The thesis of this article is that the notion of an ethical food consumer is untenable unless it is coupled with a conception of food citizenship. The main arguments delivered against the notion of ethical food consumption are that consumption does not take the operations of moral psychology into account, nor afford means to tackle structural problems inherent in the relation between consumer and producer. The notion of an ethically aware food citizen is on the other hand capable of handling (...) these problems head on. Hence, a realistic food ethics has to operate with an integrative view of consumption and citizenship. (shrink)

The review gives an introductory description of the successive development of data patterns based on comparisons between hearing-impaired and normal hearing participants’ speech understanding skills, later prompting the formulation of the Ease of Language Understanding model. The model builds on the interaction between an input buffer and three memory systems: working memory, semantic long-term memory, and episodic long-term memory. RAMBPHO input may either match or mismatch multimodal SLTM representations. Given a match, lexical access is accomplished rapidly and implicitly within approximately (...) 100–400 ms. Given a mismatch, the prediction is that WM is engaged explicitly to repair the meaning of the input – in interaction with SLTM and ELTM – taking seconds rather than milliseconds. The multimodal and multilevel nature of representations held in WM and LTM are at the center of the review, being integral parts of the prediction and postdiction components of language understanding. Finally, some hypotheses based on a selective use-disuse of memory systems mechanism are described in relation to mild cognitive impairment and dementia. Alternative speech perception and WM models are evaluated, and recent developments and generalisations, ELU model tests, and boundaries are discussed. (shrink)

The social environment influences what information individuals sample: people are often exposed to alternatives that are popular. This can systematically change an individual's evaluation of an alternative if she had previously been avoiding it due to a negative evaluation. The authors show that social exposure can have positive or negative effects on evaluation, depending on how popularity and prior evaluations interact. This theory was supported by a large‐scale analysis of data from a hotel chain.

After proposing an alternative definition of what “law” (jurisprudential concept) is, this article demonstrates the impossibility of identifying “the law” (what law-makers announce, relative to a particular jurisdiction) as something that is in a particular way. Rather, the law is a more or less abstract range of options. Drawing upon this conclusion, the article calls for a reassessment of how we view the role of law-makers. We need to remove the mystery that surrounds the law so as to provide for (...) greater transparency. This transparency can be gained by requiring law-makers to declare their inescapable biases where they influence their lawmaking. (shrink)

The research program Spit For Science was launched at Virginia Commonwealth University (VCU) in 2011. Since then, more than 10,000 freshmen have been enrolled in the program, filling out extensive questionnaires about their drinking, general substance use, and related behaviors, and also contributing saliva for genotyping. The goals of the program, as initially stated by the investigators, were to find the genes underlying the heritability of alcohol use and related behaviors, and in addition to put genetic knowledge to work in (...) ways that might aid university administrators and mental health professionals in the prevention and treatment of substance abuse. We review every empirical paper involving genetic data that has emerged from the program, and reach a surprising conclusion: the study has never identified a single genetic effect of more than trivial magnitude. Although the quantitative results of the studies were reported transparently, the theoretical ramifications of the negligible results have never been acknowledged. To the contrary, most of the papers ignore the tiny effects, reaching optimistic conclusions about the prospects for future genetic explanations of alcohol use. We explore the implications of these results for the broader prospects of applied psychiatric genetics. (shrink)

In response to Walter Benjamin's caveat that every image of the past not recognized by the present as one of its own concerns threatens to disappear irretrievably, this essay examines images of spitting in the work of Michel de Montaigne and Georges Bataille. By resisting insertion within codified cycles of exchange-especially those of institutionalized violence-their images exemplify a defiance to servitude that can be generalized to a theory of sovereignty. An archaeological inventory indicates possibilities provided by the montage of images (...) for the construction of a heterological counterhistory, where spit and spitting challenge the dominance of spirit in Western culture. (shrink)

This paper explores the construction of habitat that potentially imperils its inhabitants by considering the case of Toronto’s Leslie Street Spit and specific threats to coyotes and gulls occupying this urban dump and wilderness refuge. The paper argues that while there are many positive dimensions of aesthetic engagement, aesthetics may also blind humans to ecological problems experienced by nonhumans, and suggests a need to enhance aesthetic awareness with accounts derived from natural history and sciences.

