The deduction of the categories lies undoubtedly at the very heart of Kant's theoretical philosophy and, for this reason, it is one of items in the philosophical canon that is greatly discussed and least agreed upon. In the modern and contemporary Western philosophical tradition as well as in Kant’s literature, the loci classici for its consideration are the 1781 and 1787 editions of the Critique of pure reason. In this paper, I aim at presenting and discussing an argument (...) that Kant advances in the Prolegomena and which is virtually ignored in the approach of the deduction of the categories. At first, an inquiry into the distinction between analytic and synthetic methods is carried out. After that, the difference between judgments of perception and judgments of experience is taken into account. Finally, the Prolegomena’s argument for the categories is brought into discussion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Concepts, Judgments, and Unity in Kant's Metaphysical Deduction of the Relational Categories CHARLES NUSSBAUM 1. INTRODUCTION TO ANY ATTENTIVEREADERof the section of the Critique of Pure Reason' known as the "Metaphysical Deduction of the Categories" (A67/B92-A83/B to9), one paragraph in that section stands out particularly by virtue of its special importance for Kant's developing argument: The same function Which gives unity to the various (...) representations in ajudgment also gives unity to the mere synthesis of various representations in an intuition; and this unity, in its most general expression, we entitle the pure concept of the understanding. The same understanding, through the same operations by which in concepts, by means of analytical unity, it produced the logical form of a judgment, also introduces a transcendental content into its representations, by means of the synthetic unity of the manifold of intuition in general.... (CPR A79/B loS) The importance of this paragraph is, however, more than equaled by its difficulties, which center on the question of how the function which operates by means of analytical unity can be the same as one that operates by means of the synthetic unity of the manifold of intuition in general. Put shortly, the problem is this. If the functions are really the same, then how do we distinguish at all between analytic and synthetic operations? But if they are different, then how can these forms of judgment serve as a clue for the discovery of the categories? ' Immanuel Kant, Critiqueof Pure Reason, trans. Norman KempSmith (London: Macmillan and Co., Ltd., 1963).Hereafter CPR. [89] 9~ JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY 1990 The results of this dilemma which can be observed in the literature are not surprising: commentators tend to grasp one horn or the other. They either emphasize the difference between analysis and synthesis, and reject or dilute the claims as to sameness of function; or they take seriously Kant's argument concerning sameness of functions, and try to minimize the difference between analysis and synthesis. The major twentieth-century representant of the former approach is Kemp Smith," and of the latter, Paton. 3 This latter approach has found a formidable contemporary champion in the person of Henry Allison. By Allison's own admission,4 however, his position on this controversial topic was suggested (in part) by arguments first put forward over fifty years ago by Klaus Reich in a most remarkable book entitled Die Volls~ndigkeit der Kantischen Urteilstafel, 5 a book, by the way, also greatly admired by Paton. 6 In the first section of this paper I will try to show that Reich's arguments are rather more subtle than Allison apparently takes them to be, and that Reich is one commentator who attempts to go between the horns of the dilemma described above, and who essays an interpretation of our crucial paragraph that unifies its seemingly divergent tendencies. In the second section of the paper I will introduce some interpretive elements of my own. 2. Let us begin by reacquainting ourselves with Kant's notion of analytical unity, one aspect of this debate which is not particularly controversial and is largely agreed upon by all parties. For Kant, analytical unity is the sort of unity achieved by all general concepts (conceptus communes) insofar as they abstract from all differences that subsist between the objects under them, or the lower concepts subordinated to them. 7 A general concept unifies these objects or concepts by means of a common mark or set of marks. Thus Kant's example at CPR A69/B94 of the unification of bodies under the concepts 'body' and 'divisible' is a perfectly representative instance of unification via analytical unity, as the function upon which such concepts "rest." Let us note that the " Norman KempSmith,A CommentarytoKant's "Cr/t~rueofPureReason"(NewYork:HumanitiesPress, 196~). 3 H.J. Paton, Kant's MetaphysicofExperience, 2 vols.(London:George Allenand Unwin,Ltd., 1936). 4 Henry Allison,Kant's TranscendentalIdealum (NewHaven:YaleUniversityPress, 1983), 144 n. 3o. Hereafter KTI. 5 KlausReich,Die Vollst~ndigkeitderKantischenUrteilstafel,3rd. ed. (Hamburg: Meiner, 1986). Hereafter VKU. 6 Paton, Kant's Metaphysic, 1:302. Kant, we should note, does not makethis important logicaldistinctionbetweensubordination... (shrink)

The distinction between judgments of perception and judgments of experience in Kant’s Prolegomena has long been a controversial issue in Kantian studies. On the one hand, this distinction challenges the close connection between the synthetic unity of self-consciousness and the categories. On the other hand, a distinction between the subjective and the objective is unavoidable in our cognitive life. I will show in this paper that the interpretive difficulties arise from the ambiguity of Kant’s use of (...) the concept of perception and his misleading formulation of the judgments of perception. After clarifying these problems and adopting the regulative use of the concept of the I in Kant’s theory of perception, the place of judgments of perception in his transcendental cognitive theory can be clarified, and the consistency of his system can be observed. (shrink)

By taking into account some texts published between the first and the second edition of the Critique of Pure Reason that have been neglected by most of those who have dealt with the deduction of the categories, I argue that the core of the deduction is to be identified as the ‘almost single inference from the precisely determined definition of a judgment in general’, which Kant adumbrates in the Metaphysical Foundations in order to ‘make up for the (...) deficiency’ of the A-deduction. Whereas the first step of the B-deduction is an attempt to show that the manifold of an intuition belongs to the ‘necessary unity of self-consciousness’ by means of the synthesis of the understanding, the second step has the task of showing that the very same synthesis is responsible for the spatio-temporal unity of the manifold. Thus, Kant's ‘answer to Hume’ is that no spatio-temporal objects of experience at all are merely ‘given’, independently of the conceptual activities of the understanding. Against the established view I substantiate the claim that with this ‘almost single inference’ of the second proof step the distinction between judgments of perception and judgments of experience consequently vanished from Kant's thinking. (shrink)

