This article discusses how Nicholas of Cusa’s speculative philosophy harbors an ecumenical spirit that is deeply entwined and in tension with his commitment to incarnational mystical theology. On the basis of my discussion of this tension, I intend to show that Nicholas understands “faith” as a poietic activity whose legitimacy is rooted less in the independent veracity of the beliefs in question than in the potential of particular religious conventions to aid intellectual processes of self-interpretation. In undertaking this analysis, the (...) paper will use Nicholas of Cusa’s De pace fidei—whose overt intention is to show that all forms of religious practice presuppose the same universal faith—as an interpretive lens to explore implications of the philosophical anthropology that Nicholas offers in treatises such as De ludo globi and De venatione sapientiae. Thus, I will argue that Nicholas’ appreciation of the inevitability of religious diversity in the temporal world funds the consistently favored view in his speculative works that “faith” is a virtue only insofar as its adherent genuinely remains in search of understanding and that, consequently, religious beliefs should function as nothing more than tools for creative activity, interpretation, and inquiry. (shrink)

This paper is part of a book symposium on Alexis Shotwell's Knowing Otherwise: Race, Gender, and Implicit Understanding (Penn State Press, 2011).

Committed to the metaphysical thesis that Person is first, working within the Liberal Protestant Consensus, and believing that our minds are capable of grasping reality, Boston Personalists have followed two roads in developing their thought: ratio and poeisis. The former is represented by Bowne and Brightman with their emphasis on reason, and the latter by Bertocci with his emphasis on creativity. Though Bowne and Brightman were deeply concerned with education, it was Bertocci who wrote on the subject, and his (...) focus was on moral education. My interest, however, is not in developing Bertocci's position. Rather I shall state the essentials of a Personalist view of moral education within the poeisis tradition. To do that I shall address this question: "Must one know to be good?" I shall discuss that question by examining the life of the developing moral person and the place of knowledge in that life. As this discussion unfolds, we shall see the educational ideal of Boston Personalism. (shrink)

In these collaborative, theoretical and performative pieces our aim is towards radical expansions of various formal parameters in western philosophy through art praxis that de-centres the roles played by the animal subject, industrial technologies, and soil in modernist paradigms. Exceeding these conventions demands pushing against/past blockages (aporias) to broader engagement with whatever refigured subjectivities are called into constellative gathering in the process. The immanent multiplicity of constellative (Soilogic) analysis ‘cuts in all directions’ in its insistence on attempting to ‘upend’ multiple (...) disciplines simultaneously rather than remaining mere cross-disciplinary embellishment between art and philosophy. Opening new ruptures in horizons of interpretation and maintaining them through artistic and philosophical agitation involves a ‘fidelity to the impossible’ (Young), and a reach beyond the known and tried. It is also a reach towards a blurring of Techne and poeisis in the inter(fur)faces of Dawn (a dark Horse), Gladys (a Goat), and the debris field of the zeppelin USS Macon that crashed into the ocean and sank off the coast of Monterey, CA in 1935. Initially we did so by painting portraits of Nietzsche and Benjamin on Dawn, putting them into conversation with each other on the question of Animality. We then attempted to make ‘haptic’ contact with the Macon while posing performative questions about interrelations, telepathies and hauntings among Animalities, Techne and more-than-humanist Materialities. (shrink)

This article presents a critical theory of the medium of ‘normative’ prose. Relying on the work of critics of poet's prose and the philosophy of Badiou and Nancy, it commences by defining prose ostensibly as the immaterial and thus invisible dianoia or discursive other to the radically material poeisis. The essay then attempts to trace a brief history of critical attention paid to prose to uphold and further develop this thesis. Using the poeticized prose of Ron Silliman's Tjanting as (...) an exemplary, contemporary text the remainder of the article delineates the three elements of prosaic immateriality. The first is the predominance of the role of deixis in prose as the very act of referring to reference itself devoid of actual referents in the world, the moment of the predominance of prose as normative according to Godzich and Kittay. The second is the attempt by automatized prose discourse to occlude its alterity and the role of poetic alienation in revealing this automatization as a political/ideological construct. This is traced back to the formalism of Shklovsky and then reconsidered in the Language poetics of Ron Silliman's own theorization of the New Sentence as that which resists automatized syllogistic cohesion. Thirdly, the paper looks at the significant incursions in the field by one of the key contemporary thinkers, Giorgio Agamben. Analysing Agamben's theory of prose as the collapse of poetic semiotic singularity into semantic generality, I finish with a consideration of how Silliman's work resists this very gesture in an attempt to create a permanently materialized prose that resists being relegated to dianoia or the prose of generalized connections. (shrink)

In this essay, I explore the ways that Beauvoir’s description of philosophical novels reveals her understanding of consciousness as a particular sort of ambiguity: that which not only gives the world meaning, but which also, necessarily, finds meaning in the world through the values, ideas, and objects given to it by others. It is through the philosophical (metaphysical) novel that Beauvoir finds a medium for the philosophical communication of ambiguity – that is, a medium for writing human being. More specifically, (...) I consider the metaphysical stance Beauvoir is able to describe because of her commitment to philosophical literature. In writing, and in reading, fiction, what is manifest is both found and given, discovered and created; and the metaphysics of the novel offers a way to read philosophy as poeisis, poetry in the sense of bringing-forth or revealing worldly meaning, in ways that are ambiguously particular and universal. (shrink)