within the unity of appearance named Logos. Rightly, the Logos, and its flash or lightning nature, possesses a “dark precursor,” the chora, which is as much a virtual image, and philosophy, dazzled by its own lightning flash, seems to completely forget about it at the same time it sets itself up within it. Non-philosophy risks taking this same path, of confusing what it believes to be the real with its phantom double, contenting itself to working on the thematic level of philosophy, not its surface objects and its idle chatter (we stopped talking about this a long time ago and in any case they are merely simple materials for inducing a work of transformation), but the transcendence-form of its objects. In the end it risks, through precipitation, taking back up the heritage of philosophy, a heritage of a misunderstood presupposed, even more profound than the play of transcendences. This is what the imperative of the radicality of immanence meant, to treat immanence in an immanent manner, not to make a new object out of it. And from here we get non- (philosophy) and its refusal of the Platonic chorismos , symbol of all abstraction, and thus all transcendental appearance. There are no illusions. The message will leave a heritage in tattered pieces and interpretations. But it was difficult not to dispute the differend to its core. There will be complete confusion of the multiple, possible, and necessary effectuations of non-philosophy with its interpretations. The non-philosophical or human freedom of philosophical effectuation and the philosophical freedom of interpretation. Effectuations demand non-philosophy to return to zero from the point of view of its philosophical material and thus also but within these limits the formulation of its axioms , but in no way providing from the outset divergent interpretations of the aforementioned axioms. They are divergent because they do not take into account the material from which these axioms are derived within non-philosophy, and because they do not see themselves as symptoms of another vision of the World. The utterances of non-philosophy are not mathematical theorems and pure axioms, they merely have a mathematical aspect . They are, by their extraction or origin, mathematical and transcendental. And by their determined function in-Real, within non-philosophy, they are identically in-the-last-Humaneity entities which have an aspect of an axiom and an aspect of interpretation (or an oracular aspect as we say) that attempts (sometimes it is ourselves who provide the occasion) to isolate and transform, in complete freedom of interpretation. There will be an opportunity to complain about the complex character of the language of non-philosophy, an idiom saturated with classical references, sophisticated in a contemporary way. Its freedom of decision up against the whole of philosophy demands these effects of “complication” and “privatization,” as the saying goes. But it also demands fighting against the drift [ dérive ] of the pedagogical-all and the mediatic-all that leads philosophy into the shallow depths of opinion, which is the site of its impossible death. The noble idealism of “pop-philosophy” has been consumed into a “philo-reality;” against this we propose philo-fiction. Parricide, which is at the bottom of these interpretations and which we can judge as being quite fertile, although it has informed tradition, only takes place once or within one lone meaning. In regards to Parmenides, it was possible; Plato introduced the Other as non-being and language, bringing into existence the philosophical system of the World, but is it possible to repeat it again with the same fecundity in regards to non-philosophy, this time in introducing (non) religion or (non) art, still mixing them without taking into account this mixture, alternatively as a philosophical or religious resentment? If philosophy begins via a crime, it is no doubt obliged to continue down similar pathways, to the effect that the crimes of philosophy, once the founding crime has been committed, are a reaction of self-defense. It is undoubtedly from this that we get Marx’s declaration that history begins by tragedy and repeats itself or ends in farce. The preservation of rigor and fecundity is, in every respect, a psychologically difficult task within a theory such as non-philosophy. Having posited an essential objective of liberation in regards to philosophy and its services, one has often understood this objective as an authorization of providing particular interpretations of its axioms and ends up obliterating their scope. This ends up confusing, on one hand, two kinds of freedoms in regards to non-philosophy, the freedom of its interpretations and the freedom of its effectuations. On the other hand, any defense of “principles” against precipitated interpretations is immediately taxed with a will to orthodoxy, a prohibitive objection when we are dealing with, as is the case here, a heretical theory of thought. Nevertheless, it is time to stop confusing heresy as the cause of thought with an ideology of heresies, which is certainly not at all our object, but rather a form of normalization. As for the “disciplinary” aspect, which is not the only aspect, it demands something other than philosophical “answers to objections,” a precision in the definition and use of its procedures in the formation of utterances, since non-philosophy is neither a supplementary doctrine interior to philosophy nor a vision of the world but one whose priority is a “vision of Man,” or rather Man as “vision” that implies a theory and a practice of philosophy. In the end, struggle is only one aspect of non-philosophy, not its whole or telos, struggle coming only from its materiality. In particular, if the discipline of non-philosophy is inseparable from struggle, it is not a question of reducing the monomaniacal obsession of its “marching orders.” This would reduce its complexity and kill its indivisibility, deploying it in a “long march” and a form of Maoization whose philosophical presuppositions no longer have any pertinence here, a case of the One and the Two, which are now cloned and no longer tied together. More generally, non-philosophy is a complex thought composed of a multitude of aspects, which is to say, unilateral interpretations, of a philosophical origin but reduced by their determination in-the-last-instance . The “liberalism” of non-philosophy is merely one of the aspects of which it is capable, not an essence. Similarly, it is only capable of having a “Maoist” aspect. Let us generalize. The weakness of non-philosophy is due to a specific cause, the determination-in-the-last-Humaneity of a subject for the World. Everything that has a right to the philosophical city can be said about it in turn and in a retaliatory mode since Man contributes nothing of himself that Man takes from the World. We can consider non-philosophy as being pretentious, absurd, idealistic, empty, materialistic, formalistic, contradictory, modern, post-modern, Zen, Buddhist, Marxist; it endures or tolerates, perhaps “appeals” to, or at least renders possible, sarcasms, ironies, and insults without even talking about the misunderstandings, partly for the same reason as psychoanalysis. All of this goes beyond simple “deviations.” They are its aspects, which is to say, its “unilateral” philosophical interpretations in both senses of the word, being either sufficient coming from the mouth of philosophers, or reduced to their absolute dimension of sufficiency and totality in the mouths of non-philosophers, and both times due to the weakness and strength of Man-in-person as their determination only in-the-last-instance. The non-philosopher is certainly not a Saint Paul fantasizing about a new Church. The non-philosopher is either a (Saint) Sebastian whose flesh is pierced with as many arrows as there are Churches, or a Christ persecuted by a Saint Paul. What is engaged in here is the practice of retaliation. A negative rule of the non-philosophical ethics of outlawed discussion by way of argumentation (the sufficient is you, the orthodox one is always you, you are the fashionable one, and when a master you are someone else) that is founded on the confusion of effectuations of non-philosophy and of its overall interpretations. Retaliation is the law but as with any too-human law, it must acquire a dimension that displaces it, or rather emplaces it and takes away its authority but not all of its effectiveness. If the non-philosopher is only authorized by himself, which is to say by philosophy but limited by the Real-of-the-last-instance, its critique of other non-philosophers can merely be retaliatory under the same conditions, only by the Real limited in-the last-instance. THE TREE OF PHILOSOPHICAL SAINTLINESS The thematic horizon or material of these debates is in the relationships between philosophy, religion as gnosis, and non-philosophy. It is inevitable, regarding non-philosophers in general (whether they are non-philosophers by name or simply its neighbors) that we often end up evoking Marx’s Holy Family and imagining, arranged on the neighboring branches of the tree of philosophy and annexed, sometimes abusively, to non-philosophy, authors who would quite evidently and quite rightly refuse this label. So it is that we find, for example, a Saint Michel, a Saint Alain, a Saint Gilles 1 without even mentioning the youngest who aspire as well to the freedom of “saintliness” and who make their muted voices heard here. If there is a Holy Family of non-philosophers, it extends completely beyond these three, provided that the sectarian spirit can save us. This book is organized in the following manner: To begin, in order to recall the essential part of the problematic, we have organized a Summary of Non-Philosophy , a vade-mecum of notions and basic problems, in a classical style. Secondly, there is Clarifications On the Three Axioms of Non-Philosophy , designed to posit their proper use as much as to elucidate their meaning. Thirdly, an analysis of Philosophizability and Practicity , both being extreme constituents of philosophical material or the contents of the third axiom. Fourthly, the heart of this work: Let us Make a Tabula Rasa of the Future or of Utopia as Method . Fifthly, we have a theoretical outline of a non-institutional utopia, The International Organization of Non-Philosophy, L’Organisation Non-Philosophique Internationale, (ONPHI) already created in practice but under the conditions of possibility and functioning from which here we put into question “de jure,” thus not without a perplexity concerning “facts,” in any case, without the capability of “getting to the bottom of things.” Sixthly, an essay characterizing The Right and the Left of Non-Philosophy , a brief topology of several philosophizing and normalizing positions of proponents or tenants of this problematic. Seventhly, Rebel in the Soul: A Theory of Future Struggle , a systematic discussion starting from a confrontation of non-philosophical gnosis and non-religious gnosis to the extent that they pose, posed or perhaps still will pose themselves as rivals to non-philosophy in a mixture of fidelity and infidelity. Despite the fact that it can also be read as putting non-philosophy into perspective: it pits against a standard Platonism two contemporary appropriations of Gnosticism. On the basis of the paradigm of Man who never ceases to come as the Future-in-person, each one of these moments strives to reestablish not the “true” non-philosophy and its orthodoxy, but the minimal conditions to respect in order to allow for its maximum fecundity. And in order to bring about one of the last possibilities of its development, making explicit Humaneity as a utopia-for-the-World. In introducing these considerations in the form of a “testament” and “ultimatum,” we want to indicate two things: First, that this is the last time we will intervene in order to caution non-philosophers against the temptation of returning and looking backwards towards philosophy. Only a disillusioned nostalgia for the former World and its traditions barely remain permissible to us.… Secondly, that non-philosophy is also a sort of ultimatum for considering one’s life and transforming one’s thought from the perspective of a uni-version rather than a conversion. Man as future is this ultimatum in action, not an impatient self-proclaimed genius, and philosophy is his testament. It is obviously the ultimatum that determines this testament as “old” with a view towards a life that is, itself, non-testamentary. In and of itself, the “old” can never bear a veritable eschaton. Thus, this book intersects according to the logic of this paradigm, under the sign of the ultimate or “last” as future, philosophy as testament and cautionary note for maintaining the non-philosophical oeuvre as “future” or “utopian.” We will see that between these two dimensions it cradles a theory of struggle. In the end, this book envisions non-philosophers in multiple ways. It inevitably sees them as subjects of knowledge, most often academics insofar as life in the world demands, but above all as close relatives of three great human types. The analyst and political militant are quite obvious, for non-philosophy is close to psychoanalysis and Marxism insofar as it transforms the subject in transforming philosophy. Here again, one must have a sense not of certain nuances but of aspects (of the interpretations, albeit unilateralized) and not in order to construct a simple proletarization or militarization of thought as theory. To be rigorous, rather than authoritarian or spiteful, is its task. And lastly, non-philosophy is a close relative of the spiritual but definitely not the spiritualist. Those who are spiritual are not at all spiritualists, for the spiritual oscillate between fury and tranquil rage, they are great destroyers of the forces of Philosophy and the State, which are united under the name of Conformism. They haunt the margins of philosophy, gnosis, mysticism, science fiction and even religions. Spiritual types are not only abstract mystics and quietists; they are heretics for the World. The task is to bring their heresy to the capacity of utopia, and their utopia to the capacity of the paradigm. NOTES We will recognize allusions, and sometimes references, to closely related or distant themes, but which are related, in the work of Michel Henry, Alain Badiou and via the representative of “non-religious” gnosis of a Platonic origin, in Gilles Grelet. It goes without saying that these discussions are current and local, neither concerning the ensemble of doctrines nor prejudging the eventual evolution of certain amongst them. This concerns defining certain proximities with non-philosophy (rather than adversaries which in some sense they are) and typological and emblematic differends (rather than conflicts with a certain author). (shrink)