My presentation deals with developments and transformations of the concept of the transcendental within Anglo-American analytical philosophy. According to Kant – the “founding father” of transcendental philosophy – the methodical domain of the transcendental is to denote and to expose the a priori epistemic structureof human mind and cognition (perception, experience, knowledge), as well as to provide a priori foundations for normative ethics. Analytical philosophy has adopted the term of the transcendental, mostly within sceptical argumentations or for sceptical refutations. What (...) is the methodological function of the transcendental in these debates, in the context of philosophical scepticism? My contribution tries to show that the notion of the transcendental becomes concave in analytical contexts. It might be appropriate to refute scepticism, but in these analytical contexts it’s not possible to deduct epistemic structures (e.g. categories,epistemic schemes) of experience and knowledge or to bridge the gap to foundations in ethics – one of the core goals in Kantian transcendental philosophy. What is the importance in transcendental analysis and reflection or is this term obsolete all together nowadays? My paper tries to discuss and mediate between various positions and ideas. (shrink)

Few of Kant’s distinctions have generated as much puzzlement and criticism as the one he draws in the Prolegomena between judgments of experience, which he describes as objectively and universally valid, and judgments of perception, which he says are merely subjectively valid. Yet the distinction between objective and subjective validity is central to Kant’s account of experience and plays a key role in his Transcendental Deduction of the categories. In this paper, I reject a standard interpretation (...) of the distinction, according to which judgments of perception are merely subjectively valid because they are made without sufficient investigation. In its place, I argue that for Kant, judgments of perception are merely subjectively valid because they merely report sequences of perceptions had by a subject without claiming that what is represented by the perceptions is connected in the objects the perceptions are of. Whereas the interpretation I criticize undercuts Kant’s strategy in the Deduction, I argue, my interpretation illuminates it. (shrink)

The analytic method by which Descartes discovered the first principle of his philosophy—cogito, ergo sum—is a unique cognitive process of direct insight and nonlogical inference. It differs markedly from inductive as well as deductive procedures, but also from older models of the direct noetic apprehension of first principles, notably those of Plato and Aristotle. However, a critical examination of Descartes’s argument for the innateness of the idea of God shows that there are serious obstacles in the way of his (...) employment of the analytic method of discovery to reach this or any other conclusion about ideas that do not fall within the scope of ordinary human experience. (shrink)

Fichte argues that the conclusion of Kant’s transcendental deduction of the categories is correct yet lacks a crucial premise, given Kant’s admission that the metaphysical deduction locates an arbitrary origin for the categories. Fichte provides the missing premise by employing a new method: a genetic deduction of the categories from a first principle. Since Fichte claims to articulate the same view as Kant in a different, it is crucial to grasp genetic deduction in (...) relation to the sorts of deduction that Kant offers. I propose to interpret genetic deduction as the simultaneous fulfillment of two tasks: answering the question quid facti by deriving the categories from the I and answering the question quid juris by establishing our entitlement to the categories as conditions of experience. While the second task represents Fichte’s agreement with Kant’s transcendental deduction, the first reflects his correction of Kant’s metaphysical deduction. (shrink)

SummaryThe paper is concerned with the connection between Kant's conception of transcendental schematism and his analysis of the conditions of the possibility of synthetic a priori judgments. After dealing with some of the standard objections to Kant's theory, I argue that transcendental schemata must be construed as pure intuitions. I then point out that the Principles of Pure Understanding are a set of synthetic a priori judgments which assert the function of the various schemata as necessary (...) conditions of the possibility of experience, and that each of these judgments involves the relation of a pure concept to pure intuition . Finally, I argue that the connection between a category and its schema must itself be both synthetic and a priori. It therefore requires a “deduction”, which Kant himself does not provide, but which I endeavor, in part, to provide for him. (shrink)

As most of its readers are aware, the Critique of Pure Reason is primarily concerned not with empirical, but with a priori knowledge. For the most part, the Kant of the first Critique tends to assume that experience, and the knowledge that is based on it, is unproblematic. The problem with which he is concerned is that of how we can be capable of substantive knowledge independently of experience. At the same time, however, the notion of experience plays a crucial (...) role in the central arguments of the Critique. For, again as most readers of the Critique know, Kant aims to show how we can have synthetic a priori knowledge by showing that the categories, or pure concepts of the understanding, are conditions of the possibility of experience. This means that, whether or not Kant is concerned with the notion of experience for its own sake, his account of a priori knowledge carries with it at least some commitments regarding the character of experience. If the account of a priori knowledge is to be successful, then experience has to be the kind of thing for which the categories can, in principle, serve as conditions of possibility. More specifically, experience must involve not only the senses, but also thought or understanding, for otherwise the claim that it presupposes a certain specific set of concepts is simply unintelligible. And indeed at least some parts of the Critique, in particular the so-called subjective deduction in the first edition, and the briefer passages which correspond to it in the second edition, seem to be intended to show how this requirement is met. That is, they are concerned not so much with showing that experience is governed by the categories, as with elaborating a view of experience as involving conceptual activity überhaupt. (shrink)

I defend an interpretation of the first Critique’s category of totality based on Kant’s analysis of totality in the third Critique’s Analytic of the mathematical sublime. I show, firstly, that in the latter Kant delineates the category of totality — however general it may be — in relation to the essentially singular standpoint of the subject. Despite the fact that sublime and categorial totality have a significantly different scope and function, they do share such a singular baseline. Secondly, I (...) argue that Kant’s note (in the first Critique’s metaphysical deduction) that deriving the category of totality requires a special act of the understanding can be seen as a ‘mark’ of that singular baseline. This way, my aesthetical ‘detour’ has the potential of revealing how the subjective aspects of object-constitution might be accounted for in the very system of the categories (of quantity) itself. (shrink)

The introduction to Leopold Blaustein’s two essays in this issue of Estetika contains a general biographical note about the author and his philosophical affiliations, as well as a brief description of his particular interests within philosophical aesthetics. Blaustein’s method of philosophical inquiry is described as analytical phenomenology. Three interconnected fields of aesthetics in Blaustein’s works are emphasized: the theory of aesthetic perception, the theory of attitudes and the theory of representation, especially the imaginary representation crucial for aesthetic perception. Blaustein’s theory (...) of perception and aesthetic experience is discussed in greater detail in the introduction as well as represented by the essay ‘The Role of Perception in Aesthetic Experience’. His theory of imaginary representation is exemplified by a selection from his important book Przedstawienia imaginatywne . The introduction ends with an account of the idea of ‘experiential unity of a higher order’, which for Blaustein serves as the condition for the possibility of aesthetic experience and constitutes an important background for an understanding of Blaustein’s aesthetics. (shrink)

