This paper aims to explore and expand Jean-Luc Nancy’s notion of the body as a mass as he drafted it in his “On the Soul” lecture. He conceptualizes the soul as the reflection of the fact that we have a body, thus the conception of the body as a mass may offer possibilities to think the body outside or prior to this reflection. In the article, I expand on three types of bodies. The first of these possibilities is an abstracted (...) body Nancy ascribed to St. Augustine, a body which has been criticized by feminist scholars like Judith Butler. The second one is a hypothetical pre-body proposed by the object-oriented philosopher Graham Harman that may have existed before the actual body emerges. The last one is the disintegrated rotting body in two different contexts: European baroque imagery and asubha kammaṭṭhāna, a Thai meditational practice. All three types of bodies-as-a-mass are legitimate conceptualizations of what Nancy indicates. However, the mass quality is the very nonconceptuality, which is therefore the ultimate outcome that I had to reach. (shrink)

This article aims to critically examine three approaches to reflexivity in philosophical texts, specifically the case when the textuality becomes its own topic. The first approach is when there is no reflexivity at all. It is just describing how – according to the author – things are. As an example of this approach I take German media philosophy. This tradition is specific because reflexivity is supposed to be its very topic. However, the media philosophers succeeded in touching the indefinability of (...) mediality itself. Another method is to question one’s own and possibly also the reader’s position. I have chosen Annemarie Mol’s empirical philosophy as the example here. The problem is that despite following the “ontological turn”, the author remains (probably inevitably) also to a large extent trapped in the fact that he/she describes the world, that is, in subject/object dichotomy and therefore, in epistemology. The third way to write aims to make readers feel what the author tells. My example here is the varied work of Walter Benjamin whom I for the purpose of this article consider more as a prophet rather than the precise thinker who he (also) by all means was. While using the second approach myself, I discuss advantages and challenges of the three and find their points of touch. (shrink)

One of the less comprehensible passages in Immanuel Kant’s Critique of the Power of Judgment is paragraph 9 (KU, AA 5: 216 – 219) where the author rhetorically asks: when we perform a pure judgment of taste, does taking pleasure in a beautiful object come first and only then does (any) aesthetic judgment follow or is it the other way around? The partial conclusions from elaborating this question will then be used to support my assumption that art can be used (...) as a revolutionary and empowering force, much in the way Walter Benjamin hoped the cinema could be used. (shrink)