This paper delves into the striking parallels between the linguistic patterns of Large Language Models (LLMs) and the concepts of psychosis in Lacanian psychoanalysis. Lacanian theory, with its focus on the formal and logical underpinnings of psychosis, provides a compelling lens to juxtapose human cognition and AI mechanisms. LLMs, such as GPT-4, appear to replicate the intricate metaphorical and metonymical frameworks inherent in human language. Although grounded in mathematical logic and probabilistic analysis, the outputs of LLMs echo the nuanced linguistic (...) associations found in metaphor and metonymy, suggesting a mirroring of human linguistic structures. A pivotal point in this discourse is the exploration of “absolute metaphors”—core gaps in reasoning discernible in both AI models and human thought processes and central to the Lacanian conceptualization of psychosis. Despite the traditional divide between AI research and continental philosophy, this analysis embarks on an innovative journey, utilizing Lacanian philosophy to unravel the logic of AI, using concepts established in the continental discourse on logic, rather than the analytical tradition. (shrink)

Based on an analysis of a fundamental distinction between metaphors of ’finding‘ versus ’making‘ for the obtaining of new knowledge, a number of constructivist positions in education are discussed and criticised, taking account of earlier criticism particularly by Suchting and by Matthews. Constructivist claims which are denied include the claim that we have no direct access to the world, and the claim that communication is inherently meaningless. What is valuable in constructivism, namely the insistence on active learning, on respect for (...) the pupil‘s own thinking, and on the high priority needed for ideas taught to make sense to pupils, together with the reminder that science is a human product, is important to retain without its additional and ill-founded philosophical baggage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:European Network of Buddhist-Christian StudiesJohn D'Arcy MayThe European Network of Buddhist-Christian Studies met at Samye Ling, Scotland, 16-19 May 2003. The theme of the meeting was "Buddhists, Christians, and the Doctrine of Creation."Samye Ling, founded in 1967 by Dr. Akong Tulku Rinpoche and now under the guidance of his brother, the Venerable Lama Yeshe Losal, is one of the oldest and largest Buddhist monasteries in Europe. Ven. Yeshe, in (...) welcoming conference participants, told how the monastery has both materially and spiritually reinvigorated what had become a depressed area around the town of Lockerbie in southwest Scotland. Despite the inclement weather, it was thus an appropriate venue for the fifth conference of the European Network of Buddhist-Christian Studies on the topic of creation. As Perry Schmidt-Leukel (Glasgow), who organized the conference, pointed out in his opening remarks, creation in view of ultimate redemption is the quintessentially Christian doctrine. Yet Buddhism certainly did not see samsara as the ultimate reality, and even if the origin of the world was ultimately an unanswerable question, Buddhism too was confronted by the problem of evil.Ernst Steinkellner (Vienna) opened the conference proper with an account of Buddhist critiques of Hindu doctrines of creation. The absolute Brahman was not a creator, but in the course of doctrinal evolution (the masculine Brahman becoming the post-Vedic Brahma) the world came to be seen as the work of a kind of demi-urge, leaving open the question of why. Buddhism, restricting itself to the realm of the finite, mocked Brahmin ideas of the cause of the world, but still had to account for the existence and nature of the world. By the time the Madhyamaka had developed theories of momentary creation, these had become part of the common logic of Buddhists and Hindus.This was followed by a presentation on contemporary Buddhist critiques of creation and creator doctrines by José Cabezón (Santa Barbara), who pointed out certain affinities between modern theories of many universes without beginning or end and traditional Buddhist ideas. Buddhism, he maintained, has an aversion to cosmological uniqueness, whether spatial, temporal, causal, or personal, but it does [End Page 237] regard the causal law of karman as ineluctable. Despite the critiques of Buddhist thinkers such as Gunapala Dharmasiri of Sri Lanka, who are under the misapprehension that Buddhism is on a par with science whereas Christianity is merely religion, this lays the basis for a metaphysics. The site of both suffering and liberation is the cocreativity of all beings. Buddhism is concerned not with being, but with consciousness.Eva Neumaier (Calgary) suggested that in fact Buddhism does have conceptions of creation, but in narrative form, represented in the cosmological structure of the world as the product of the Buddha's meditation rather than as a cosmogony. Creation is not ex nihilo, because nature predates any act of creation, yet the "emptiness" of shūnyatā is also the "swollenness" of fulfilled potential. The Buddha has been represented as the all-creating sovereign, and pure mind has been interpreted as the gender-neutral mother-father of all Buddhas, the "primordial basis." The "original enlightenment" objected to by Critical Buddhism enabled Buddhists to adapt pre-Buddhist ideas such as the Tao, even to the extent of tolerating animistic polytheism.If this presentation surprised some participants, it provided the perfect counterpart to the paper on Christian ideas of creation by John Keenan (Middlebury College). The Jewish and Christian conceptions of creation arise out of events in history, the exodus from Egypt being the originating metaphor. For Christians, liberation from the bondage of sin was the legacy of Israel's tribal warrior God. The Genesis accounts of creation are essentially liturgical, not cosmogonic. Creation is simply assumed as the evidence of divine transcendence; God is not a benevolent parent. The pagan critics who mocked the Jewish and Christian creation stories were just as misguided as the Buddhists who ridiculed the Vedic myths. God was eventually conceived as ipsum esse, the "to be" of things, a nonsubstantialist account that does not purport to answer the question "why." According to the logic of Buddhism, the complete enlightenment of all would mean the... (shrink)

