The arguments advanced in this paper are the following. Firstly, that just as Trevarthen’s three subjective/intersubjective levels, primary, secondary, and tertiary, mapped out different modes of access, so too response is similarly structured, from direct primordial responsiveness, to that informed by shared pragmatic concerns and narrative contexts, to that which demands the distantiation afforded by representation. Secondly, I propose that empathy is an essential mode of intentionality, integral to the primary level of subjectivity/intersubjectivity, which is crucial to our survival (...) as individuals and as a species. Further to this last point, I argue that empathy is not derived on the basis of intersubjectivity, nor does it merely disclose intersubjectivity, rather it is constitutive of intersubjectivity at the primary level. Empathy is a direct, irreducible intentionality separable in thought from the other primary intentional modes of perception, rationality, memory and imagination, but co-arising with these. In regard to the inter-personal level, the concrete relations with others, primary empathy is both the ground for the possibility of the secondary manifestations—pity, sympathy, perspective taking, etc., and motivates them. Thirdly, it is the movement in the core of subjectivity initially generated by shifting attention between the ‘I’ and ‘we’ perspectives and later ‘solidified’ through affect to become shifting identification, which opens up the intersubjective domain. So we can affirm that we are not only born into sociality but our sociality goes to the roots of our being as Husserl, Heidegger and Merleau-Ponty have claimed. (shrink)

Several enactive-phenomenological perspectives have pointed to affectivity as a central aspect of mental disorders. Indeed, from an enactive perspective, sense-making is an inherently affective process. A question remains on the role of different forms of affective experiences (i.e., existential feelings, atmospheres, moods, and emotions) in sense-making and, consequently, in mental disorders. This work elaborates on the enactive perspective on mental disorders by attending to the primordial role of affectivity in the self-individuation process. Inspired by Husserl’s genetic methodology (...) and Simondonian philosophy of individuation, sense-making is described as the process of progressive concretization and structuration of the self-world structures that support the intentionality of conscious experiences. Accordingly, affectivity is described as the force that anticipates a partial self-world coherence in sense-making. Structurally different types of affective experiences are integrated into the genetic picture and, on this basis, a reinterpretation and classification of certain mental disorders, such as schizophrenia, depression, and the anxiety spectrum, is provided. In this way, this work contributes to a phenomenologically informed enactive account of mental disorders as disorders of affectivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Affect Attunement in the Caregiver-Infant Relationship and Across SpeciesExpanding the Ethical Scope of ErosCynthia WillettCompelling glimpses into the ethical capacities of our animal kin reveal new possibilities for ethical relationships encompassing humans with other animal species. Consider the remarkable report of a female bonobo in a British zoo who assists a bird found in her cage by retrieving the fallen bird, and spreading its wings so that this fellow (...) creature might fly away to its freedom. Or the report of a cat in a nursing home who curls up around dying elderly patients, and remains steadily by their side as they, unbeknownst to the medical personnel, pass away.1 Or of a sacred moment of silence by a stream for baboons in East Africa.2 Or of the ethics that spontaneously emerges among wolves at play.3 On the basis of extensive studies, biologist Frans de Waal argues that such anecdotes are far from rare, and that some core elements of moral understanding and compassion occur among a significant range of nonhuman as well as the human animal species. Apes, monkeys, and perhaps all nonhuman animals fail to display a distinctly human capacity for abstract moral reasoning. As de Waal (2006) remarks, it is difficult to tell (173–75). But our furry and feathery kin do without a doubt demonstrate rich elements of ethical response, and they often enough extend their moral concern to creatures beyond their own species. Of course, they will also bite each other’s heads off or eat their own young as well. But this is just to say that animals are neither natural [End Page 111] innocents nor savage brutes. Like us, they belong to what post-Nietzschean philosophers might frame, somewhat ironically, as a postlapsarian world of good and evil.What kind of philosophical approach could account for these postlapsarian genealogies of ethics? Biologists, primatologists, and anthropologists are drawing upon investigations of prosocial behavior to remap the boundaries of ethics, as for example in Isabelle Stengers’s call for cosmopolitical ecologies of relationships (2010, 33). Such a cosmopolitics aims to encompass our kin and kind from diverse species within the ethical boundaries of common worlds. Donna Haraway discovers an opening for Stengers’s ecology of relationships in the intimate encounters among co-evolving species, especially those she calls companion species (2008, 83). She argues, following Derrida, that the abstract reasoning processes of Stoic and Kantian cosmopolitan ethics remain closed to the participation of nonhuman animals as anything more than dependents, failing to observe the ways in which they act as companions, if not moral subjects. But then, what normative force might bind together an ethically attuned biosocial sphere that we as humans co-inhabit with other animal species?To explore this question, this essay takes its cues from well-established research on the responsive, preverbal connection of the human infant and adult caregiver (Bateson 1979; Trevarthen 1984; Stern 1985, 2010; Gibbs 2001, 2010; Hansen 2004; Anderson 2006; Papoulias and Callard 2010; Willett 1995, 2001). To this research we can add new animal studies (Smuts 1999, 2001; Fudge 2002; de Waal 2006, 2009; Bekoff 2007; Molnar 2008; Haraway 2008). These animal studies provide a basis for extending an “ethics of eros” with roots in Luce Irigaray, Michel Foucault, Enrique Dussel, Africana feminism, Freudo-Marxist critical theory, and Plato (for discussions of this tradition, see Bergoffen 1997; Huffer 2009; Willett 2001)—but reconfigured in terms of social bonds across multiple animal species. In this tradition of ethics, the lack of a cognitive-based moral subjectivity that can translate into human terms does not consign nonhuman species to a mute moral status. On the contrary, some more primordial basis for relationship and meaning may weave thin but substantial threads of a postmoral ethics across regions of the biosphere.Given the diverse modes of subjectivity among animal species, and even the lack of what we call a moral subject altogether in many species, neither ordinary modes of empathy nor of moral understanding go very far in forging multispecies social bonds. For this reason, we turn to research on “the attunement of affects” in the infant-caregiver relationship (Stern 1985). As we shall see, this... (shrink)