Despite being a prevalent theme in popular cinema, revenge has received little dedicated attention within film studies. The majority of research concerning the concept of revenge is located within moral philosophy, but that body of literature has been overlooked by film studies scholars. Philosophers routinely draw on filmic examples to illustrate their discussions of revenge, but those interpretations are commonly hindered by their authors’ inexperience with film studies’ analytical methods. This article seeks to bridge those gaps. The 2010 remake of (...) I Spit on Your Grave is used as a case study to illustrate the benefits of an interdisciplinary engagement with revenge. Philosophical literature on the topic has routinely posited that revenge is either appealing or appalling, and that impasse has stifled conceptual understanding. The interdisciplinary approach employed here elucidates that revenge is simultaneously appealing and appalling; this dualistic nature is evident in I Spit on Your Grave since it is built into the narrative design. I conclude that an interdisciplinary approach to revenge has the potential to advance understanding of revenge-qua-concept both within films studies and philosophy. (shrink)

Stone and Dung, Oil and Spit: Jewish Daily Life in the Time of Jesus. By Jodi Magness. Grand Rapids, Mich.: William B. Eerdmans Publishing Co., 2011. Pp. xv + 335, illus. $25.

In January 2007, media outlets across Australia reported the local court decision _Police v Rose_. Mr Rose pleaded guilty and the presiding magistrate recorded no conviction. This event sparked a ‘butterfly effect’ that culminated in legislative amendments changing the make-up of the body responsible for oversight of judges in New South Wales. Key players failed to observe the doctrine of the separation of powers; while others called for its observation. None of this would have been foreseeable to Mr Rose or (...) the two transit officers on the night he was detained. This paper uses complexity theory and digital media analysis to locate flashpoints around which critical incidents occur; and what the unexpected flow-on effects reveal about the host society. (shrink)

There is a large tradition of work in moral psychology that explores the capacity for moral judgment by focusing on the basic capacity to distinguish moral violations (e.g. hitting another person) from conventional violations (e.g. playing with your food). However, only recently have there been attempts to characterize the cognitive mechanisms underlying moral judgment (e.g. Cognition 57 (1995) 1; Ethics 103 (1993) 337). Recent evidence indicates that affect plays a crucial role in mediating the capacity to draw the moral/conventional distinction. (...) However, the prevailing account of the role of affect in moral judgment is problematic. This paper argues that the capacity to draw the moral/conventional distinction depends on both a body of information about which actions are prohibited (a Normative Theory) and an affective mechanism. This account leads to the prediction that other normative prohibitions that are connected to an affective mechanism might be treated as non-conventional. An experiment is presented that indicates that “disgust” violations (e.g. spitting at the table), are distinguished from conventional violations along the same dimensions as moral violations. (shrink)

“He devoured her with his eyes.” This expression and many other signs point to the illusion common to both realism and idealism: to know is to eat. After a hundred years of academicism, French philosophy remains at that point. We have all read Brunschvicg, Lalande, and Meyerson,2 we have all believed that the spidery mind trapped things in its web, covered them with a white spit and slowly swallowed them, reducing them to its own substance. What is a table, a (...) rock, a house? Answer: a certain assemblage of “contents of consciousness,” a class of such contents. Oh digestive philosophy! Yet nothing seemed more obvious: is not the table the actual content of my perception? Is not my perception the present state of my consciousness? Nutrition, assimilation! Assimilation, Lalande said, of things to ideas, of ideas by ideas, of minds by minds. The corpulent skeletons of the world were picked clean by these diligent diastases: assimilation, unification, identification. The simplest and plainest among us vainly looked for something solid, something not just mental, but would encounter everywhere only a soft and very genteel mist: themselves. (shrink)

