One of the terminological constants in the philosophical work of Gilles Deleuze is the word 'immanence', and it has therefore become a foothold for those wishing to understand exactly what 'Deleuzian philosophy' is. Deleuze's philosophy of immanence is held to be fundamentally characterised by its opposition to all philosophies of 'transcendence'. On that basis, it is widely believed that Deleuze's project is premised on a return to a materialist metaphysics. Christian Kerslake argues that such an interpretation is fundamentally misconceived, and (...) has led to misunderstandings of Deleuze's philosophy, which is rather one of the latest heirs to the post-Kantian tradition of thought about immanence. This will be the first book to assess Deleuze's relationship to Kantian epistemology and post-Kantian philosophy, and will attempt to make Deleuze's philosophy intelligible to students working within that tradition. But it also attempts to reconstruct our image of the post-Kantian tradition, isolating a lineage that takes shape in the work of Schelling and Wronski, and which is developed in the twentieth century by Bergson, Warrain and Deleuze. (shrink)

This paper investigates forms of metaphysical vertigo that can appear when contrasts between humans and animals are challenged. Distinguishing three forms of vertigo and four ways of differentiating humans and animals, the paper attempts to achieve a perspicuous representation of what could be termed “the difficulty of being humans when we are animals”; or alternatively, “the difficulty of being animals when we are humans”.

The essay is dedicated to war considered through the reflections of Roger Caillois and in particular through certain motifs – feast, sacred, vertigo – that allow us to grasp its ‘metaphysical’ intention, i.e. capable of looking at war as the point of chiasmatic reversibility of life and death.

At times, an individual in modernity can feel dehumanised by work, by administration, by technology, and by political power. This experience of being dehumanised can take the individual to an existential awareness of the priority of existence over essence. But what does this existential experience mean? Are there ways in which this experience can reconnect the individual to her being human, or to her being part of humanity? Any such reconnection is further complicated by the suspicion that universal presuppositions concerning (...) ‘humanity’ or ‘human being’ or ‘humanism’ carry pretensions of imperialist grandeur that must be challenged. How, then, might one proceed to connect existential vertigo with a culture of humanism that, while resisting such pretensions, nevertheless can find meaning for the dehumanised individual? In what follows I argue that a concept of modern metaphysics, with an aporetic logic of subjective experience, can carry this reconnection of the I and the We, offering meaning not in the resolution of their opposition, but in learning that the meaning of their opposition, and the meaning of humanity, is learning, is our education. I argue that it is only within modern educational metaphysics that humanity and the individual Know Thyself. (shrink)