RESUMEN Se interroga la atencionalidad propia del amor en cuanto que experiencia privilegiada y primordial del cuidado. En busca de un acceso al fenómeno del amor, se propone interrogarlo conforme al tipo de atención que promueve, asumiendo y discutiendo los recursos aportados por la fenomenología husserliana, así como por las fenomenologías contraintencionales, en particular la de Waldenfels. De este modo, si para describir este fenómeno es preciso dar cuenta del fundamento afectivo de la atención, también hay que reconocer que (...) el amor es vivido como un hecho original o un acontecimiento que implica para el amante una reorientación existencial y atencional. ABSTRACT The article inquires into the attentionality inherent to love as a privileged and primordial experience of care. Seeking access to the phenomenon of love, we suggest inquiring into it according to the type of attention it promotes, drawing on and discussing the resources provided by Husserlian phenomenology, as well as by counter-intentional phenomenologies, particularly Waldenfels'. Thus, while it is necessary to account for the affective grounds of attention in order to describe this phenomenon, it is also essential to recognize that love is experienced as an original fact or as an event that entails an existential and attentional reorientation of the lover. (shrink)

Although it is a relatively new phenomenon, the most popular descriptions of post-truth operate within the boundaries of the classical dichotomy between emotion and reason that dates back to Plato’s Phaedrus: both, to some extent, view emotions as impediments to knowledge and our ability to live morally upstanding lives (248a-b). Post-truth, which is seen as a threat to reason, social cohesion, and fact-based knowledge claims, is either viewed as the outcome of the failure of our cognitive apparatus, or a consequence (...) of our unchecked thirst for stories that provoke dramatic feelings. From a feminist point of view, this should give us pause, since the arguments used to dismiss post-truth resemble those that dismissed women’s experiences and emotions as idiosyncratic or irrational. Have post-truth scholars been too hasty in their judgment of emotion-based knowledge claims? In this essay, I explore the transcendental role of emotion in its relationship to epistemic knowledge claims and argue that emotion should be given a more primordial status in the analysis of post-factuality. I do this by exploring the psychoanalytic and phenomenological analysis of affect, especially Sara Ahmed’s feminist phenomenology of embodiment. (shrink)