Kant maintains that his Critique of Pure Reason follows a “synthetic method” which he distinguishes from the analytic method of the Prolegomena by saying that the Critique “rests on no other science” and “takes nothing as given except reason itself”. The paper presents an account of the synthetic method of the Critique, showing how it is related to Kant’s conception of the Critique as the “science of an a priori judging reason”. Moreover, the author suggests, understanding its (...) synthetic method sheds light on the structure of the Transcendental Deduction, and its function in the work as a whole. (shrink)

How we read Kant's Critique of Pure Reason has a huge influence on how convincing we find the parts of which it is composed. This thesis will argue that by taking its arguments and concepts in isolation we neglect the unifying architectonic method that Kant employed. Understanding this text as a response to a single problem, that of the possibility of synthetic a priori judgement, will allow us to evaluate it more fully. We will explore Kant's attempts to relate (...) the a priori and the synthetic in the Introduction, Metaphysical Deduction and Analytic of Principles of the Critique of Pure Reason. Having developed this reading at length we will be able to reassess Kant's relation to the work of Gilles Deleuze. Deleuze's critique of Kant and his tendency to make selective use of his work has so far characterised their relations. However, by reading Kant's Critique of Pure Reason in terms of its unifying method we will open up a new means of relating these two thinkers. Whilst Deleuze rejects many key Kantian concerns and concepts he embraces his methodological concern with the ability of problems to unify our thought. The problem-setting and forms of argument that emerge within Kant's architectonic method will be related to Deleuze's account of experience. This thesis will contribute to both Kant and Deleuze studies on the basis of the reading of the Critique of Pure Reason it will present. By showing how Kant's text is to be read as a whole we will be able to challenge the conclusion that the arguments he makes ultimately rely upon a notion of 'subjective origin'. The problem of accounting for 'the actual' through its relation to 'the virtual' in Deleuze's thought will be re-assessed on the basis of his newly established relation with Kant. Understanding Kant's method in the Critique of Pure Reason will be shown to strengthen both his own account of experience and that offered by Deleuze. (shrink)

ABSTRACT Wilfrid Sellars argued that Kant’s account of the conceptual structures involved in experience can be given a linguistic turn so as to provide an analytic account of the resources a language must have in order to be the bearer of empirical knowledge. In this paper I examine the methodological aspects of Kant’s transcendental philosophy that Sellars took to be fundamental to influential themes in his own philosophy. My first aim here is to clarify and argue for the plausibility (...) of what I claim is Sellars’ interpretation of Kant’s ‘analytic’ transcendental method in the first Critique, based ultimately on non-trivial analytic truths concerning the concept of an object of our possible experience. Kant’s ‘transcendental proofs’ thereby avoid a certain methodological trilemma confronting the candidate premises of any such proof, taken from Sellars’ 1970s undergraduate exam question on Kant. In part II of the essay I conclude by highlighting in general terms how Kant’s method, as interpreted in the analytic manner explained in part I, was adapted by Sellars to produce some of the more influential aspects of his own philosophy, expressed in terms of what he contends is their sustainable reformulation in light of the so-called linguistic turn in twentieth-century philosophy. (shrink)

Kant's distinction between analytic and synthetic method is connected to the so-called Aristotelian model of science and has to be interpreted in a (broad) directional sense. With the distinction between analytic and synthetic judgments the critical Kant did introduced a new way of using the terms 'analytic'-'synthetic', but one that still lies in line with their directional sense. A careful comparison of the conceptions of the critical Kant with ideas of the precritical Kant (...) as expressed in _Ãœber die Deutlichkeit, leads to the interpretation defended here of Kant's distinction between analytic and synthetic judgments within his philosophy of mathematics. (shrink)

In focusing on the systematic deduction of the categories from a principle, Schulting takes up anew the controversial project of the eminent German Kant scholar Klaus Reich, whose monograph “The Completeness of Kant's Table of Judgments” made the case that the logical functions of judgement can all be derived from the objective unity of apperception and can be shown to link up with one another systematically. -/- Common opinion among Kantians today has it that Kant did not (...) mean to derive the functions of judgement, and accordingly the categories, from the principle of apperception. Schulting challenges this standard view and aims to resuscitate the main motivation behind Reich’s project. He argues, in agreement with Reich’s main thesis about the derivability of the functions of judgement, that Kant indeed does mean to derive, in full a priori fashion, the categories from the principle of apperception. -/- Schulting also shows that, given the general assumptions of the Critical philosophy, Kant's derivation is successful and that absent an account of the derivation of the categories from apperception, the B-Deduction cannot really be understood. -/- New edition. First published 2012 as „Kant’s Deduction and Apperception. Explaining the Categories" (Palgrave Macmillan). (shrink)

James Van Cleve has argued that Kant’s Transcendental Deduction of the categories shows, at most, that we must apply the categories to experience. And this falls short of Kant’s aim, which is to show that they must so apply. In this discussion I argue that once we have noted the differences between the first and second editions of the Deduction, this objection is less telling. But Van Cleve’s objection can help illuminate the structure of the B (...) Deduction, and it suggests an interesting reason why the rewriting might have been thought necessary. (shrink)

The key concept in Kant’s aesthetics is “aesthetic reflective judgment,” a critique of which is found in Part 1 of the Critique of the Power of Judgment (1790). It is a critique inasmuch as Kant unravels previous assumptions regarding aesthetic perception. For Kant, the comparative edge of a “judgment” implicates communicability, which in turn gives it a public face; yet “reflection” points to autonomy, and the “aesthetic” shifts the emphasis away from objective properties to the subjective response evoked by the (...) object. Contrary to the view he had inherited, Kant did not treat aesthetic judgments as confused perceptions or inferior cognitions, but rather put them in a category of their own. For Kant, aesthetic reflective judgments implicated not only the processes involved in understanding the empirical world but also the processes involved in ascribing ideas or meaning to experience (which go beyond what is given in perception/cognition). This “going beyond cognition” may have been referred to by Kant as non-cognitive, but it is conditioned on a way of cognizing the object. Kant describes the features of such judgments in the Analytic of the Beautiful before addressing their possibility in subtle ways throughout the Deduction of Pure Aesthetic Judgments. Kant’s critique gives rise to three apparent dichotomies: immediate intuition and prior learning; autonomy and communicability; and non-cognitive response and aesthetic ideas. An interpretation of Kant’s theory can be deemed correct to the degree that it succeeds in showing that the contradictions are only apparent. I will argue that the resulting positive account of Kant’s aesthetic theory offers an understanding of aesthetic reflective judgment that is quite different from the standard formalism that the critics of formalism usually target and by which they misrepresent Kant’s aesthetic theory. When I refer to Kant’s formalism, then, I mean something quite different by this than what is meant by “standard formalism.” The latter is the representation given Kant’s formalism by its contemporary critics and is the typical account of formalism found in the art theory and philosophy of art literature, as will be demonstrated. (shrink)