There is a vacuum in three generations of the Grotowski men�s lives�this becomes clear within the film�s first ten minutes. First Hank wakes alone in the middle of the night, vomits for no apparent reason, and makes a ritual trip to a lonely diner. Next Hank�s boy Sonny perfunctorily screws a prostitute who�after they have finished�tells him "you look so sad." Finally, Buck�the eldest played by Peter Boyle�wanders through the house sucking breath from an oxygen tank, adds a new page (...) to his capital punishment scrapbook, and spits racist epithets at some teenagers of color who wander into his yard. (shrink)

.... The strategy I have defended involves drawing a distinction between those who can and cannot legitimately hold an agent responsible in circumstances when the agent is being covertly controlled (e.g. through implantation processes). What is intuitively unacceptable, I maintain, is that an agent should be held responsible or subject to reactive attitudes that come from another agent who is covertly controlling or manipulating him. This places some limits on who is entitled to take up the participant stance in relation (...) to agents who are rational self-controllers but nevertheless subject to covert control.26 In this way, what is compromised by conditions of covert control is not the responsibility of the agent as such. It is, rather, the participant stance of those other agents who covertly control him. Clearly it is possible to establish these specific limits on who can hold these agents responsible without denying that the agents themselves remain free and responsible. When we take this approach we will find that we are no longer faced with an unattractive choice between simply “biting the bullet” or having to “spit it out”. All we need to do is chew carefully, until there is nothing left that we find too hard to swallow. (shrink)

We argue that the pictorial nature of certain constructions in signs and in gestures explains surprising properties of their syntax. In several sign languages, the standard word order (e.g. SVO) gets turned into SOV (with preverbal arguments) when the predicate is a classifier, a distinguished construction with highly iconic properties (e.g. Pavlič, 2016). In silent gestures, participants also prefer an SOV order in extensional constructions, irrespective of the word order of the language they speak (Goldin-Meadow et al., 2008). But in (...) silent gestures and in Brazilian Sign Language (Libras), intensional constructions can override these SOV preferences, yielding SVO instead (Schouwstra & de Swart, 2014; Napoli et al., 2017). This distinction was argued to be due to iconicity: arguments are expressed before the verb if they correspond to entities that are present before the action, otherwise they follow the verb. While agreeing with this intuition, we propose that the extensional/intensional distinction is neither empirically nor theoretically appropriate. In new data from American Sign Language, we replicate the distinction among extensional classifier predicates: for _x ate up the ball_, the ball is typically seen before the eating and a preposed object is preferred; but for _x spit out the ball_, the ball is typically seen after the spitting and a postposed object is preferred, although both _eat up_ and _spit out_ are used extensionally. We extend this finding to data involving pro-speech (= speech-replacing) gestures embedded in French sentences. We argue for a Visibility Generalization according to which arguments appear before the verb if their denotations are typically visible before the action, and we develop a new formal account within a pictorial semantics for visual animations (inspired by Greenberg and Abusch). It derives the observed word order preferences, it explains how the semantics of classifier predicates combines iconic and conventional properties, and it makes a more general point: sign language semantics combines logical semantics with pictorial semantics. (shrink)

“I'm not afraid of dying,” he says, despite his plea on arrival. “Listen up, douchebag. Are you calling my cousin or what?” The emergency department might be the only sphere of human exchange where one party—patients (and sometimes family)—are permitted to insult, threaten, and even spit at the very people on whom they depend for help, while the offended parties—physicians, nurses, and other health care providers—must not only tolerate the abuse, but treat their tormentors. Does the ED's collective duty to (...) greater numbers of patients demand a revised ethos of tough love for extreme cases of misbehavior? Can we ask these patients to leave without legal recourse after extending genuine, compassionate efforts to participate in their care—barring evidence of a medical explanation for their toxic comportment or a mental illness that puts them at risk of harming themselves or others? (shrink)