The Feeling Body applies several ideas from the enactive approach to the field of affective science, with the aim of both developing enactivism as well as reconceptualizing various affective phenomena. The book is organized into six chapters that examine primordial affectivity (chapter 1), the nature of emotional episodes and moods (chapters 2 and 3), enactive appraisal (chapter 4), the bodily feelings associated with emotional experience (chapter 5), affective neuro-physio-phenomenology (chapter 6), and the affective dimension of intersubjectivity (chapter 7). (...) Giovanna Colombetti’s discussion of these topics effectively integrates scientific research and phenomenological descriptions of lived experience. What results is an insightful and genuinely interdisciplinary discussion of emotion that will be of interest to affective scientists, emotion theorists, phenomenologists, and proponents of enactivism.The version of enactivism that Colombetti draws upon is the theory originally formula .. (shrink)

Limited distribution phenomena related to negation and negative polarity are usually thought of in terms of affectivity where affective is understood as negative or downward entailing. In this paper I propose an analysis of affective contexts as nonveridical and treat negative polarity as a manifestation of the more general phenomenon of sensitivity to (non)veridicality (which is, I argue, what affective dependencies boil down to). Empirical support for this analysis will be provided by a detailed examination of affective dependencies in (...) Greek, but the distribution of any will also be shown to follow from (non)veridicality. (shrink)

How comes that two organisms can interact with each other or that we can comprehend what the other experiences? The theories of embodiment, intersubjectivity or empathy have repeatedly taken as their starting point an individualistic assumption (the comprehension of the other comes after the self-comprehension) or a cognitivist one (the affective dimension follows the cognitive process). The thesis of this book is that there are no two isolated entities at the origin which successively interact with each other. There is, rather, (...) an impersonal stratum – the original affectivity (Gefühlsdrang) – which lets the living organisms be constitutively attuned with the expressive dimension of the life from the very beginning. The book aims to rethink the issue of corporality on the basis of a biosemiotics of the interaction between lived body (Leib) and environment (Umwelt). The human emotions reveals themselves as devices that experiment further attunement levels and expose the human being – because of her ex-centricity – to the alienation in various forms of the psychopathological existence. This is an unprecedented perspective that turns to psychopathology to reread against the light the watermark weaving the structure of personal singularity. What emerges is an intermediate territory confining both with philosophy and psychiatry: the psychopathology of ordo amoris. The author advances the project of a new psychopathology of ordo amoris, not only tackling with the 19th-century tradition of psychiatry and phenomenological psychopathology, but also with the contemporary disputes on intersubjectivity in phenomenology and with those on schizophrenia as disruption of aida or as disembodiment process in psychiatry. What results from his project is the first systematic study on the international level showing the relevance of Schelerian concepts of body schema (Leibschema) and order of feeling (ordo amoris) to understand the disruptions of emotional regulation on the psychopathological dimension as well as on the formation process of the singularity. (shrink)