Introduction. The author analyzes the informa- tional discourse of the World Cup in Qatar through the prism of collective historical memory. It is assumed that the Qatari Championship turned out to be both a sporting and political event. The article highlights the main problems that formed the information agenda, as well as the vectors and trajectories of the interpretation and perception of the Championship by liberal analysts and experts. Goal. The purpose of the article is to analyze the main directions (...) of the liberal perception of the World Cup in Qatar in the information discourse of “Al-Araby Al-Jadeed” through the prism of the historical politics of memory. Methods. The author uses the methods proposed within the memorial turn in modern interdiscipli- nary historiography, which make it possible to iden- tify and systematize the features of the transfor- mation of the collective historical memory of Arab societies through the prism of sports, actualised by the 2022 World Cup in Qatar. Scientific novelty. The article is one of the few at- tempts to interpret the historical politics of memory in modern society in the context of the perception of sports as an element of the memorial culture and historical experience of the Arab societies of the Middle East. Results. The article analyzes the main vectors and trajectories of the use of sports for the politiciza- tion and ideologization of historical memory. It is assumed that the Championship stimulated political and ideological contradictions between Arab experts on the issues of collective historical and political experience, as well as its reflection in memorial cultures. The author believes that Arab analysts formally used sports events to update the political, social and economic problems and contradictions of the Middle East through the prism of historical memory, visualizing the trauma of the colonial and orientalist heritage. Conclusions. It is shown that the Championship ac- tualized political contradictions in the perception of current historical experience, visualizing the lines of ideological demarcation between Arab intellectuals who actively used sports as an information occa- sion for discussing the problems of historical poli- tics and the politics of collective memory, including the perception of the place and role of authoritari- anism, democracy and human rights in contempo- rary memorial cultures. The author believes that the reaction of the elites to the attempts of the liberal media to turn sport into a space for memo- rial conflicts and wars of memory was minimal, as the elites were focused on maintaining control and receiving economic dividends from the World Cup. It is shown that the politicization of sports has become the contribution of modern liberal media to the aggravation of wars of memory as a form of memorial conflicts in the Arab world. (shrink)

The resulting separation of the two disciplines was probably inevitable, but there is a question whether it has not gone too far and also whether it has actually gone as far as is commonly supposed. Do psychologists succeed in avoiding philosophy, and do philosophers succeed in maintaining their aloofness on analytic, methodological or categorial levels, with nothing implied as to mental activity or behavior? The jurisdictional problem cannot be resolved if each side simply retreats before the other, back toward (...) its inner citadel: experiment, on the one hand, and logic, on the other. For experimental results have to be interpreted, and interesting problems of method and sometimes epistemology are involved which experiment cannot settle. Similarly, if the distinction between analytic and synthetic judgments depends, in the final count, on attention-span or memory-span, and a theory of the meaning of proper names can be tested by a canvas of actual usage, then even logic is not autonomous. (shrink)

The aim of this paper is to exhibit some important features of the two versions of the deduction. In the first edition, Kant emphasizes the role of imagination as an autonomous faculty; in the second, On the contrary, Imagination, Though keeping its synthetic function, Is subordinated to the understanding. This reversal in the role of imagination is bound up to a paradoxical conception of the object which pervades the two editions of the "critique". The deduction should be (...) conceived as a way out of the paradox, Each edition favoring one alternative against the other. The role of the subject is correlative of the way the object is conceived: this article shows how german idealism radicalized kant's position in the first edition, And positivism, The second version, Though both were led to depart from kant's general requirement that knowledge was a result of the equilibrium of concepts and intuitions. (shrink)

SummaryThe aim of this paper is to exhibit some important features of the two versions of the Deduction. In the first edition, Kant emphasizes the role of imagination as an autonomous faculty; in the second, on the contrary, imagination, though keeping its synthetic function, is subordinated to the understanding. This reversal in the role of imagination is bound up to a paradoxical conception ot the object which pervades the two editions of the Critique. The Deduction should be (...) conceived as a way out of the paradox, each edition favoring one alternative against the other. The role of the subject is correlative of the way the object is conceived: this article shows how German Idealism radicalised Kant's position in the first edition, and Positivism the second version, though both were led to depard from Kant's general requirement that knowledge was a result of the equilibrium of concepts and intuitions. (shrink)

