Nietzsche announces his intentions to publish a “physiology of aesthetics”, namely a naturalistic explanation for how aesthetic judgements are grounded in the physiology of both the one experiencing the work, and the creator of it. But as well as the physiological reduction of aesthetic judgements, Nietzsche in many places across his oeuvre frames the apparatus of physiology, especially the prescriptive dimension of self-cultivation, in terms amenable to being treated as ‘aesthetic’. The first section will mount a (re-) defense of the (...) use of aestheticized language for discussing Nietzschean self-cultivation. The second section demonstrates an aesthetic evaluation of capacities that make possible the acquisition and removal of instinctual components, ultimately arguing for Nietzsche’s qualified indeterminism regarding the capacity for self-cultivation. The third section will assess the pres- ence of another aesthetic measure, this time in terms of envisaging one’s psycho-physiology by reference to an external spectacle. The final section discusses metaethical questions stemming from Nietzsche’s prescriptive language regarding the aestheticization of our physiology. (shrink)

In this paper I call into question the commonplace assumption in Anglophone Nietzsche scholarship that ideal psychological self-cultivation comes about solely by means of the sublimation of all of one's drives. While the psychological incorporation of one’s drives and instincts plays a crucial role in promoting what Nietzsche considers a higher self, I argue that some degree of removal and elimination of particular drives and instincts could be, perhaps necessarily is, involved in ideal cases. Yet I will suggest that we (...) should not think of these cases as constituting ‘repressions’. I will seek to offer a better characterization of the discussions of productive removal and elimination in Nietzsche’s texts, and consider how they fit in his model of self-cultivation. Nietzsche’s texts demonstrate a more nuanced understanding of the ways in which certain kinds of removal and elimination can lead to greater integration for the would-be exemplary individual. My reading, I argue, helps to better understand the instances in the texts where Nietzsche valorizes the removal of particular drives and instincts. (shrink)

In this critical review I explore the anti-intentionalist stance Adorno offers in his aesthetics, specifically focusing on his Notes to Literature, and the internal limits to this stance. Adorno rejects the primacy of authorial intentionalism: The presuppositions of its aesthetic methodology, he claims, place the individual in a position of epistemic priority, without exploring the social totalities which constitute the conditions of the presentation of aesthetic knowledge by any such individual. The role of the creator for Adorno is inherently mediated (...) within the context of such totalities. -/- This is not to wholly discount the role of creative intentions, however. Rather, Adorno frames the artist as a ‘bearer’ and a ‘representative of the total social subject’. In this context he allows for a qualified form of subjectivity, construed as a mode of creativity produced by a particular kind of “achieved self-awareness” or disposition of consciousness towards an “estrangement of meaning”. Indeed, the loss of the stronger presupposition that the subject acts as an authentic expository force can lead to a realization that objectivity by this means constitutes a “loss”, Adorno claims, which creates the possibility for pursuing a critical stance to facilitate the capacity for creating autonomous works of art. Creators of autonomous works acknowledge “the paradoxical relationship of the autonomous work to its commodity character” (‘Valery’s Deviations’), namely an awareness of their inherent reification. The self-alienating yet autonomous work is described by Adorno as possessing and demonstrating tacit yet genuine ‘wants’, but this is framed by the demands of the human condition to recognize how ill-fitting the forces of social production are upon and towards securing them. Aesthetic intentions and the subjects which channel them can be critically valuable if they allude to or exposit the contradictions between these demands and those forces. (shrink)

Ludwig Wittgenstein's later philosophy continues to spark debate among theorists across the political spectrum. Much of the disagreement centres on the nature of rule-following, and the implications that it has for political thought and practice. In this paper, I explore a critical part of Wittgenstein's explanation of rule-following that is often overlooked: the ‘civic status of a contradiction’. I consider how the collective, conventional properties of rule-following practice shape language- and concept-use. I contend that debates over the political implications of (...) rule-following have tended to fixate on one dimension of Wittgenstein's work: social and epistemic emancipation. And I propose an alternative model of rule-following that harnesses the theoretical framework of self-realisation in order to help us to understand how we collectively follow and modify rules. (shrink)

Addressing 1) the problem of nihilism in Nietzsche and his response with the advocacy of self-creation; 2) Heidegger's response to Nietzsche's culmination of Western metaphysics by means of being as will to power in his later works; and 3) whether a remedial position occurs in the works of A.N. Whitehead.

Review of Martin Heidegger's 1933 - 1934 seminars, with accompanying essays by Slavoj Zizek, Robert Bernasconi, Peter E. Gordon, Marion Heinz, and Theodore Kisiel.