In summary, many extant definitions of the niche concept are based on the geometric metaphor which represents the niche as an object embedded in a geometric space. There are several difficulties with this approach; the activities of organisms are not fully described, certain attributes of the functional aspect of the niche are not represented, the life cycles of organisms are not described, and the heuristic value of the concept diminishes with increasing dimensionality.An alternative and complementary approach to the niche (...) is the linguistic metaphor. This approach is based on the explanatory objective to explain the assembly of the ecosystems of successional seres from species pools and abiotic environmental factors. The linguistic metaphor suggests that a theory of ecosystem assembly is a generative grammar that associates particular species with environmental features. The niche of a particular species is defined in terms of the rules of a generative-transformational grammar used to derive an hierarchically organized description of that species. This approach also has conceptual difficulties: (1) empirically testing competence theories and distinguishing possible and impossible objects (e.g. species and ecosystems) are difficult, (2) evolutionary processes are difficult to incorporate, (3) the mathematical tools associated with grammars do not have the range of applicability of the mathematical tools associated with the geometric metaphor, and (4) the productions (hierarchical trees) of a grammar are not easily visualized.The geometric and linguistic metaphors of the niche should be viewed as complementary pictures of the same object. The geometric representation is most adept at describing community dynamics and stability, niche overlap, and organism response to abiotic environments. The linguistic metaphor represents well organism activities, niche dynamics, and ecosystem assembly. (shrink)

The traditional philosophical metaphors of epistemology, which speak of grounds or foundations, produce a conception of knowledge as fixed and absolute. This paper is not an effort to revive traditional epistemological view of foundations and origins. After a preliminary and cursory discussion of how the metaphors of foundation and ground are employed, principally by Descartes and Heidegger, and what is suggested by such an employment, I sketch the postmodern rejection of these metaphors. However, I further indicate how, as valuable (...) as it is, postmodern criticism leaves us with an inadequate account of how we understand ourselves and how it is that weunderstand in general. I criticize postmodern thinking for ignoring the human elements of feeling and imagination and endorse the more satisfying model suggested by Paul Ricoeur. By understanding the role of feeling and imagination, we can escape the strict sterility of the grapheme. I end with my own suggestion that we gain a better sense of our attachment to and understanding of the world if we change the metaphors of foundations, grounds, and origins and instead employ metaphors of gathering, coalescence, or coagulation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Species Counterpoint:Darwin and the Evolution of FormsRandall Everett AllsupMy intention is to tell of bodies changed to different forms; the gods, who made the changes, will help me—or so I hope—with a poem that runs from the World's beginning to our own days.1I.A recent article in a progressive monthly magazine asked by way of a thesis, "Whose music is the blues?" Under the title, the tag line read, "2003 (...) is the 'Year of the Blues.' But as a music born of oppression becomes a feel-good soundtrack for white America, just what are we celebrating?"2 I recall feeling puzzled by this rather old-fashioned topic of investigation. Anyone with access to the Internet knows that music is not for one group or another. Global file sharing has made ownership as easy as, well, sharing a file. Furthermore, the tendency to depart from ancestral forms, whether as rebellious teenagers, rock guitarists, or both, seems genetically built into us. Life is a metamorphosis and music—like life—evolves.To advance the notion that music is made for one people and not another, that it has absolute or essential qualities, opens a terribly large can of worms. We know, for example, that identity and music are linked, but the relationship is not [End Page 159] mono-directional, causal, or fixed. My relationship to the blues or Broadway show tunes for that matter is defined somewhere within a dense web of group associations, educational opportunities, even closet desires. With regard to psychological research on identity, slippery and impermanent as identity is, this research is really about similarities.3 Conservative in this light, such studies look for commonalities: their goal is to identify "what is."4Fear is often the dominant response to the evolution of a cherished form. Change, however, holds equal parts fear and promise. The Chinese word for crisis, wei-ji, means "opportunity with danger." This essay will contextualize the latter, but focus on the former. It is worth asking, for example, what might result from an examination of anomalies? Rather than attempt to identify "what is," such an inquiry would be concerned with "what else" [the abnormality] as well as "what might be" [the opportunity]. Located, I think, within the anomalies and mutations that seem to fit so well our globally connected world are new codes, altered methods for self-understanding, and interaction in the arts.Charles Darwin and The Origins of Species will provide the conceptual framework for this discussion.5 To look for help in the work of Darwin will require a crossbreeding of scientific theory and metaphor, a cross-pollination of hypothesis and the hypothetical. We will look at how the production of new forms, particularly musical forms, is shaped. Speaking metaphorically, a work of art or entertainment can be seen as an adaptation to and of its environment. We know that cultural products, like all living species, are not permanent entities. Change, Darwin stressed, carries with it purpose. To that end, he looked for variation to help him understand how and why an organism or system developed the way it did. What might be revealed if we apply this procedure to the field of music and music education? We might see eco-systems in various stages of growth, health, and decline. A look at musical forms as mutable, living creations that spring from and reflect a particular condition raises interesting questions about place and purpose.II.Only a hundred and fifty years ago, a single event—a theory!—precipitated a cultural crisis that threw down two thousand years of scientific and philosophic thought. The popular revolt that Charles Darwin's The Origin of Species fueled (and continues to fuel) called into question fundamental beliefs about how the world is made. Darwin's theory that matter and energy are in steady flux, that life is in need of constant variation, implied that fixed or universal truths are nothing more than comforts created by the mind. The Origin of Species was therefore more than a scientific revolution.6 A core tenet of Western culture was challenged by its publication: the so-called immaterial spirit, whether viewed in the [End... (shrink)

This essay discusses critically the ways in which different metaphors employed to illustrate the practices of knowledge production and knowledge acquisition as well as scientific and scholarly research shape our understanding of the academic form of life. The essay examines the metaphors of knowledge and their role in academia by means of philosophical analysis and a rhetorical analysis of language, thereby defending the core values of academic freedom. It focuses on two pairs of metaphors highly relevant to the tensions (...) characteristic of contemporary academic work: verticality and horizontality, on the one hand, and change and stability, on the other. The entanglement of perspectives from philosophy and historical rhetoric serves a metaphilosophical goal here: to show that our philosophical understanding of the nature of inquiry will be considerably enhanced if we seriously, and with both historical and literary sensibilities, study the metaphors we use in characterizing our epistemic and cognitive projects. (shrink)

The experience of the body, which all speaking subjects share, is at the origin of many corporeal metaphors and figurative expressions which are laced throughout all of our productions of language, and which reveal the diverse representations of the body as elaborated within linguistic communities. For instance, when the French say that someone “does nothing with his ten fingers,” to signify his inactivity or laziness, this expression reveals a representation of the hand, which is viewed as “THE SEAT OF ACTIVITY.”.