The thesis argues for the need to reexamine current theoretical conceptions or assumptions regarding Romantic self-consciousness and its perceived dependency on a productive dimension of expression. The origins of the allegedly aporetic relation between an inward form of consciousness and its linguistic "presentation" are traced in the Idealist reflection on self-consciousness by Kant, Fichte, and Schelling. Inadvertently, language as a productive force reveals itself as the contingent "ground" for the highly elusive, though philosophically essential, "unity" of self-consciousness. Thus the respective (...) conception of self-consciousness as a relation , production , or re-membring is always grounded in a stratum of "immediacy" that can no longer be contained within a systematic philosophical idiom. Through an incisive critique of the Idealists, Schleiermacher demonstrates that any notion of "immediacy" is essentially homologous to the transformation that all language undergoes in each individual utterance. Pointing to the "coinherence" of the psychological and the grammatical poles of interpretation, Schleiermacher develops a theory of "style" whereby consciousness becomes readable rather than being postulated as an autonomous transcendental agency. ;Wordsworth's narrative poetry conceives of self-consciousness as originating in a purportedly primordial affect. Beginning with the dialogic poems in the Ballads, yet also in Tintern Abbey and in the 1799 Prelude, Wordsworth experiments with a densely figurative form of "presentation" of these affective origins. Yet as his revisions--both between discrete narrative segments in his poetry yet also between earlier and later versions of the Prelude--evidence, Wordsworth becomes increasingly weary of the opacity that inheres in the figurative presentation of this "original" affect. The densely allusive and deliberately self-referential diction of later versions of the Prelude not only compromises the earlier paradigm of self-consciousness as originating in an inward affect, but it also highlights the mutual and irreducible "coinherence" of rhetorical and psychological structures. The final chapter examines Shelley's ironic response to the Wordsworthian impasse in Epipsychidion where the autobiographical vision of a perfect self continues to disintegrate under the verbal onslaught of the very language that constituted it in the first place. (shrink)

The aim of this paper is to advance, within the framework of enactivism, towards a more radically embodied and situated theory of emotions and, in general, of affectivity. Its starting point is that of discussing the well-established notion of bodily resonance (Fuchs 2013, Fuchs & Koch 2014, Fuchs 2018) and the primordial affectivity approach (Colombetti 2014). I will incorporate John Dewey’s theory of emotions, and recent models and empirical finding from cognitive science on the relation between perception (...) and bodily activity (Azzalini, Rebollo & Tallon-Baudry 2019; Allen et al. 2019). The novel element proposed in this paper is taking into consideration the role of bodily oscillatory activity in the perceptual side of cognition through phenomena of relative coordination. This concept from dynamical systems theory allows for an enactivist view of emotions as temporal episodes triggered by a tension that affects the rhythmic interaction between brain, body, and environment. By defending the importance of this enacted rhythm, the body emerges as a truly active agent, gating and modulating affectivity during all the stages of the sensorimotor circuit from perception to action. (shrink)

Locke is famous for defining madness as an intellectual disorder in the realm of ideas. Numerous commentators take this to be his main and only contribution to the history of psychiatry. However, a detailed exegetical review of all the relevant textual evidence suggests that this intellectualist interpretation of Locke’s account of madness is both misleading and incomplete. Affective states of various sorts play an important role in that account and are in fact primordial in the determination of human conduct (...) generally. Locke’s legacy in this domain must therefore be revised and the intellectualist bias that dominates discussions of his views must be redressed. (shrink)

Worldviews affect human behavior, and how we behave affects the world around us. Animism and so-called higher religions remain influential world-views; but the scientific worldview is comparably significant, and has under-gone drastic change during the twentieth century. The physical science ideal of mathematical precision and predictability, as elaborated by Galileo, Newton, and their heirs, underwent an amazing transformation in the twentieth century when Big Bang cosmology substituted an expanding, unstable universe for the Newtonian world machine. As a result, a grand (...) convergence of the sciences seems to be emerging around an evolutionary vision of how new aspects of reality emerge locally from new levels of complexity, like the heavier atoms, forged in stellar furnaces, the living molecules that arose in earth's primordial seas, and the symbolic systems invented by human societies perhaps as recently as forty thousand years ago. History, once a hopelessly inexact laggard among the sciences, might even become something of a model for other disciplines, since it deals with the most complex levels of reality we are aware of, that is, the world of agreed-upon meanings that guides our interaction with one another and with the biological, chemical, and physical worlds around us. (shrink)