In a 1793 essay, J. Ch. Schwab claimed that Kant's distinction between analytic and synthetic judgments was already known to the Megarian philosopher Stilpo. Schwab's essay was criticised as early as 1794 by J. F. Ch. Gräffe. In a 1789 essay, J. A. Eberhard had also denied the originality of Kant's division of judgments and made certain indications suggesting that Aristotle was aware of the distinction. In this paper, I propose a fresh examination of why Schwab (...) is wrong to attribute knowledge of Kant's division of judgments to Stilpo – a second look which, however, does not disregard Gräffe's contributions to the discussion. Second, I argue that, in a precise sense, Kant's division of judgments is indeed original, but that the analytic – synthetic distinction was nevertheless in a sense known to Aristotle. The assessment of these alleged precedents sheds light no only on the novelty of Kant's philosophical project but also on what may be called the "the paradox of the discovery of an evident philosophical distinction". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:284 HISTORY OF PHILOSOPHY traversing "the great Arabian Desert," as Paten has so justly described it. Ewing's commentary is too compact to satisfy even a beginner. Paton's monumental two volumes are too de= tailed. The interest of Kemp Smith's classic work in the historical problem of the Critique prevents the student from gaining an over=all view of the long and prolix argument of the Analytic. Wolff's Commentary meets (...) the insufficiencies of these works remarkably well. The author presents a strong case for the view that the Analytic from beginning to end is one closely reasoned argument that reaches its climax only in the Second Analogy where Kant justifies the principle of causality. The lucidity with which he describes this adventure is masterful. In his introduction Wolff frames the questions which Kant undertook to answer. Beginning with Kant's pre=Critical writings, that worked within the problematic set up by Leibniz and Newton, he shows the transformation in viewpoint that Kant underwent by his exposure to Hume. In his section on Kant's method, the author dwells upon the modes of logic employed by Kant in his arguments. He contrasts the synthetic me~hod which Kant usuaIIy adopts in the Analytic with the analytic procedure of the Prolegomena. Wolff's observations here are extremely useful. They serve to explain the mysterious transitions and apparent backtracking of the Analytic, while at the same time they show the paramount importance of the transcendental unity of apperception in Kant's chain of argument. The author then proceeds to a step-by=step analysis of the two deductions. Faced with the problem of explaining the development of Kant's thought through the two editions, he provides schematic outlines of four successive versions of the argument at the end of each section in his discussion. This is certainly one of the most valuable features of Wolff's book. These schemas clearly isolate the premisses and put into logical progression material that is often misplaced in the actual text from what we would expect to be its natural sequence. After short discussions of the Schematism and the First Analogy, the author moves on the Second Analogy (causality), which he treats as the real kernel of the Analytic. Wolff shows that Kant's definition of synthesis is stated in merely general terms in the deductions and needs the Second Analogy for adequate development. Wolff then recasts the four preliminary arguments in a fifth and final schema. Beginning with the unity of apperception and the temporal character of perception as his two premisses, he deduces the existence of a mental synthesis stated in terms equivalent to the principle of causality. In interpreting the five arguments of the Analytic, Wolff employs three chief guidlines. First, Kant develops his doctrine by taking the "epistemological turn," rejecting the attempts of earlier subjectivists to pass beyond their ideas to some kind of metaphysical statement about the reality beyond. Kant seeks the characteristics and bases of the knowledge of objects, rather than the characteristics of the objects in themselves. Secondly, Kant characterizes the knowledge of objects by the modes of necessity and universality. Finally, Kant grounds these characteristics by a dynamic analysis of the cognitive act; the mind, in its functioning, must conform to innate rules that govern the association of mental images. The author's discussion of Kant's notion of "rule" is probably the most illuminatingsection of his whole commen= tary. While the author does not gloss over the difficulties of Kant's text, the reader sometimes feels that Wolff sees logic and neatness in Kant's argument where there is none. This minor defect detracts but little, however, from the immense service which the author has done for the student of the Critique. CHARLESJ. RIECK, 0.P. Aquinas Institute, River Forest, Illinois Young Nietzsche and the Wagnerian Experience. By Frederick R. Love. (Chapel Hill, University of North Carolina Press, 1963.Pp. xi + 103.) Professor Love's little book differs from previous studies of Nietzsche's relation to Wagner by taking into account Nietzsche's compositions, including unpublished items in the BOOK REVIEWS 285 Nietzsche archives in Weimar.1 The author visited the archives, which are now... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant's Transcendental Deduction by Alison LaywineKatherine DunlopAlison Laywine. Kant's Transcendental Deduction. Oxford: Oxford University Press, 2020. Pp. iv + 318. Hardback, $80.00.Alison Laywine's contribution to the rich literature on Kant's "Transcendental Deduction of the Categories" stands out for the novelty of its approach and conclusions. Laywine's declared "strategy" is "to compare and contrast" the Deduction with the Duisburg Nachlaß, an important set of (...) manuscript jottings from the 1770s (10). But her approach is also deeply informed by Kant's writings on metaphysics from the 1750s and 1760s; moreover, she gives attention to ancient Greek geometry and its importance for Kant's thought.I believe Laywine's most important interpretative claim is that the Transcendental Deduction's "final step" addresses "the question of how nature is possible" (210). Here, 'nature' is understood in what Kant calls the "formal sense," as "the totality of rules under which appearances must stand if they are to be thought as joined in one experience" (Prolegomena, §36; cf. B 165). This constitutes a novel answer to the problem posed in Dieter Henrich's landmark 1969 paper "The Proof Structure of the Transcendental Deduction" (Review of Metaphysics 22 [1969]: 640–59): how to understand §§21–26 of the (B-edition) Deduction as proving more than the thesis already stated in §20 (that the manifold in an intuition necessarily stands under the categories).Crucial support for Laywine's interpretation comes from §26 of the Deduction, which claims the possibility of cognizing objects "a priori through categories... as far as the laws of their combination are concerned, thus the possibility of as it were prescribing the law to nature and even making [nature] possible," is now "to be explained" (B 159). Kant does not use the term 'world' in this passage (as he does in Prolegomena §36). But Laywine contends that here the word 'nature' "has unmistakable, deliberate, cosmological connotations," and in fact "means 'world' in the sense of Kant's early cosmology": roughly, a whole unified by means of laws (12–13).The "cosmological" language of §26 does not recur in the following, officially concluding, section of the Deduction. So, we might ask whether Kant's explanation of how the understanding prescribes laws to nature is integral to the Deduction; Henry Allison, for instance, describes this explanation as an "appendix" (Kant's Transcendental Deduction: An Analytical-Historical Commentary [Oxford: Oxford University Press, 2015], 9). The question of whether it belongs integrally has bite because, as Laywine makes clear in her "Conclusion," the universal laws at issue are just the Analogies of Experience. Thus, the passage could be read as the "promissory note with a forward-looking reference to the System of Principles" that she finds missing from the Deduction (289). Laywine meets such worries by arguing that "the reappropriation [from the pre-Critical period] of the general cosmology is actually [End Page 162] doing... a lot of hard work" in the Deduction (13). This sustained argument comes to a head in chapter 4, which contends that each of the two steps into which Laywine divides the first half of the (B-edition) Deduction, treated in chapters 2 and 3 (respectively), relies on cosmological presuppositions.Chapter 2 analyzes the conception of knowledge as relation to an object that is asserted (in §17) to rely on the synthetic unity of apperception. Laywine traces this conception to the Duisburg Nachlaß's account of "exposition," which relates concepts a priori to appearances, in something like the way that geometrical construction relates them to pure intuition. (Laywine further connects the Latin term expositio to the Greek ekthesis, which expositio translates in the context of geometrical proof. She thereby gives the notion of ekthesis broader importance than does Jaakko Hintikka, who noted its relevance to Kant's philosophy of mathematics in "Kant on the Mathematical Method" [Monist 51 (1967): 352–75]. Laywine claims that Borelli's edition of Euclid could have been Kant's source for the term, but I doubt it was known to Kant and his contemporaries, since it is not among the editions cited by Christian Wolff; Commandino seems likelier to me. Chapter 2 is concerned to articulate the notion of... (shrink)