At the foundation of systematic thinking lie decisive assumptions that cannot be articulated and treated in a theoretical manner. Nonetheless, they are settled practically and metaphorically to orient and provoke the systematic attempts of philosophy. This field of non-theoretical assumptions is the theme of this paper. In the following, I articulate one specific metaphorical and practical answer that defies theoretical and systematic treatment. While it is among the most fundamental and fatal answers that can ever be ventured in the entire (...) field of systematic thinking, they cannot occupy center-stage in theoretical thinking. The problematic concerns the pragmatic or absolute establishment of the edifice of philosophy. In the following, I try to portray a fundamental but irresolvable conflict in a back-and-forth movement between rival answers given to this problematic. This investigation concludes by emphasizing the irremediable failure to settle, once and for all, the conflict portrayed between the two opposed designations of philosophy in principle. (shrink)

In the product-design domain, metaphors are used as a means of communication between designers and users. A designer generates a metaphor by deciding on a quality of a target to highlight and selecting a corresponding source that conveys this quality; the user interprets the designer’s intentions via the end product. The depth of the generated metaphor can be assessed by the extent to which the highlighted quality is salient for the target: Metaphors focusing on a salient quality of (...) the target are termed “surface” metaphors, whereas those focusing on a non-salient quality are called “deep” metaphors. In this article, we investigated both the effect of the expertise level of the designer and different types of intention on metaphor depth, through a study in which groups of expert and novice designers were asked to generate metaphors and external judges evaluated the depth of the metaphors created. Results indicated that having a pragmatic intention.. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Hans Blumenberg (1920–1996), An Unended QuestElías José PaltiAt 76, after a long intellectual career spanning more than thirty years, first as Professor of Philosophy at Giessel, then at Bochum, and finally at Münster until his retirement in 1985, Hans Blumenberg has died.1 He leaves behind an incredibly vast oeuvre2 covering the most diverse subjects, from an interpretation of Bach’s The Passion of St Matthew to the history (...) of different terms, concepts, and metaphors (such as shipwreck, the book, and the cave).3 His three major books—The Legitimacy of the Modern Age (1966), The Genesis of the Copernican World (1975), and Work on Myth (1979)—are already classics and constitute true landmarks in the contemporary historiography of ideas. Yet so varied and extended an intellectual production revolves around a single concern: the origins and legitimacy of the so-called Modern Age. Moving back and forth from different angles and perspectives toward the same core—as in a prolonged assault—in order to test the different edges and explore all the potential implications of his own inquiring, men and gods, science and myth, from antiquity to the present day, all are invoked in his work for a concerted [End Page 503] attack aimed to shed new light into that enigma called the “Modern Age.” His multifaceted approach is thus only an expression of the multifold nature of his own subject matter.However, the unity of this quest is more apparent than real. His line of questioning moved progressively from the problem regarding the legitimacy of the modern age to that of its origins and specific nature, and in this very process not only did his approach vary but his very concept of that age changed. Here I will trace the main investigative lines that Blumenberg followed through his three major works4 to uncover how his view of the modern age was modified and became more and more complex over time. I will also show how, in fulfilling his project and in the consequent growing sophistication of his perspective, Blumenberg actually discovered a number of unsuspected problems that derailed him from his original endeavor, forcing him to reformulate some of his conceptual tools, and indeed to redefine the ultimate object of his undertaking.Modernity and the Problem of Its LegitimacyThe Legitimacy of the Modern Age (1966)5 was first in a trilogy of major works reviewed here. Its title formulates concisely Blumenberg’s original concern. In it he focussed his discussion on the “theory of secularization,” originally formulated by Carl Schmitt in Political Theology (1922) and later developed by Karl Löwith in Meaning and History (1949).For Löwith there were only two authentically original traditions in Western historical thought: the Ancient (based on the notion of cyclical time) and the Medieval/Modern (founded on the idea of a linear, future-directed pattern of human development).6 The philosophy of history that originated in the eighteenth century is nothing else but a result of the secularization of the eschatological Christian motif of the fall and subsequent redemption. Such a revelation would unmask, according to the author of this theory, the myth of modernity’s origins as representing a radical rupture from its immediate past and the final consecration of the absolute reign of reason. This would deprive modernity of the grounds upon which it legitimizes itself. “Illegitimacy,” then, is here identified with “heterogony” (the lack of authentic, proper sources). “Seen from the point of view of secularization,” remarks Blumenberg, “the false conflict of the medieval and the modern age can be reduced to a single episode in the interruption of the human connection to the cosmos” (28). [End Page 504]For Blumenberg, on the contrary, “secularization” did not necessarily constitute an anathema. The fact that the notion of “secularization”—originally conceived as merely a descriptive term—came to involve pejorative connotations resulted from the Platonic assumption that a derivative truth is only a degraded form of the primitive, authentic Truth, so that any kind of intellectual acquisition becomes suspect (73). This is not actually the case. In a purely descriptive sense, Blumenberg argued, one can cite almost any philosophy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Hans Blumenberg (1920–1996), An Unended QuestElías José PaltiAt 76, after a long intellectual career spanning more than thirty years, first as Professor of Philosophy at Giessel, then at Bochum, and finally at Münster until his retirement in 1985, Hans Blumenberg has died.1 He leaves behind an incredibly vast oeuvre2 covering the most diverse subjects, from an interpretation of Bach’s The Passion of St Matthew to the history (...) of different terms, concepts, and metaphors (such as shipwreck, the book, and the cave).3 His three major books—The Legitimacy of the Modern Age (1966), The Genesis of the Copernican World (1975), and Work on Myth (1979)—are already classics and constitute true landmarks in the contemporary historiography of ideas. Yet so varied and extended an intellectual production revolves around a single concern: the origins and legitimacy of the so-called Modern Age. Moving back and forth from different angles and perspectives toward the same core—as in a prolonged assault—in order to test the different edges and explore all the potential implications of his own inquiring, men and gods, science and myth, from antiquity to the present day, all are invoked in his work for a concerted [End Page 503] attack aimed to shed new light into that enigma called the “Modern Age.” His multifaceted approach is thus only an expression of the multifold nature of his own subject matter.However, the unity of this quest is more apparent than real. His line of questioning moved progressively from the problem regarding the legitimacy of the modern age to that of its origins and specific nature, and in this very process not only did his approach vary but his very concept of that age changed. Here I will trace the main investigative lines that Blumenberg followed through his three major works4 to uncover how his view of the modern age was modified and became more and more complex over time. I will also show how, in fulfilling his project and in the consequent growing sophistication of his perspective, Blumenberg actually discovered a number of unsuspected problems that derailed him from his original endeavor, forcing him to reformulate some of his conceptual tools, and indeed to redefine the ultimate object of his undertaking.Modernity and the Problem of Its LegitimacyThe Legitimacy of the Modern Age (1966)5 was first in a trilogy of major works reviewed here. Its title formulates concisely Blumenberg’s original concern. In it he focussed his discussion on the “theory of secularization,” originally formulated by Carl Schmitt in Political Theology (1922) and later developed by Karl Löwith in Meaning and History (1949).For Löwith there were only two authentically original traditions in Western historical thought: the Ancient (based on the notion of cyclical time) and the Medieval/Modern (founded on the idea of a linear, future-directed pattern of human development).6 The philosophy of history that originated in the eighteenth century is nothing else but a result of the secularization of the eschatological Christian motif of the fall and subsequent redemption. Such a revelation would unmask, according to the author of this theory, the myth of modernity’s origins as representing a radical rupture from its immediate past and the final consecration of the absolute reign of reason. This would deprive modernity of the grounds upon which it legitimizes itself. “Illegitimacy,” then, is here identified with “heterogony” (the lack of authentic, proper sources). “Seen from the point of view of secularization,” remarks Blumenberg, “the false conflict of the medieval and the modern age can be reduced to a single episode in the interruption of the human connection to the cosmos” (28). [End Page 504]For Blumenberg, on the contrary, “secularization” did not necessarily constitute an anathema. The fact that the notion of “secularization”—originally conceived as merely a descriptive term—came to involve pejorative connotations resulted from the Platonic assumption that a derivative truth is only a degraded form of the primitive, authentic Truth, so that any kind of intellectual acquisition becomes suspect (73). This is not actually the case. In a purely descriptive sense, Blumenberg argued, one can cite almost any philosophy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 89-103 MuseSearchJournalsThis JournalContents[Access article in PDF]Philosophical AestheticsDonald Phillip VereneIs there an aesthetics of philosophy? Does philosophical discourse have a foundation in sense and sensibility? If the answer to these questions is affirmative and there is in some sense a philosophical aesthetics, what conclusions might be drawn for philosophical education?Put another way: Does philosophy require the power of the imagination and the product (...) of this power-image? Or is philosophy the product of the pure concept, the rational idea? Does philosophical reason rest upon a logic that resides in thought alone that is expressed essentially in principles and arguments disconnected from images and sentiment?The Philosophical ImaginaryThe French philosopher Michèle Le Doeuff says:Whether one looks for a characterization of philosophical discourse to Plato, to Hegel or to Bréhier, one always meets with a reference to the rational, the concept, the argued, the logical, the abstract. Even when a certain coyness leads some authorities to pretend that they do not know what philosophy is, no agnosticism remains about what philosophy is not. Philosophy is not a story, not a pictorial description, not a work of pure literature. Philosophical discourse is inscribed and declares its status as philosophy through a break with myth, fable, the poetic, the domain of the image. 1Le Doeuff continues:If, however, one goes looking for this philosophy in the texts which are meant to embody it, the least that can be said is that it is not to be found there in a pure state. We shall also find statues that breathe the scent of roses, comedies, tragedies, architects, foundations, dwellings, [End Page 89] doors and windows, sand, navigators, various musical instruments, islands, clocks, horses, donkeys and even a lion, representatives of every craft and trade, scenes of sea and storm, forests and trees: in short, a whole pictorial world sufficient to decorate even the dryest "History of Philosophy." 2Le Doeuff points to Hegel's work as an example of the claim that the sole form of philosophy is thought. Yet the works of Hegel, like those of Plato, are full of images. Plato and Hegel are masters of metaphor. One can say of them what Aristotle says in the Poetics, that "the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others and it is a sign of genius. For the right use of metaphor requires an eye for similarities in dissimilars." 3 Despite his mastery of metaphor, in the Republic Plato uses his doctrine of eidos to criticize the power of eikon to present truth. Hegel, in the Phenomenology, uses his doctrine of the Begriff to claim that the Bild cannot produce the science of the absolute. Plato and Hegel say one thing in their texts, but in the texts themselves they do another. Plato's dialogues are filled with metaphors and likely stories from the Ring of Gyges to the metaphor of the Sun to the tale of Atlantis, as are Hegel's works, from the "night in which all cows are black" to the phrenological skull to the owl of Minerva that flies only at the falling of dusk.How are we to comprehend the extremes of philosophical doctrine on the one hand and the discourse that expresses it on the other? Is the discourse simply the outer shell of the doctrine, inessential to its truth, or does the doctrine itself require for its truth all that is needed for its proper statement?I wish to seek the answer to this by connecting Plato to Hegel, using Vico as an intermediary, in particular Vico's conception of la sapienza poetica (poetic wisdom) and his conception of the universale fantastico (imaginative universal). My claim is that philosophical discourse, as well as philosophy itself, depends upon an aesthetic that cannot be overcome by reason, that there is a philosophical imaginary that necessarily accompanies philosophical rationality. The concept, the idea, always has a shadow, a doppelgänger through which... (shrink)