These photographs of grain elevators in America, Germany, Belgium, and France are a major addition to the Bechers' ongoing documentation of the vanishing buildings that once defined the industrial landscape of Europe and America. Bernd and Hilla Becher's almost fifty-year collaboration constitutes the most important project in objective and conceptual photography today. With this volume, grain elevators join the list of building types documented by the Bechers in their book-length studies: water towers, blast furnaces, gas tanks, oil tanks, mineheads, frame (...) houses, and cooling towers. Grain elevators are towering structures in the flat, vast landscape of the world's granaries. Providing a fast and efficient method of loading and unloading grain to keep pace with the industrial production methods of the nineteenth century, they made possible a tremendous increase in the trafficking and processing of grain. Scooping, pouring, and spitting, they both illustrated and inspired Le Corbusier's idea of buildings as functioning machines. Monumental, essential, and visually arresting, grain elevators belong as much to the American imagination and landscape as to the European. The photographs of grain elevators in this volume were taken in Germany, Belgium, France, and America. But the specificity of time and place is erased in these photographs; the monolithic structures evoke the agricultural prosperity of a vanished era and the vacancy that replaces it today. (shrink)

The lines come from the messenger's speech describing the attack of the Delphians on Neoptolemus, a passage which I have discussed elsewhere in connexion with the tradition of Neoptolemus as inventor of the armed Pyrrhic dance. LSJ seem to be in several minds about the meaning and connexion of some of the words describing the missiles used by the Delphians. S.v. ‘σφαγεύς’, they give ‘sacrificial knife, spit’ uniquely of a word elsewhere meaning ‘slayer, murderer’, etc.. S.v. ‘βουπόρος’, they cite ἀμφωβόλοι (...) σφαγῆς … βουπόροι ‘spitst fit to pierce an ox's throat’—i.e. taking σφαγῆς as gen. sing., rather oddly dependent on βουπόροι. S.v. ‘ἔκλυτος’, they quote this passage, again uniquely, in the sense ‘easy to let go, light, buoyant, of missiles’. This last seems even less likely than Wecklein's ohne Riemen or the Budé's doubles dards sans poignée, which presumably invoke a rather frigid contrast of the true javelins fitted with thongs and the spits, sharp at both ends, which were pressed into service of a similar sort, but of course had to be thrown without this attachment: but these implements could hardly be described as ἔκλυτοι of thongs which they never had at all in the first place!With Murray's punctuation, since a combination of a, b, c τε, d is scarcely credible, σφαγῆς βουπόροι is presumably not to be taken as the description of a separate type of weapon, but as an explanatory appositional phrase with ἀμφώβολοι. This interpretation is found in the schol, ὀβελίσκοι σφάττειν δυνάμενοι and followed by Hermann and Paley. (shrink)

For the first issue, and seeking to engage various, disparate forces, we have chosen as a theme the idea of the "isthmus." More than simply "a narrow portion of land, enclosed on each side by water, and connecting two larger bodies of land," isthmus is also used figuratively, like the translator of Pindar who, in 1663, described a, "vain weak-built Isthmus, which dost rise Up betwixt two Eternities."So, isthmus. This we take to describe the narrow part of the throat where (...) thought is given life in the form of voice, where experience is translated and made public, and which stands between genres, between disciplines, between, even. It is the spit of sand which emerges amidst conflicting tides and currents, the place which juts out, intrudes, separates but which in its separations may join too, may provide a bridge "betwixt" two, or more things, forces, phenomena. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Spring Fishing Song, Prehistoric Paros JOHN ERIC HAMEL Come, tuna, iridescent whorl, Spin color through our rain-locked sea. Come, scatter winter’s smoke and spitting hail, The brazier’s headache, days of coiling clay, The endless shuttle. Let the restless needle be. Come, return the sea to life. The days of winter card our limbs to rope. Restore the muscle with your flesh, unfurl The cold’s crushing boredom into the sun. (...) We’ve burnished long enough our winter soul. The heat begins to double back. The stars That mark the Oar re-stroke at last the salt. All turns. By island and straight you loop and belt, In time with star and turning tide. Shake sail, Bring oar and rope. The barley weaves new fleece. Come, bless our boats, wake us from the hours Of dropping lines over bleached gunnel, The nights of damp and cold breathing sea. Raw mackerel for days to eat, until A line is bumped like a lover’s finger touch, And fins cut water fast as breakers flash. The circled sea within our fleet erupts With flailing fins as sharp as swords. We gaff the bleeding gills into our boats. arion 28.3 winter 2021 44 spring fishing song, prehistoric paros Come, strong fish with gemstone scale, Blow on the coals of our blood, renew our strength. The deep obsidian light of winter clouds Begins to pour molten copper thick as oil All down the sea. We’re born for sails and shrouds, We’re born in waters of a mother’s wave, And return our marble souls into the grave. 2017... (shrink)