Dennis Schulting offers a thoroughgoing, analytic account of the first half of the Transcendental Deduction of the Categories in the B-edition of Kant's Critique of Pure Reason that is different from existing interpretations in at least one important aspect: its central claim is that each of the 12 categories is wholly derivable from the principle of apperception, which goes against the current view that the Deduction is not a proof in a strict philosophical sense and (...) the standard reading that in the Deduction Kant only gives an account of the global applicability of the categories to experience. This novel approach enables a reappraisal of Kant's controversial claim that transcendental self-consciousness is not only a necessary condition of objective experience but also sufficient for it. The book provides an extensive analysis of Kant's theory of transcendental apperception and also explains why the argument of the Transcendental Deduction is both a regressive and a progressive argument. (shrink)

My aim is to demonstrate the specificities and differences between transcendental deduction of concepts and deduction of the fundamental principles of pure practical reason in Kant’s metaphysics. First of all it is necessary to examine Kant’s attitude to the metaphysics of his time and the problem of its new justification. Kant in his philosophy explicated not only the theoretical world of cognition, but also the practical world of freedom. Accordingly, the fundamental means of proving metaphysics’ claims are the (...) deduction of pure concepts of understanding and the deduction of the principles of pure practical reason. The underlying premises of the Kantian project of reviving metaphysics, “the Copernican Turn”, the critical methods and basic principles of transcendental idealism also provide the methodological basis of transcendental deduction, a new method of proving the claims of metaphysics in various spheres of human being. Proceeding from the above, I analyse the essence, structure and the peculiarities as well as the differences between the deduction of experience and the deduction of freedom. I single out the following features of the two types of deduction. First, theoretical use of reason is aimed at objects while practical reason is aimed at noumena, the foundations of will and freedom. Second, the transcendental deduction of space and time, as well as the deduction of categories, is preceded by transcendental reduction, which is absent in the deduction of freedom. Third, Kant orients the methodological movement of deductions in opposite directions. Theoretical deduction proceeds from pure forms of sensible intuition to concepts of understanding and thence to fundamental principles. Practical deduction proceeds from a priori principles to the concepts of the metaphysics of morals and thence to moral feelings. Fourth, deduction in the theoretical sphere forbids speculative reason to go beyond experience. Practical deduction has pointed to the intelligible world and has proved its “legitimacy”. (shrink)

The role and nature of imagination in Kant's Critique of Pure Reason is intensively examined. In addition, the text of Kant's Anthropology from a Pragmatic Point of View will also be considered because it helps illustrate this issue. Imagination is the fundamental power of the mind responsible for any act of forming and putting together representations. A new interpretation of imagination in Kant is given which recognizes its necessary roles as the factor responsible for producing space and time, as an (...) essential component in perception, as the mediator of concepts and intuitions, and as the synthesizing agent which groups together representations into categories. ;The work is divided basically into two parts. The first part looks at the imagination in the Transcendental Aesthetic. It will be shown that space and time themselves are products of imagination. As pure and a priori intuitions space and time are objects of thought and thus are conditioned by the synthetic power of imagination. Moreover, as forms of intuitions space and time are also conditioned by imagination; hence, imagination is a necessary factor in spatial and temporal perception. ;The second part of the thesis concerns the role of imagination in the Transcendental Analytic. Here the role of the imagination is more pervasive. In the Metaphysical Deduction the thesis argues that the imagination is responsible for uniting representations into twelve categories which are the conditions of thinking in general. Therefore the categories themselves owe their origins to imagination. This interpretation hinges on Kant's distinction between transcendental and general logic, which the thesis will discuss in detail. In the Transcendental Deduction the imagination is responsible for taking up representations in such a way that results in their belonging to a single framework of consciousness, thus showing that the categories apply to a posteriori representations. In the Schematism the imagination is necessary in forming the schemata, which join together concepts and intuitions so that both empirical and transcendental judgments are produced. Finally, a critique of Heidegger's idea on imagination as the "common root" of sensibility and understanding will be offered. (shrink)

This article addresses Kant's distinction between a synthetic and an analytic method in philosophy. I will first consider how some commentators have accounted for Kant's distinction and analyze some passages in which Kant defined the analytic and the synthetic method. I will suggest that confusion about Kant's distinction arises because he uses it in at least two different senses. I will then identify a specific way in which Kant accounts for this distinction when he is differentiating (...) between mathematical and philosophical syntheses. I will examine Kant's arguments in the Critique of Pure Reason with the latter sense of the distinction in mind. I will evaluate if he uses the analytic or the synthetic method and if the synthetic method is able to identify, without a previous consideration of some sort of given knowledge, sufficient conditions for deriving some aspects of our knowledge. (shrink)

Kant’s Metaphysical Deduction of the Categories justifies their apriority, i.e. that their contents originate in the understanding itself, while the Transcendental Deduction justifies their objectivity, both in that they purport to represent objects of experience and that they do so successfully. The apriority of the categories, as explained in terms of acts of synthesis required for having sensible intuitions of objects, is justified by establishing their generic identity with logical functions of judgment, i.e. acts of judgment (...) required for referring concepts to objects. The objective purport of the categories is justified by establishing that sensible intuitions fall under them. To finally justify that the categories represent successfully, i.e. that the objects of our intuitions fall under them, it is established that the representations of space and time do, namely by showing that the features addressed in their Metaphysical Expositions, too, are to be explained in terms of acts of synthesis. (shrink)