This paper proposes a theory to explain the remarkable emotional power of our response to abstract music. It reviews and rejects metaphysical arguments derived from notions of a divine spiritual realm and from absolute forms of human reason. Its conclusion is that musical experience is always essentially inter-subjective and potentially empathetic, and arises from “action-metaphors,” through which we link musical performances, as forms of action, to subconscious, archetypal dimensions of our awareness of ourselves and of our feelings towards others. (...) It ends with a discussion of the implications of this theory for music education. (shrink)

The theory of metaphor proposed by Lakoff and Johnson (1980a, 1980b) and Lakoff (1993) involves a mapping of conceptual structure from one semantic domain to another. We investigate properties of these conceptual domain mappings by comparing them to morphological derivational relations. Schematicity and productivity are properties that Bybee (1985) and Langacker (1987) propose for characterizing morphological derivational relations, which we apply to our analysis of metaphor. Metaphors are argued to vary in their degree of semantic schematicity: Domain relations (...) function as generalizations over specific metaphorical expressions. We also demonstrate three points on a continuum of productivity: Conventional metaphors are highly productive, metaphorically motivated transparent idioms are semiproductive, and opaque idioms are unproductive. Each point is compared with an example of morphological productivity having a corresponding conceptual organization. The results demonstrate that semantic productivity can be characterized in the same way as morphological productivity, suggesting that form and meaning are organized by the same principles. (shrink)

The writings in which an author expresses his thought may actually be the product of certain cultural practices of his age. The article considers how such practices are manifested in the writings of Isidore of Seville, particularly with respect to the meaning of the metaphor of taste. Isidore borrows this metaphor from texts that explain the process of understanding Scripture and applies it to the achievement of wisdom. On the one hand, the metaphor stresses the transformative aspect (...) of understanding (rather than the informative, scientia). It focuses on the special experience of the reader who senses the sweetness of the text, and not on the application of the text to one’s life. On the other hand, reading and writing were imagined in terms related to food. The text was food that had to be prepared, to ‘read’ meant to ‘taste’, to ‘meditate’ on it meant to ‘ruminate’. Against this background, the writings of Isidore seem to appeal to the memory of the reader and his ability to meditate upon the text and, finally, to experience the taste of wisdom. Only the outermost level of texts was intended to inform the reader. (shrink)

We introduce a novel experimental paradigm for eliciting metaphoric expressions in spontaneous speech, under controlled conditions. Participants were presented with a pair of words on a PC monitor and were asked to provide a verbal response describing a conceptual relation between the stimuli. The proportion of metaphoric responses depended on the stimuli in a predictable manner. A large proportion of metaphoric responses was obtained for stimuli that were derived from existing metaphors. The chronometric study of metaphor production in (...) this paradigm produced 3 major findings: (a) a figurative-literal difference: responses that included metaphorical expressions showed greater reaction times (RTs) than responses with only literal expressions; (b) familiarity effect: responses that included more-familiar metaphorical expressions showed smaller RTs than responses that included less-familiar metaphorical expressions; (c) degree of metaphoricity effect: responses that included highly metaphorical expressions showed greater RTs than responses that included less metaphorical expressions. We discuss the processing implications of these results. (shrink)

Are we rapidly approaching the end of the work-centered society? This article contends that at the century's end we may witness the disappearance of the great productivist utopias of the 1920s and 1930s. The crisis of productivist systems and ideologies may be far more significant than the more narrowly defined crisis of communism, or of `Fordism', that many critics have identified. Shifts in the forms of metaphor and the technology of work are taking place which call into question traditional (...) notions of the biopolitics of work. Modern productivism - the productivism of the industrial revolution - was governed by the belief that human society and nature are linked by the primacy and ultimate interchangeability (convertibility) of all productive activity. It presupposes a metaphor of the motor which first appeared during the first quarter of the 19th century. With the eclipse of the metaphor of the human motor, we can ask whether the end of the `work-centered model of society' might be attributed to the decline of its most compelling metaphor. If the body no longer occupies the central metaphor of productivism, what does this mean for the new configuration of labor and the model of labor based on information processing rather than the generation of things or the conversion of force? (shrink)