Dr. Floyd-Thomas’s paper brings nuance to the discussion of pride and the hubris brought by the Westernized Enlightenment across disciplines. As much as I have the impulse to throttle others or shout or spit with the onslaught of mis-truths and ‘alternative facts’, this would not be a wise moment to conclude inquiry as an oral historian, or a Christian ethicist. I ask, can we decolonize ourselves, our syllabi, the canon, and thus our students with grace, understanding, even forgiveness so as (...) not to repeat the trespasses? (shrink)

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

Constantius, as though the Temple of Janus had been closed and all enemies had been laid low, was longing to visit Rome and, following the death of Magnentius, to hold a triumph, without a victory title and after shedding Roman blood. For he did not himself defeat any belligerent nation or learn that any had been defeated through the courage of his commanders, nor did he add anything to the empire, and in dangerous circumstances he was never seen to lead (...) from the front, nor even to be among the front ranks. But he wanted to display an exaggeratedly long procession, standards stiff with gold and the beauty of his attendants, to a population who were living more peacefully, neither anticipating nor wishing to see this or anything like it. For perhaps he was unaware that some earlier emperors had been content with lictors in peacetime, but when the heat of battle could not allow inactivity, one of them had entrusted himself to a small fishing boat, blasted by raging gales, another had followed the example of the Decii and offered up his life in a vow for the state, and another had himself explored the enemy camp alongside the regular soldiers; that, in short, various of them had won renown for magnificent deeds, and so committed their glories to the distinguished memory of posterity. …When he was approaching the city, observing with a serene expression the respectful attendance of the Senate, and the venerable likenesses of the patrician families, he thought, not like Cineas, the legate of Pyrrhus, that a multitude of kings had been assembled together, but rather that this was the refuge of the whole world [cumque urbi propinquaret, senatus officia, reuerendasque patriciae stirpis effigies, ore sereno contemplans, non ut Cineas ille Pyrrhi legatus, in unum coactam multitudinem regum, sed asylum mundi totius adesse existimabat]. Next, when he turned his gaze to the general populace, he was astonished at the speed with which every type of men from everywhere had flowed into Rome. As though he were trying to terrify the Euphrates or the Rhine with the sight of arms, with the standards in front of him on each side, he sat alone in a golden chariot, glittering with the shimmer of many different precious stones, whose flashes seemed to produce a flickering light. After many others had preceded him, he was surrounded by dragons, woven from purple cloth and affixed to the golden, bejewelled tips of spears, open to the wind with their broad mouths and so hissing as though roused with anger, trailing the coils of their tails in the wind [eumque post antegressos multiplices alios, purpureis subtegminibus texti, circumdedere dracones, hastarum aureis gemmatisque summitatibus illigati, hiatu uasto perflabiles, et ideo uelut ira perciti sibilantes, caudarumque uolumina relinquentes in uentum]. Then there came a twin column of armed men, with shields and plumed helmets, shining with glittering light, clothed in gleaming cuirasses, with armoured horsemen, whom they call clibanarii, arranged among them, masked and protected by breastplates, encircled with iron bands, so that you might have thought them to be statues finished by the hand of Praxiteles, not men [sparsique catafracti equites, quos