This dissertation centers on a prominent but generally neglected line of argument in Kant's second analogy of experience. It differs from most other recent treatments of this section of the Critique of Pure Reason in taking Kant to be concerned there with conditions of representation or putative awareness rather than mere conditions of verification or confirmation. This difference in conception has profound implications for the interpretation not only of the section itself but also of the transcendental deduction of the (...) categories and other crucial parts of Kant's theoretical philosophy. The dissertation does not maintain that recognition of the line of argument in question allows for the solution of all problems in regard to the second analogy. This line of argument---like those ascribed to Kant on all other interpretations with which the author is familiar---may not lead to the conclusion that there cannot be an event which does not have a cause. It does, however, still appear to be sound in important respects. This, the author tries to show, has intriguing implications and allows us to see Kant as having his finger on something of true originality and philosophical importance in the second analogy. It also suggests an unexpected, subtle, and richly nuanced relation between Kant and his great awakener Hume. This relation is traced in detail in the final chapter of the dissertation. Other chapters include detailed analysis not only of the text of the second analogy itself but also of numerous commentators upon it. (shrink)

Thomas C. Vinci argues that Kant's Deductions demonstrate Kant's idealist doctrines and have the structure of an inference to the best explanation for correlated domains. With the Deduction of the Categories the correlated domains are intellectual conditions and non-geometrical laws of the empirical world. With the Deduction of the Concepts of Space, the correlated domains are the geometry of pure objects of intuition and the geometry of empirical objects.

Background The COVID-19 pandemic has influenced the approach to the health-disease system, raising the question about the principles of bioethics present in physician–patient relations. The principles while widely accepted may not be sufficient for a comprehensive ethical analysis. Therefore, the aim of this study was to explore the perception of these principles and the physician–patient relationship during a hospital stay through a qualitative approach. Method Sixteen semi-structured interviews took place to know the patients’ perception during their 2020 hospitalization for COVID-19. (...) The data was analyzed through the constant comparison method, creating categories and comparing them. In the end, seven categories were established and were grouped in three: bioethical principles (dignity, charity, vulnerability, autonomy), doctor-patient relationship (participant commitment, informed consent, health staff-patient relationship) and the experience of the disease (illness, the role of the family). Results The research found that most patients described a positive experience, with the feeling of having been well cared for with no sense of discrimination or injustice done. The majority also reported that their autonomy was respected in the treatment decisions. The evaluation of these attitudes is an area of opportunity, especially when the patients' vulnerability is at risk. Conclusions The ethics of virtue offers a better reflection of how human beings manifest themselves by emphasizing the development of virtuous character and behaviors that allow them to realize their values in life. Authorized by the Research Ethics Committee with registration: DI/18/105-B/3/308. (shrink)

Those familiar with the Critique of Pure Reason will not at all be surprised that Thomas C. Vinci has found it fitting to dedicate an entire book to the Transcendental Deduction of the Categories, a chapter of the CPR that is as important to Kant’s argument for Transcendental Idealism as it is difficult to decipher. The purpose of that section is to establish the objective validity of the categories—to show, that is, that the pure concepts of the (...) understanding apply to all objects of human experience. While the general goal of the TD may be easy enough to state, the argument strategy that Kant uses to establish the objective validity of the categories is hardly easy to understand.Vinci focuses on the.. (shrink)

Veganic agriculture, often described as farming that is free of synthetic and animal-based inputs, represents an alternative to chemical-based industrial agriculture and the prevailing alternative, organic agriculture, respectively. Despite the promise of veganic methods in diverse realms such as food safety, environmental sustainability, and animal liberation, it has a small literature base. This article draws primarily on interviews conducted in 2018 with 25 veganic farmers from 19 farms in the United States to establish some baseline empirical research on this (...) farming community. Its qualitative perspectives illuminate farmer perceptions of and experiences with veganic growing, including definitions, knowledge acquisition, values, and challenges. Results highlight a lack of agreement about the meaning of veganic agriculture in terms of allowable inputs and scope. Participants have drawn on a wide array of veganic and non-veganic resources to ascend their veganic production learning curves, also relying on experimentation and trial-and-error. Their farming is motivated by a diversity of real and perceived benefits, most notably consistency with veganism, food safety advantages, and plant and soil health benefits. Veganic product sourcing and the dearth of veganic agriculture-specific resources present considerable challenges to farmers. The article briefly discusses possibilities for developing veganic agriculture in the United States, such as through a US-based certification system and farmers’ associations, based on considerations of the trajectory of the US organic farming movement and veganic developments in Europe. Finally, the article suggests the importance of expanded research into soil health and fertility in plant-based systems to support practicing and potential veganic farmers. (shrink)

Hare shares with other critics an objection to the use of moral judgments in the method of reflective equilibrium. However, the reasoning behind his criticismdistinguishes it from the more common criticisms that the use of moral judgments is unwarranted because of their suspect origin. While these objections challenge the epistemic worth of moral beliefs, Hare’s objection goes beyond to also critique the deeper theoretical commitments of the method. Hare’s acceptance of a strict differentiation between the meaning and applications (...) of words and consequent rejection of holistic justification follow from his acceptance of the analytic/synthetic distinction, while Rawls’s holistic method of theory justification requires a rejection of the analytic/synthetic distinction. In this essay, I explain how Hare’s criticism of the method of reflective equilibrium and his acceptance of the meaning/application distinction result from his acceptance of the analytic/synthetic distinction and draw from this specific discussion more general conclusions regarding the implications of accepting or rejecting the analytic/synthetic distinction for the use of moral judgments in moral theory justification. I conclude that an acceptance of the distinction precludes the use of moral judgments, while its rejection leaves open the possibility that they could be used, if the issue of their epistemic status can be successfully resolved. (shrink)

Hare shares with other critics an objection to the use of moral judgments in the method of reflective equilibrium. However, the reasoning behind his criticismdistinguishes it from the more common criticisms that the use of moral judgments is unwarranted because of their suspect origin. While these objections challenge the epistemic worth of moral beliefs, Hare’s objection goes beyond to also critique the deeper theoretical commitments of the method. Hare’s acceptance of a strict differentiation between the meaning and applications (...) of words and consequent rejection of holistic justification follow from his acceptance of the analytic/synthetic distinction, while Rawls’s holistic method of theory justification requires a rejection of the analytic/synthetic distinction. In this essay, I explain how Hare’s criticism of the method of reflective equilibrium and his acceptance of the meaning/application distinction result from his acceptance of the analytic/synthetic distinction and draw from this specific discussion more general conclusions regarding the implications of accepting or rejecting the analytic/synthetic distinction for the use of moral judgments in moral theory justification. I conclude that an acceptance of the distinction precludes the use of moral judgments, while its rejection leaves open the possibility that they could be used, if the issue of their epistemic status can be successfully resolved. (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)