In this article I read textual metaphors of ‘untouchability’ in ‘post-AIDS’ representation as an erasure of structures that condition HIV stigmatization in India. Throughout, my discussion is contextualised by the political economy of HIV and AIDS, which has been productive of particular modern sexual subjects. In the film My Brother…Nikhil, the stigmatization of Nikhil, a gay Indian man living with HIV, is constituted through visual and verbal caste metaphors, which draw on existing subject positions that are elided as ‘traditional’, residual, (...) and receding. This stigma is resolved textually through parental acceptance of the gay protagonist and his partner, projecting stigma as traditional and modernity as the resolution. Such metaphors of ‘untouchability’ prevent the representation of queer Dalit subjects in contexts of HIV and AIDS. Yet if addressing shame and social stigma are key to HIV treatment and prevention programmes, caste cannot be set aside simply as a metaphor. Expanding to include textual representations of queer Dalit subjectivity, the article reads a novel, The Boyfriend, and a poem, “Gandu Bagicha,” to show ways in which caste stigma and homophobia intersect in contexts of seroconversion risk. (shrink)

Consequentialist doctrines have often been criticized for their excessive demandingness, in that they require the thorough instrumentalization of each person’s life as a vehicle for the production of good consequences. In turn, the proponents of such doctrines have often objected to what they perceive as the irrationality of the demandingness of deontological duties. In this paper, I shall address objections of the latter kind in an effort to show that they are unfounded. My investigation of this matter will unfold (...) by reference to a scenario that strikingly and concretely exemplifies the demandingness of deontological duties. That scenario, which involves a situation of torture (specifically, placatory torture – in other words, torture undertaken for the purpose of appeasing people who have demanded that it be administered), will serve as a springboard for my endeavor to vindicate the rationality of deontological absolutes and will help to illuminate the endeavor’s practical implications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:More About Hume's Debt to Spinoza Wim Klever In a recent contribution to the question of Hume's relationship to SpinozaIadvocatedamoreorlessSpinozisticinterpretationofthefirst bookofA Treatise ofHumanNature.1 Ofthe Understanding, sowasmy claim, is not only very close to De natura et origine mentis (Ethica, second part) as far as its main affirmations are concerned; the convergence ofexternal and internal evidence makes it also probable that there is a remarkable influence from the one's work (...) on the other and, accordingly, that Hume's defamation of Spinoza's system might well have been disingenuous. This last point was previously also suggested by Richard Popkin in an article in which he compared Hume's philosophy ofreligion with Spinoza's.2 What motivated me to continue my research in this field? To say itinone word: the unintendeddiscoveryofmanystrikingresemblances betweenHume's secondbook, OfthePassions,andSpinoza'sthirdpart, De origine et natura affectuum. I happened to become a member of a group ofinterested people who concentrate on reading Hume, and, on the other hand, I had acquired some expertise as a Spinoza scholar for quite a number of years, so that I could not avoid seeing the commonaUties between the two philosophers. It seems to be fully impossible to explain the resemblances—which I, ofcourse, will show below—by referring to the Spinoza-article in Bayle's Dictionaire historique et critique (a source once mentioned by Hume in a letter to a London friend), since Bayle does not spend a word to the human passions. It is further a hard fact that there do not exist other written sourcesfrom which Humemighthave drawnhisSpinozisticinspiration in his French period apart from the Ethics; all available literature of the time turned around the questions theism versus atheism and free will versus determinism, without entering into the details ofhuman emotions.3 Only one conclusion was possible for me: Hume musthave been familiar with Spinoza's own text. Either the Chevaher Ramsay, whose intimate he was for some time,4 or anotherintermediaryfigure5 must have raised his interest. The best entrance into the material is constituted by Hume's closing remark in his A Dissertation on the Passions (1757), in which he elucidates what he in fact has been doing in hie analysis of the passions: Volume XDI Number 1 55 WIM KLEVER I pretend not to have here exhausted this subject. It is sufficient formy purpose, ifI have made it appear, that, in the production and conduct of the passions, there is a certain regular mechanism, which is susceptible of as accurate a disquisition, as the laws ofmotion, optics, hydrostatics, or any part ofnatural philosophy.6 In spite ofthe words "a certain," this fragment maynot be interpreted as a metaphorical assessment. The origin and the processes ofhuman passions are purely mechanical. If this is not what Hume intends to declare, he never could have added the phrase that passions are susceptible of exactly the same kind of accurate descriptions as other natural phenomena. This theory of the mechanism of the passions is certainly not Cartesian. Although Descartes, as a physical scientist, was a great promoter of the explanation of things by means of mechanical causality, he in fact did not extend this method to the life ofthe passions. In his dualistic philosophy he ascribes to the human mind (with its free will) the capability to interfere with the passions and even to dominate them.7 In this field it is Spinoza who paves the way for Hume by sharply criticizing Descartes' non-mechanistic explanation ofthe passions. His far-fetched solution ofthe mind-body interactivity by means of the pineal gland and the animal spirits pushing against it, is called "a hypothesis more occult than any occult quality." 8 Spinoza acknowledged that Descartes had good intentions in trying to explain the human affections by their direct causes, but he was inconsistent insofar as he at the same time attempted to demonstrate man's absolute dominion over them. He, Spinoza, on the contrary, "will consider human actions and appetites just as ifit were a question ofUnes, planes and bodies." 9 The analysis of passions is a piece of natural science comparable with geometry, optics10 and hydrostatics, to mention some other fields of Spinoza's research. Hume's statement... (shrink)

This volume combines philosophy, the social theory of knowledge, and historical analysis to present a comprehensive study of the idea of certainty as defined in the Western and Chinese intellectual traditions. Philosophical ideas such as certainty are the products of deeply layered socio-historical constructions. The author shows how the highly abstract idea of certainty in philosophical discourse is connected to the concrete social process from which the meaning of certainty is derived. Three different versions of certainty--in modern Western thought, in (...) German Idealism, and in traditional Chinese philosophy--are examined in the context of a historical-comparative study of Western and Chinese social processes. Three versions of the idea of certainty are represented by the three distinct philosophical discourse and societies explored in this book. However, the pursuit of certainty transcends culture as a fundamental aspect of philosophical thought. This in-depth study shows how the social genesis and function in philosophy of the specific meaning of certainty has been delineated through a process of complex idealogical negotiation by dominant social groups--the bourgeoisie in modern Western Europe, the nobility and state bureaucrats in 18th- and 19th-century Germany, and the landed gentry in traditional China. The author concludes by suggesting new avenues for study inspired by his research. (shrink)

According to a 17th-century European fantasy, certain sponges were used in the South Seas to record and transmit sound. A message spoken into one of these sponges would be exactly replayed when a recipient squeezed it appropriately, even across great distances in time and space. It's hard for us to remember just how magical it is, in a natural world made up solely of warring elements, that any information can be enduringly stored, transported without distortion, and precisely reproduced. Our lives (...) are irretrievably tangled with artificial systems which keep their contents ordered and immune from melding, and we trust that our computers won't creatively blend our files overnight. But despite our best efforts to tidy our own minds, the blurry and insistently productive operations of human memory, in contrast, often resist both control and understanding. (shrink)

The text is concerned with a class of two-sided stochastic processes of the form. Here is a two-sided Brownian motion with random initial data at time zero and is a function of. Elements of the related stochastic calculus are introduced. In particular, the calculus is adjusted to the case when is a jump process. Absolute continuity of under time shift of trajectories is investigated. For example under various conditions on the initial density with respect to the Lebesgue measure,, and (...) on with we verify i.e. where the product is taken over all coordinates. Here is the divergence of with respect to the initial position. Crucial for this is the temporal homogeneity of in the sense that,, where is the trajectory taking the constant value. By means of such a density, partial integration relative to a generator type operator of the process is established. Relative compactness of sequences of such processes is established. (shrink)