clibanarios dictitant, personati thoracum muniti tegminibus, et limbis ferreis cincti, ut Praxitelis manu polita crederes simulacra, non uiros]. Slender rings of metal plates, fitted to the curves of the body, clothed them, spread across all their limbs, so that, in whatever direction necessity moved their joints, their clothing moved likewise, since the joins had been made to fit so well.When he was hailed as Augustus with favourable cries, [Constantius] did not shudder at the din that thundered from hills and shores, but showed himself unmoved, as he appeared in his provinces. For, when passing through high gates, he stooped his short body, and, keeping his gaze straight, as though his neck were fixed, he turned his head neither right nor left, as though an image of a man, and he was never seen to nod when the wheel shook, or to spit or wipe or rub his face or nose, or to move his hand [nam et corpus perhumile curuabat portas ingrediens celsas, et uelut collo munito, rectam aciem luminum tendens, nec dextra uultum nec laeua flectebat, tamquam figmentum hominis, nec, cum rota concuteret, nutans, nec spuens, aut os aut nasum tergens uel fricans, manumue agitans uisus est umquam]. Although this behaviour was an affectation, it, and other aspects of his more private life, were however indications of extraordinary endurance, granted to him alone, as it was given to be supposed. This passage, which describes the aduentus of Constantius II into Rome in 357, is one of the best-known episodes in the Res Gestae of Ammianus Marcellinus. This historical work was completed by the retired military officer in around 390, with the surviving books covering the period from 353 to the aftermath of the Battle of Adrianople in 378. Unsurprisingly, this passage is also one of the most debated. Throughout his work, Ammianus regularly criticized Constantius as a weak, vicious ruler, influenced by women and, in particular, eunuchs, and so contrasted him with his cousin and successor Julian, the emperor who receives the most favourable treatment within this text. The degree and nature of criticism within this particular passage has, however, been the subject of a variety of wildly differing interpretations. It is clear that, at the outset, Ammianus is inveighing against the notion of holding a triumph for victory in a civil war, but there has been debate over whether Constantius was actually celebrating a triumph or merely the anniversary of his accession. Similarly, the description of the Senate as ‘the refuge of the whole world’ has been read in contrasting ways, being regarded as derogatory by Johannes Straub, as neutral, or even positive, by Pierre Dufraigne, and as respectful by R.C. Blockley. While this passage as a whole is generally read as an attack on Constantius for his pretentions to ill-deserved military glory, it also raises the question of whether Ammianus was also criticizing Constantius for the way in which he performed his aduentus, emphasizing his pompous and autocratic behaviour in order to contrast him with Julian, who preferred to behave more like a ciuilis princeps in public. Of course, such a reading almost inevitably produces a portrait of Ammianus as an impractically nostalgic figure, harking back to a style of rule which was anachronistic in the post-Diocletianic Later Roman Empire. In addition, Ammianus also presented Julian as performing an aduentus into Constantinople in 361, employing some phrases that were similar to those used to describe Constantius’ procession in 357. Furthermore, as John Matthews has illustrated, Ammianus’ presentations of the occasions when Julian eschewed late-antique imperial protocol are not without tinges of criticism, and his judgement on the propriety of different modes of imperial behaviour varied dependent on the context. (shrink)