The introduction to Leopold Blaustein’s (1905–1944) two essays in this issue of Estetika contains a general biographical note about the author and his philosophical affiliations, as well as a brief description of his particular interests within philosophical aesthetics. Blaustein’s method of philosophical inquiry is described as analytical phenomenology. Three interconnected fields of aesthetics in Blaustein’s works are emphasized: the theory of aesthetic perception, the theory of attitudes (towards the imaginary world and the reproduced one) and the theory of representation, especially (...) the imaginary representation crucial for aesthetic perception. Blaustein’s theory of perception and aesthetic experience is discussed in greater detail in the introduction as well as represented by the essay ‘The Role of Perception in Aesthetic Experience’. His theory of imaginary representation is exemplified by a selection from his important book Przedstawienia imaginatywne (Imaginary representations, 1930). The introduction ends with an account of the idea of ‘experiential unity of a higher order’, which for Blaustein serves as the condition for the possibility of aesthetic experience and constitutes an important background for an understanding of Blaustein’s aesthetics. (shrink)

In his Prolegomena to the History of the Concept of Time (1925), Heidegger develops what at first sight could be seen as a masterful presentation of the “three fundamental discoveries” of Husserl’s Phenomenology: intentionality, categorial intuition, and the new conception of the a priori. Nevertheless, closer examination of the text discloses a series of subtle but serious problems. Our interest here will be restricted to Heidegger’s presentation of his understanding of Husserl’s theory regarding the intentionality of perception and of categorial (...) intuition. In §6 of that work (48/64), we read that Husserl’s discovery of categorial intuition means two things. Firstly, it means that there is an experience of objectities in which we also have a simple apprehension of categorial constituents, i.e., of the elements which the tradition, in a “crude” fashion, called “categories” (48/64). Secondly, it means that this apprehension is already present in every experience and, as Heidegger explains a few lines later, according to what he has “already suggested” in his preceding analyses of the fundamental discovery of intentionality (in §5), categorial intuition is found even in every perception (48/64). Heidegger insists on this claim, and at several points of his presentation (see, e.g., §6.b.“), he repeats the idea that the intentional act of perception is, after all, permeated with categorial elements, with “categorial intuition.” Now, how should we understand this dense and heavy idea? Is it a hidden criticism of Husserl’s views on perception, or is it Heidegger’s sincere understanding of Husserl’s original discovery? The relevant literature seems to take Heidegger’s reading as a true depiction of Husserl’s theory of categorial intuition. However, as we will see, this reading of the latter theory is far from self-evident, a fact that also casts doubt on the corresponding stance regarding its actual motive. In this chapter, I plan to cast new light on the details of Husserl’s theory, and thus also on this fold of the philosophical relation between Husserl and Heidegger. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of (...) which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of (...) which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Preview: Beyond Baumgarten, the modern field of aesthetics can be seen as an attempt to go beyond the limits of older philosophies of beauty, sublimity, and taste in order to engage a much wider domain of qualities and judgments relating to our pleasurable and meaningful experiences of art and nature. The defining strategy of Hegelian aesthetics is to take the essence of aesthetics beyond the limits of nonconceptual sensuous experience and to celebrate instead the idea of art as purveying (...) the very highest spiritual truths, albeit in a somewhat sensuous form. The progressive revolutions of artistic forms and styles that define twentieth-century art similarly reflect the same play of dynamic movement in which art and aesthetics advance by challenging and overcoming the determination of established boundaries posited by prior aesthetic theory and practice. The limit-defying trend in aesthetics is evident in the continuing unsuccessful attempts by analytic philosophy to provide a satisfactory definition of art that will perfectly define its extensional limits by either providing its core essence or some formula that will select all and only those objects that are genuine works of art. Like other Wittgensteinian and pragmatist-inspired philosophers, I have criticized such compartmentalizing definitions of art, not simply for their failures to provide perfect extensional coverage of all the diverse works of art, but also for these theories’ explanatory poverty in explaining art’s meanings, purposes, functions, and values. One of the problems with traditional definitions of art is that they attempt to define something that is not a natural kind but a historically constructed field composed of rather diverse practices. These diverse practices employ a variety of different media and issue in a variety of different works of art that appear to belong to different ontological categories. (shrink)

Many philosophers take the distinguishing mark of their subject to be its a priori status. In their view, where empirical science is based on the data of experience, philosophy is founded on a priori intuitions. In this paper I shall argue that there is no good sense in which philosophical knowledge is informed by a priori intuitions. Philosophical results have just the same a posteriori status as scientific theories. My strategy will be to pose a familiar dilemma for the friends (...) of a priori philosophical intuitions. I shall ask them whether their intuitions are supposed to be analytic or synthetic. And then I shall argue that, if the intuitions are analytic, they may be a priori, but will be philosophically uninteresting; while, if they are synthetic, they may be philosophically interesting, but will not merit being treated as a priori in the context of philosophical debate. At the end of the paper I explain that this does not mean that philosophy should abandon ‘armchair’ methods. We still need to uncover and examine the often unrecognized intuitions that drive our thinking. However this is not because they provide a distinctive source of a priori knowledge, but on the contrary because they may be leading us astray. (shrink)

The problem of the cognitive penetrability of perception pertains to whether perceptual processing may be impacted by higher-order cognitive processes. It may be understood in a twofold sense: 1) whether what a perceptual system computes may be altered in a way that is semantically coherent to one’s cognitive states; 2) whether perceptual experience may be influenced by cognitive processes. It has been argued that the cognitive penetrability problem is not scientifically tractable since we have no direct access to other persons’ (...) subjective experiences and, therefore, we have to rely on their reports, which are mediated by higher-order processes (e.g., judgments). In this paper, I analyze the scope of methods harnessed in contemporary work on the penetrability of perception, focusing particularly on methods from experimental psychology and neuroscience. Among them, I indicate the most promising techniques and paradigms, as well as those that are inadequate to successfully tackling the problem. I also discuss experimental results which unequivocally suggest direct influences on perception which have not been addressed to date by supporters of the view that perception is impenetrable. I also describe the predictive processing theory of cognition, focusing on how it contributes to our understanding of cognitive penetrability, and discuss scientific results validating the theory. In conclusion, converging empirical evidence seems to suggest that perception is cognitively penetrable and we seem to be at the dawn of the ultimate solution of the problem. (shrink)