Contemporary literature includes a wide variety of definitions of empathy. At the same time, the revival of sentimentalism has proposed that empathy serves as a necessary criterion of moral agency. The paper explores four common definitions in order to map out which of them best serves such agency. Historical figures are used as the backdrop against which contemporary literature is analysed. David Hume’s philosophy is linked to contemporary notions of affective and cognitive empathy, Adam Smith’s philosophy to projective empathy, and (...) Max Scheler’s account to embodied empathy. Whereas cognitive and projective empathy suffer from detachment and atomism, thereby providing poor support for the type of other-directedness and openness entailed by moral agency, embodied and affective empathy intrinsically facilitate these factors, and hence are viewed as fruitful candidates. However, the theory of affective empathy struggles to explain why the experience of empathy includes more than pure affective mimicry, whilst embodied empathy fails to take into account forms of empathy that do not include contextual, narrative information. In order to navigate through these difficulties, Edith Stein’s take on non-primordial experience is used as a base upon which a definition of affective empathy, inclusive of an embodied dimension, and founded on a movement between resonation and response, is sketched. It is argued that, of the four candidates, this new definition best facilitates moral agency. (shrink)

The period March 2020–March 2021 marks the time reference for this theoretical study as it denotes the initial surge of the Pandemic, where whole societies were destabilized by the ferocity of Covid-19. Within this context, I posit COVID-19 as a transforming event: one that exhausts worlds. Drawing from Jan Masschelein’s works on Arendt and the architecture of public education, the question at hand is how does Covid-19, as a transforming event, affect and change the very essence of education? I begin (...) by comparing two definitions of crisis, Arendt’s notion of krisis, with philosopher Peter Pal Pelbart’s thinking around crisis, illness, and ‘exhaustion.’ I conclude by identifying an ‘inconsequential’ architectural space, a ‘spandrel.’ This spatial by-product, revealed during the Pandemic, is located within the very design of the ‘perfect’ public school, schole: the Arendtian ‘table.’ This spandrel aligns with Fernand Deligny’s ‘primordial communism.’. (shrink)

This paper compares the concept of the heart in the works of Max Scheler and María Zambrano. Both authors use the heart as a metaphor for distinct human affective phenomena that have a central anthropological, epistemological, and ontological significance. The comparison between authors’ use of the metaphor is organised around three main topics: the order of the heart; the idea of a primordial feeling and its place in the affective life; and the primacy of love in relation to negative (...) affective attitudes. Our aim is twofold: to investigate the influence of Scheler on Zambrano’s thought and to demonstrate how Scheler’s phenomenology of affectivity transformed in Spanish philosophy and, in particular, in Zambrano’s work. After introducing the topic (section 1), the paper focuses on Scheler’s model of affectivity (section 2), presents an overview of Scheler’s reception in Spain focusing on Zambrano’s knowledge of his works (section 3), and examines Zambrano’s notion of the heart tracing parallelisms in Scheler’s works (section 4). The paper concludes with a discussion on Zambrano’s extension and transformation of the metaphor of the heart in the context of Spanish philosophy. (shrink)

Recent neuro-psychoanalytic literature has emphasized the view that our subjective identity rests on ancient subcortical neuro-psychic processes expressing unthinking forms of experience, which are “affectively intense without being known” (Solms and Panksepp, 2012). Devoid of internal representations, the emotional states of our “core-Self” (Panksepp, 1998b) are entirely “projected” towards the external world and tend to be discharged through instinctual action-patterns. However, due to the close connections between the subcortical and the cortical midline brain, the emotional drives may also find a (...) way to be reflected within an intrinsic self-referential processing, evident when the organism is not actively engaged with the external world. Thanks to such endogenous functioning, the core-Self emotional dispositions are not overtly executed, but they are organized within coherent dynamic mental structures, called “feeling-toned complexes” by C.G. Jung and “unconscious phantasies” by Melanie Klein. The intrinsic self-referential dynamism of the ‘brainmind’ originated from REM sleep arousal and then evolved in the resting-state activity of a complex of cortico-limbic midline brain structures (CMS), also called Default Mode Network (DMN). From our neuro-ethological perspective, it is sustained by an “introverted” SEEKING activity leading to the subjective exploration of internally constructed virtual scenarios. This “mind wandering” function, implicated in dreaming, fantasy processing, remembering and thinking, is the essence of the imaginative function and constitutes the first form of reflection, where intentions and drives gain a primordial form of conscious (but not self-conscious) representation. During postnatal development, this original (“archetypal”) imaginative function is slowly attuned in a relational “transitional” space and may be expressed first in non-verbal and eventually in abstract-verbal social communicative patterns. Our view has noticeable implications for psychotherapy. Instead of trying to directly modify interpersonal, extrinsic relationships (a top-down approach), dysfunctional emotional-relational patterns may be modified by a process in which the patient is helped to let-go of the perceived feeling-objects in favor of an immersion, via the actual feeling, from the superficial level of perception towards a void feeling-state, empty of images. Only starting from this “anoetic” feeling-state, the deep imaginal creative and re-structuring self-referential activity may be reactivated by a process of spontaneous imagination. (shrink)