Powerful transformer models based on neural networks such as GPT-4 have enabled huge progress in natural language processing. This paper identifies three challenges for computer programs dealing with metaphors. First, the phenomenon of Twice-Apt-Metaphors shows that metaphorical interpretations do not have to be triggered by syntactical, semantic or pragmatic tensions. The detection of these metaphors seems to involve a sense of aesthetic pleasure or a higher-order theory of mind, both of which are difficult to implement into computer programs. Second, the (...) contexts relative to which metaphors are interpreted are not simply given but must be reconstructed based on pragmatic considerations that can involve presuppositional pretence. If computer programs cannot produce or understand such a form of pretence, they will have problems dealing with certain metaphors. Finally, adequately interpreting and reacting to some metaphors seems to require the ability to have internal, first-personal experiential and affective states. Since it is questionable whether computer programs have such mental states, it can be assumed that they will have problems with these kinds of metaphors. (shrink)

A imagem da noite é uma constante em diversas tradições místicas, estando associada à necessidade, expressa pela mística apofática, de transcender às imagens, ao conhecimento e ao nome de Deus, bem como a um método ascético que conduziria a uma experiência que não sendo sensível ou inteligível, não é catalogável pelo nosso sistema de cognição. A noite será uma das imagens mais poderosas e de maior expressividade na poesia de São João da Cruz, representante da mística ibérica do séc. XVI. (...) Uma imagem negativa que nos fala de um processo de negação gradual e progressivo que avança até um ponto limite que onde reste a afirmação absoluta do Nome divino. O artigo pretende, pela análise dos poemas Cântico espiritual e Noite escura, ensaiar algumas conjecturas sobre o significado da metáfora noite escura em São João da Cruz e no discurso místico em geral. Palavras-chaves: São João da Cruz. Poesia mística. Cântico spiritual. Noite escura.: The image of the night is a constant in various mystical traditions, and it is generally related to the need, expressed by the mystical apophatic, of transcending the images, the knowledge, and the name of God. Such image is also comprehended as an ascetic method which would lead to an experience that is neither sensible nor intelligible, and because of that it is not understandable by our system of cognition. The night is one of the most powerful and expressive image in the poetry of São João da Cruz, a representative poet of the Iberian mystical poetry of the nineteenth century. The metaphor of the night is a negative image that speaks us of a process of gradual and progressive denial that moves toward a tipping point where the absolute affirmation of the Divine Name remains. The paper develops, through the analysis of the poems “Spiritual Chant” and “Dark Night”, some conjectures about the meaning of the dark night metaphor in São João da Cruz and in the mystical discourse as a whole Key-words : São João da Cruz. Mystical poetry. Spiritual Chant. Dark Night. (shrink)

It is well evidenced that patients with schizophrenia demonstrate impairments of figurative language comprehension. Their metaphor production has not attracted nearly as much scholarly attention. W...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hegel’s Hermeneutics by Paul ReddingTerry PinkardPaul Redding. Hegel’s Hermeneutics. Ithaca: Cornell University Press, 1996. Pp. xvi + 262. Cloth, $39.95. Paper, $16.95.Following on the heels of fruitful reception of Kant at work in the last several decades in English-speaking philosophy, one of the most productive lines of interpretation of [End Page 327] Hegel has tried to reconstruct Hegel’s thought in light of its relation to Kantianism. Paul Redding’s (...) new work carries this line further. As Redding sets matters up, Hegel builds explicitly on the unfinished “Copernican” move in Kant’s work, which, as the “Copernican” metaphor suggests, stresses the way in which our particular perspectives on the world must be understood as located within a set of conditions that, although not themselves experienced, are conditions of that experience. It calls, that is, for an investigation of how and whether “subjective” and “objective” points of view relate to each other. The “communicative” interpretation of Kant’s “Copernican” move sets up the Hegelian development of it: For one agent to be able to understand the claims of another’s experience, he must be able to conceive the other as an object-agent in the world and a subjective-agent that has a point of view on the world, and the other must likewise see him in the same way. Redding’s thesis is that Hegel appropriated the way that Kant, Fichte, and Schelling tried to provide such an account, and without falling into the pitfalls they did, developed a recognitive, “intersubjective,” theory of consciousness that successfully gives the proper account of how these two points of view are both necessary and relate to each other.Redding’s interpretation thus lays great weight on the short section of “master and servitude” in the Phenomenology as the key to the structure of all of Hegel’s thought. Each agent can recognize his own point of view only by virtue of recognizing the points of view of other agents, and this kind of recognition can arise when “an intention is common to subjects facing each other from opposed points of view” (111). The structure of recognition that emerges is, of course, quite complex and full of self-reflexive moments, but what emerges is Geist, spirit, the “I that is a We and the We that is an I,” which is not itself an entity having a point of view but a structure of self-conscious, mutually recognizing beings. Thus, at the basis of Hegel’s philosophy is a hermeneutical theory of how agents address and understand each other—that is, how they interpret each other’s acts, intentions, and expressions. Redding puts this interpretation to work in a short account of the progression of the Phenomenology, which he takes to be an account of the way in which the European community has historically failed to realize the kind of institutional and social structures of mutual recognition that would create the “conditions adequate for rational and free intentionality” (141) until modern times. The end of the Phenomenology—“absolute knowing”—is thus not the achieving of a “body of complete or final knowledge” but of the “(tragic) insight that particular and determinate bodies of knowledge are always conditioned and so perspectival” and thus calling for hermeneutical activities of interpretation (140).To make good on his account of the central status of “recognition” (and therefore of “hermeneutics”) to Hegel’s enterprise, Redding gives a short but quite insightful sketch of how Hegel’s notorious Science of Logic might be understood as a formalization of the logic of such recognitive practice, an account of how it is that agents can adopt these complex patterns of recognizing their own points of view as being recognized by others. Hegel’s Logic depends on the rejection of there being any “immediate” truths that can serve as absolute starting points or premises and from which we can then derive “mediated” true conclusions. There are no such “truths” outside of the circle of thought; this is, Redding argues, “characteristic of that ‘hermeneutic circle’ within [End Page 328] which, according to Heidegger and Gadamer, thought always moves,” namely, “a structure of reciprocal recognition... [as... (shrink)

The article offers an analysis of the concept of the Absolute in Fichte’s philosophy. Despite the difficulty of the definition, this concept receives a rich and creative rethinking in Fichte and will further influence the philosophical systems of thought. Gradually introducing this concept into his philosophical project of Wissenschaftslehre Fichte often changes its interpretation. So, starting with a somewhat vague understanding of the concept of the "absolute I" through Schelling's criticism of the Absolute, he develops the theory (...) of the manifestation of the Absolute, each time choosing new metaphors to denote it, and sometimes filling it with religious content, when the Absolute becomes a substitute for the concept of God. On the one hand, it’s important not to reduce the Absolute to a simple object of thought because this would indicate the limitation of the Absolute. On the other hand, it would be wrong to consider the Absolute as an empty or neutral concept or something completely enclosed in itself. Then, its existence will be doubtful. Fichte is careful about a clear definition of the Absolute. He solves this dilemma through the idea of the manifestation of the Absolute. Manifestation is the exit of the Absolute beyond itself while remaining unchanged. The ability to manifest itself is a prerequisite that the Absolute can be recognized and thought. This is how the Absolute manifests itself in the form of knowledge. Fichte emphasizes that the Absolute is not a projection of our mind, it may not depend on our thinking, however with such peculiarity that truth and knowledge have their basis in it. Thereby, with the theory of the Absolute, Fichte develops the idea of the foundation that is outside of ourselves, has transcendental character, and thus allows knowledge or truth not to be trapped in subjective tenets. Analyzing step by step the process of evolution of this concept, we will be able to see how in the last years of his life, Fichte states the importance of two realities: the “I” and the “Absolute” and how he explains the connection between them. (shrink)