In my 1993 IJPS paper it was suggested that postmodernist verdicts on ‘the death of philosophy’ relied on a rejection of any ‘substantive’ or ‘metaphysical’ notion of truth. The present paper relates these verdicts to Wittgenstein’s alleged ‘philosophical quietism’. In both cases, for example, there is a rejection of ‘depth’. Various characterisations of Wittgenstein’s position are questioned, including the idea that his quietism consists in showing the impossibility of sceptical challenges to our ‘hinge’ propositions and beliefs. It is then (...) argued, however, that recognition of the groundlessness of beliefs (and practices), far from curing ‘vertigo’ or ‘Angst’, is apt to inspire it. In a final section, I propose that the ‘metaphysical horror’ at the impossibility of articulating grounds for our beliefs can be allayed only by the thought that these answer to a reality that cannot be articulated and must therefore remain a mystery. One role for philosophy might be to cultivate a sense of this mystery and trace its implications for how we should live. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Attitudes of Play by Gabor CsepregiPaul GaffneyCSEPREGI, Gabor. Attitudes of Play. Montreal: McGill-Queen’s University Press, 2022. 182 pp. Cloth, $120.00; paper, $32.95This delightful and illuminating book presents a thorough account of playfulness, its various manifestations and associations, and its indispensable role in the good life. Reading through the well-documented chapters, one recognizes how many thoughtful people have commented on the meaning of play, and yet, at the same (...) time, one recognizes the necessity for a full-scale, integrated discussion. The inspiration for the study is partly practical, as stated in the prologue: “I noticed that people who approach their daily tasks or [End Page 713] recreational pursuits with an attitude of play seem to lead a happier and fuller life.” But play as attitude also deserves theoretical study because it integrates, enhances, and to some extent opposes the instrumental character of human endeavor and thus reveals something fundamental about the human condition.A moral context is established early. We are told in chapter 1, “The Concept of Attitude,” that, unlike feelings and ideas, we are responsible for the attitudes that we adopt and, therefore, for the actions and emotions that they characteristically structure. An attitude is an authentic, embodied, and concrete engagement with the world, subject to “continual modifications” and so, presumably, not entirely under our control, but still largely a determination of human agency. In chapter 2, “Play as Attitude,” the author makes an important distinction between play as activity and play as attitude, the latter of which has been comparatively neglected. Play as attitude (playfulness) represents a mode of noninstrumentality— a “momentary holiday from work-related occupations”—that can transform almost any experience, at least temporarily. Playfulness thus represents an immediate engagement, a childlike attentiveness, which is precisely what provides its special value. Chapter 3, “Pathic Attitude,” develops this theme. Playfulness is reciprocal; in fact, we might say it is doubly playful: “In all play there is something with which we play and, in turn, plays with us.” An openness to the world, and a delight in its responsiveness, grounds the playful attitude. The experience is discoverable by young children and some animals as well.The following chapters elaborate on this basic outline. Chapter 4, “Ease,” explains how advanced players often lose themselves and “sink into a role,” a peak experience that is typically the product of training and habit. This enviable state would seem to be somewhat elusive, particularly for performers, which suggests that it is something of a moral achievement. The experience recalls what has been called in the philosophy of sport literature “flow performance,” which is, paradoxically, both more intense and yet effortless. Chapter 5, “Risk,” explores the adventurous nature of play, which inevitably involves uncertainty, luck, and risk. An attitude of play embraces, or at least accepts, the vagaries of good and bad luck; it comes with the risk of failure, embarrassment, and even physical injury. This chapter presents an important discussion about the tension between the spirit of playfulness and the ethos of modern sport, which tends increasingly to emphasize proficiency, rationalization, and commercialization. The modern obsession with preparation, perfection, and control leaves little room for a genuinely playful spirit, which ideally should animate sport. Indeed, the occasional experience of feeling lost, which the author, following Caillois, describes as “vertigo,” is an essential component of a full life. In chapter 6, “Humor,” we are told that although some playful activities are serious and demand concentration, they are often accompanied by a good-natured, lighthearted attitude. Humor seems to be inherently playful, a liberal and often irreverent exercise of the [End Page 714] imagination, which allows it to provide solace, inspiration, and transcendence: “Humor, then, is the capacity to see and apprehend things in their complexity, ambivalence, and paradoxical nature.” Chapter 7, “Gratuité,” underscores a major theme of the book—the importance of the useless or gratuitous in a fully meaningful life (gratuité and utilité are French for “useless” and “useful”). The author insightfully suggests that such moments might present themselves in seemingly disparate activities, such as play and liturgy: “Measured by the strict sense of the word, they are purposeless but still full... (shrink)

Alfred Hitchcock's Vertigo skilfully continues to stimulate different views of it – hence the volume of writing – different ways of viewing it, different ways of being a viewer of it . One purpose of the piece is to provide a little caution to those students coming to study Vertigo , and Spectatorship, for the first time: not to presume that the film, and by association any film, has one type of spectator. It is through examining various responses (...) to it – rather than presenting one view of it – that we can see perspicaciously that Vertigo has a special capacity for teaching us about the complexity of film spectatorship. This is possibly because Vertigo is so concerned to make the act of viewing an active part of viewing it. (shrink)

This paper is an attempt to identify the source of Deleuzian thought, that is, the "plane" or "image" from which it unfolds despite its many twists and turns. This, I believe, is immanence. The thread of immanence appears most clearly in What Is Philosophy? but can be shown to have been at work from the very start. But immanence is not just the plane of Deleuzian thought. It is also, and above all, that of philosophy itself, especially in its difference (...) from religion and onto-theology. This in turn means that, following Spinoza and his univocal ontology, Deleuzian thought can be seen as completing or realizing the conditions of philosophy itself. (shrink)

Reading philosophy through the lens of Alfred Hitchcock's Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. In doing so, Cavalletti brings out the vertiginous nature of identity.

The thirty chapters work through various fundamental metaphysical issues, sometimes focusing more on scholastic thought, sometimes on the seventeenth century.