First recorded in the 14th century, the analogy of spit-roast meat argues that expecting the Sun to rotate around a strictly immobile Earth would be just as ludicrous as trying to move the fire around the roasting meat. On the contrary, it should be the Earth that spins upon itself in order to glean, from all possible angles, all the benefits of the Sun, just as it is the meat’s responsibility to turn on the spit before the motionless fire for (...) it to be perfectly cooked on all sides. Aimed at demonstrating, in geocentricism, the plausibility of the rotation of the Earth and, in heliocentrism, at supporting the physical reality of this terrestrial rotation, nowadays this analogy barely elicits more than an amused, or even condescending, smile. However, its continued long-term existence and its frequency of use — from the 14th to the 19th century, we found it mentioned by no less than 45 different authors — incited us to finally pay attention to it. We then noticed that beyond its explicitly cosmological scope, it raises, in its own way, the question of the purpose of the natural world: had the latter been conceived based upon humankind, then it is normal, despite what this analogy advocates, that the Sun is at the service of something more important than itself by rotating, to the profit of humankind, around the Earth; conversely, since such an infringement of the rule of common sense, as illustrated by this analogy, can neither be justified nor tolerated, it is up to the Earth to move around the Sun. Tracing the vicissitudes of this analogy, over 6 centuries, is thus not only about reconstructing the largely forgotten history of a presently obsolete analogy, but also about discovering the deeper meaning, henceforth incomprehensible, behind it. In describing how this meaning became progressively lost, one can finally pro­vide an understanding of why, in the present day, we are no longer capable of more than an amused smile when happening upon it! (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prufrock's Question and Roquentin's AnswerWilliam IrwinThere could not be two more different literary figures than the right-wing, religious T. S. Eliot and the left-wing, atheistic Jean-Paul Sartre. Yet there are striking connections between their first major publications, The Love Song of J. Alfred Prufrock (1917) and Nausea (1938). Eliot was aware of and critical of Sartre, especially in the commentary on No Exit in The Cocktail Party, and, no (...) doubt, Sartre became aware of Eliot.1 But as far as can be gleaned, Sartre did not read Eliot's Prufrock, prior to the publication of Nausea, despite his connection to Adrienne Monnier, the French translator of the poem. Indeed Simone de Beauvoir documents the couple's reading habits in some detail in The Prime of Life, including their admiration for Hemingway and Faulkner during that time, but there is no mention of Eliot or Prufrock.2Both the poem and the novel present us with subjective, mood-laden impressions of the internal melancholic lives of their protagonists. Like Prufrock, Roquentin admits "My passion was dead."3Nausea is presented as a diary intended to be read by no one, and Prufrock is presented as a self-confession that no one is to hear. As Guido da Montefeltro in the poem's epigram is willing to speak to Dante because he believes Dante will never return to share what he has heard with the living, so Prufrock is solipsistically introspecting. The "you" of "Let us go then, you and I" is likely Prufrock addressing himself. But if it is addressed to another person, it can only be a reader who is as hopeless as he is, with no chance of return or redemption—only such a reader would really understand what is said. The final line of the poem "Till human voices wake us, and we drown" takes us back to the "patient etherized upon a table." Like Roquentin, Prufrock has taken himself and the reader [End Page 184] by proxy on an inner journey, a dream-like state in which the real and surreal come together.In the opening stanza of the poem, Prufrock describes his internal cityscape as including "Streets that follow like a tedious argument / Of insidious intent / To lead you to an overwhelming question... / Oh, do not ask, 'What is it?'" The question is mentioned twice more, but it is never articulated. Obviously it is an issue of great existential import concerning the meaning of life. Though Prufrock does not verbalize it, the question must be essentially Roquentin's question to himself: "Can you justify your existence then? Just a little?" (p. 177).As we shall see, even though Sartre's philosophy as developed in Nausea and crystallized in Being and Nothingness comes later and likely with no knowledge of Prufrock, the philosophy can still shed light on the poem—and in a way that in turn elucidates the philosophy.4IMeaning for Sartre is found in existence itself, emerging through the coloring and conceptualization of consciousness.5 While this does not necessarily imply the stereotypical existential view that life is bleak, meaningless, and possibly not worth living, this does nevertheless seem to be the conclusion that Roquentin draws early in Nausea. Consider this dark concern: "My existence began to worry me seriously. Was I not a simple spectre?" (p. 86). Early in the novel Roquentin concludes "Nothing happens while you live. The scenery changes, people come in and go out, that's all. There are no beginnings. Days are tacked on to days without rhyme or reason, an interminable, monotonous addition" (p. 39). This life as Roquentin describes it sounds eerily like the humdrum pointless existence of Prufrock, who has measured out his life with coffee spoons and spit out the butt-ends of his days and ways amidst the monotony of women who come and go talking of Michelangelo—a great man he resembles not at all.Later in the novel Roquentin admits "And it was true, I had always realized it; I hadn't the right to exist. I had appeared by chance, I existed like a stone, a plant or a microbe. My life put... (shrink)