The metaphor of “gene editing” has been employed widely in popular discussions of CRISPR technology. The editing metaphor obscures the physical mechanism of action in CRISPR techniques, and understates the present frequency of off-target effects. However, the editing metaphor may be a useful means to think about approaches to regulating the future use of CRISPR. Conceiving of CRISPR as an information technology recalls the highly computational, information-oriented context of genomic research in which CRISPR has emerged. More importantly, (...) the editing metaphor, while currently inaccurate, anticipates a future moment when CRISPR technology will be ubiquitous and extremely reliable. Contemporary deliberations about the regulation of CRISPR should keep in mind that the technology may become more powerful—and more susceptible to misuse—as the overall state of genomic science advances and applications of CRISPR become less expensive and more refined. (shrink)

Multi-modal metaphor is a new perspective in metaphor research developed in modern times. Beyond the metaphor research of language, it combines text, image, sound, and other modes and provides new insights and perspectives for metaphor research. Food advertisements often combine sound, images, and other forms to promote the products and increase consumers’ desire to buy, and they often contain metaphors of multiple modes. However, under the perspective of cross-cultural research, when the same food brand is advertised (...) in different countries, the multi-modal metaphors are varied to appeal to different audiences. This article compares food advertisements in China and in the U.S. from the perspective of multi-modal metaphors, and analyzes the varied applications arising from different cultural influences. The research may act as a reference for advertising strategies on cross-cultural occasions. (shrink)

This article explores cynicism as an ethical issue associated with the blurring of content and advertising in mass media. From a communitarian perspective and adapting Hardin's (1968) metaphorical use of “commons” to the domain of broadcasting, we surveyed the attitudes of individuals toward two phenomena of media saturation (product placement and video news releases) and three constructs (cynicism directed toward government, cynicism directed toward marketers, and the individual's assessment of their marketing literacy). Respondents were highly cynical about government regulation of (...) advertising and nearly as cynical of the ability of marketer's to self-regulate. (shrink)

Following some of the main arguments Derrida develops in ‘White Mythology’, in this article I propose an unexplored dialogue between Derrida and Althusser considering the use and the place that each of them gives to metaphor in their philosophical strategies. I give special attention to some rather isolated passages of ‘Elements of Self-Criticism’ and ‘Lenin and Philosophy’, where Althusser, against all evidence, seems to be quite aware of the importance of metaphor and mataphorization in every philosophical practice. As (...) Balibar has argued, contrary to the metaphysical tradition, metaphor would not be the opposite but what anticipates the concept. In this sense, it is possible to observe how Althusser’s work has continuously put into practice – as the singular signature of his theoretical practice – something that I call the ‘detour of metaphor’ as a necessary ‘deviation’ for the production of new concepts. Without any evidence that Althusser may have known Derrida’s essay, I show how Althusser’s own theoretical work, one in which ‘metaphor’ as a philosophical theme appears to be rather anecdotic, is unexpectedly close to Derrida’s own positions concerning the margins of philosophy and its ‘outside’, the relation to the metaphysical tradition, and the importance of strategy in philosophy. (shrink)

This dissertation focuses on the problem of novelty as seen from the perspective of two French philosophers: Paul Ricoeur and Gilles Deleuze. As such, a new interpretation of the works of these two philosophers is developed. I argue that two models can be derived from their works: a model that strives to make tensions productive (based on Ricoeur) and a model that aims to organize encounters between bodies (taken from Deleuze). These models are developed on their own terms without superimposing (...) one over the other. Hence, the first part of the dissertation focuses on Ricoeur, the second on Deleuze. Through an extensive reading of Ricoeur’s La métaphore vive, it is shown that the living metaphor creates a productive tension in which two previously distinct domains are drawn together. This results in a semantic innovation that first appears as an image and only later can be conceptualized. This argument is further developed by analyzing Augustine’s notion ‘time is a distention of the mind (distentio animi)’ as an example of how a living metaphor introduces a new language that re-describes reality. This example prepares the way for broadening the model of productive tensions by showing how, from Ricoeur’s perspective, the innovative potential of actions can be understood in terms of a productive tension between two orders of imagination. In contrast to Ricoeur, Deleuze’s conception of novelty is not analyzed in terms of a productive tension between two heterogeneous domains, but in terms of an encounter between bodies in which a creative coupling or an affective relation emerges that links these bodies together in a common trajectory. On the basis of a reading of Deleuze’s essays on literature, it is shown how such an encounter can give rise to a single process of metamorphosis. This process can be divided in two closely connected moments: a mutual metamorphosis that sets the whole process in motion and a continuous metamorphosis of proliferating series that keeps it alive. This first, intuitive understanding of the model is deepened by linking it to a metamorphic ontology of expression that is derived from Deleuze’s works on Spinoza. This provides the model with a more rigorous vocabulary and also shows in how these encounters can be organized in such a way that they create the conditions for novelty in three forms of thinking: science, art, and philosophy. (shrink)

A criticism is offered of the chief argument employed by Davidson to debunk the notion of “metaphorical meaning”, which exploits the static nature of standard truth-conditional semantics. We argue, first, that Davidson's argument fails, and go on to suggest, secondly, that truth-conditional semantics would profit if the static feature were abandoned and were replaced by a processual, dynamic conception of meaning. We try to show that this processual aspect can be captured without making the ensuing semantic theory open to the (...) charge of psychologism. (shrink)

Despite the belief that metaphors are thought to be powerful persuasive devices, little empirical evidence exists to support this claim. A first step in examining the persuasive impact of metaphors is to measure recall and production variables concerning the persuasive message. This study examined recollections regarding the Iran-Contra hearings among honors introductory psychology students. Recall of the hearings appeared heavily influenced by externally imposed (i.e., media, politicians) metaphors. Moreover, metaphors used typically expressed an attitude about the Iran-Contra affair, particularly (...) about Lieutenant Colonel Oliver North's involvement. (shrink)

ABSTRACTWhile metaphor researchers commonly use the word “mapping” in explanations of various types of figurative language, there is a lack of recognition that the term is itself metaphorical. In fact, the term has two metaphor-based working definitions, the more commonly cited being that relating to mathematical set theory and the less common definition originating in cognitive neuroscience. Perhaps not coincidentally, terminological inconsistencies relating to mapping have led to theoretical problems both for single-domain theories of metonymy and attempts to (...) examine Lakoff’s invariance hypothesis. This article will assert that expressing metonymic connectivity using the neuroscience term “binding” will both eliminate unnecessary theoretical confusion for cognitive linguists and provide common terminology to facilitate productive communication between cognitive linguists and cognitive neuroscientists. (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)

Where we once spoke in military terms, we now often wield the language of the market: health care is a “product” and we are its “providers” and “consumers.” The market metaphor constrains in various ways our vision of the goals we pursue in making health policy, of the options available to us in pursuing them, indeed—because policy implies a certain view of moral agency—of the way we relate to each other.

A formal model of metaphor is introduced. It models metaphor, first, as an interaction of “frames” according to the frame semantics, and then, as a wave function in Hilbert space. The practical way for a probability distribution and a corresponding wave function to be assigned to a given metaphor in a given language is considered. A series of formal definitions is deduced from this for: “representation”, “reality”, “language”, “ontology”, etc. All are based on Hilbert space. A few (...) statements about a quantum computer are implied: The sodefined reality is inherent and internal to it. It can report a result only “metaphorically”. It will demolish transmitting the result “literally”, i.e. absolutely exactly. A new and different formal definition of metaphor is introduced as a few entangled wave functions corresponding to different “signs” in different language formally defined as above. The change of frames as the change from the one to the other formal definition of metaphor is interpreted as a formal definition of thought. Four areas of cognition are unified as different but isomorphic interpretations of the mathematical model based on Hilbert space. These are: quantum mechanics, frame semantics, formal semantics by means of quantum computer, and the theory of metaphor in linguistics. (shrink)