As with most other areas of reproduction, surrogacy is highly regulated. But the legislation and policies on surrogacy are written in such ways that make large (and possibly mistaken) assumptions about the metaphysical relationship between the mother and the fetus – whether the fetus is a part of, or contained by, the mother. It is the purpose of this chapter to highlight these assumptions, and to demonstrate the impact that alternative metaphysical views can have on our conceptualization of (...) surrogacy. With that in mind, I recommend that our public policies on surrogacy be at least neutral or otherwise responsive to metaphysics rather than presupposing it, such that the regulation and legislation of surrogacy will be metaphysically informed. (shrink)

Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo . Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock’s film from a philosophical perspective. Topics discussed include: memory, loss, memorialisation, and creativity mimetic or representational art and art as magic the nature of romantic love gender, sexual (...) objectification, and identity looking, "the gaze", and voyeurism film and psychoanalysis fantasy, illusion, and reality the phenomenology of colour. Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo , and an ideal resource for students of film and philosophy. (shrink)

This classic, provocative introduction to classical metaphysical questions focuses on appreciating the problems, rather than attempting to proffer answers.

Timothy Williamson gives an original and provocative treatment of deep metaphysical questions about existence, contingency, and change, using the latest resources of quantified modal logic. Contrary to the widespread assumption that logic and metaphysics are disjoint, he argues that modal logic provides a structural core for metaphysics.

Una marcada singularidad se halla asociada al judaísmo desde sus orígenes. Pueblo configurado por lo histórico, sin embargo, la propia historia judía acoge en su seno unas fuerzas que desdibujan la continuidad y restan substancia a la mecánica sucesión temporal de la cronología. Junto a la historia, el tiempo y la cronología, encontramos la irrupción y el desbordamiento de estados temporales alternativos, vivencias paradójicas de la propia existencia colectiva en el tiempo. La Edad Media y la península Ibérica verán manifestarse (...) todas ellas en una asombrosa ceremonia del desbordamiento del espíritu humano. (shrink)

The aim of this paper is to analyze some basic aspects of Nietzsche’s thought by tracing them back to the idea of Amor Fati, understood as the matrix from which they spring and the keystone to their pattern. The freedom-necessity duality is analyzed, posing the crucial question of why Amor Fati is for Nietzsche a call to radically face the problem of responsibility.

First, I offer a short overview on the classical occidental philosophy as propounded by the ancient Greeks and the natural philosophies of the last 2000 years until the dawn of the empiricist logic of science in the twentieth century, which wanted to delimitate classical metaphysics from empirical sciences. In contrast to metaphysical concepts which didn’t reflect on the language with which they tried to explain the whole realm of entities empiricist logic of science initiated the end of metaphysical (...) theories by reflecting on the preconditions for foundation and justification of sentences about objects of investigation, i.e. a coherent definition of language in general, which was not the aim of classical metaphysics. Unexpectedly empiricist logic of science in the linguistic turn failed in the physical and mathematical reductionism of language and its use in communication, as will be discussed below in further detail. Nevertheless, such reflection on language and communication also introduced this vocabulary into biology. Manfred Eigen and bioinformatics, later on biolinguistics, used ‘language’ applied linguistic turn thinking to biology coherent to the logic of science and its formalisable aims. This changed significantly with the birth of biosemiotics and biohermeneutics. At the end of this introduction it will be outlined why and how all these approaches reproduced the deficiencies of the logic of science and why the biocommunicative approach avoids their abstractive fallacies. (shrink)

The book _Metaphysics in Contemporary Physics_ offers various perspectives on the relation and mutual influence between modern physical theories and analytic metaphysics.

This article explores the politics and culture of Creole cosmopolitanism, which emerged in the French post-slavery colonies. It argues that Creole cosmopolitanism offers a framework to imagine oneself in the world. As a form of resistance to the French assimilative project, to absolutist ethnicisms and to abstract universalism, Creole cosmopolitanism imagines a world of trans-local solidarities, a way of being-in-the-world that acknowledges difference and diversity.

Writing remains. One could argue that it is precisely because of this uncanny and unpredictable survival that inscription holds an inextricable influence on culture. Deconstructive theory posits this as the ‘biodegradability’ of writing — that culture consumes writing's intended meaning, employing it as fuel for its own survival. In this article, I argue for Michel Houellebecq's awareness of this survival, suggesting that his texts stage their — and their author's — own biodegradability to interweave truth and fiction. Particularly, he utilizes (...) the ‘untranslatability’ of the proper name — its brief resistance to cultural biodegradability — to intercept and write into the future inscription is tied to. This draws attention to the vital paradox of proper names, and suggests that their untranslatability forces every reader to conjure different, contradicting and often ‘out-of-sync’ histories. Houellebecq's names, which necessitate an interminable coining, gesture to the inevitable translation of finitude. (shrink)