In the primordial scene, which Girard has described, society is constituted on the basis of the lynching mob, whose mimetic desire, envy and egotism culminate in sacrificing the scapegoat. With spite, though, we confront the opposite situation, in which the mimetic desire does not establish but rather destroys `society'. Here everybody, and not only the scapegoat, is threatened with destruction. Regarding the genealogy of spite, the article elaborates on radical nihilism (that is, the will to negation) and relates this (...) to passive nihilism (the negation of the will as such), arguing that these two nihilisms are significant to understand both the hedonism/disorientation that characterizes contemporary post-political culture and the emerging forms of despair and violence as a reaction to it. These two nihilisms constitute a non-dialectical `synthesis' in spite of seemingly antagonistic `disjunctions'. The article concretizes the genealogy of spite with two cases: French bestselling writer Houellebecq's novels and (the war against) terrorism. Then it focuses on the relationship between the three social formations (primitive, despotic and capitalist societies) and spite as an `affect without society'. Finally, agonism as a political virtue is set against spite. (shrink)

As its title indicates, this article shows animation to be the fundamental, essential, and properly descriptive concept to understandings of animate life. A critical and constructive path is taken toward an illumination of these threefold dimensions of animation. The article is critical in its attention to a central linguistic formulation in cognitive neuroscience, namely, enaction ; it is constructive in setting forth an analysis of affectivity as exemplar of a staple of animate life, elucidating its biological and existential foundations (...) in animation. (shrink)

Every attempt to examine our consciousness’s passive life and its dynamic in its various forms inevitably intersects with our primal awareness of the future. Even though Husserl’s theory of time-consciousness enjoys a certain fame, his conception of our primordial relation to the future has not been adequately accounted for. The book at hand aims to offer a close study of Husserl’s view of protentional consciousness and to trace its unique contribution to our overall awareness of time. It offers an (...) extensive analysis of various aspects of protention by investigating its connection to different fields and levels of experience. To achieve such a task, the book stresses the need to enrich the familiar formal account of protention with a material one. Thus, alongside issues pertaining exclusively to the form of protention, such as its relation to fulfillment as well as its double-intentional structure, various other dimensions are discussed, such as the phenomena of disappointment and correction as well as the role hyle plays in both of them. In the same vein, special attention is given to the relation between protentional consciousness and affectivity, thus shedding light on the dynamic unity of our living-present. What this study purports to show is that Husserl’s phenomenology is equipped to offer a solid account of the thinnest and subtlest ways in which we are aware of the future in our experiential life. (shrink)

We argue that, under certain plausible assumptions, de Sitter space settles into a quiescent vacuum in which there are no dynamical quantum fluctuations. Such fluctuations require either an evolving microstate, or time-dependent histories of out-of-equilibrium recording devices, which we argue are absent in stationary states. For a massive scalar field in a fixed de Sitter background, the cosmic no-hair theorem implies that the state of the patch approaches the vacuum, where there are no fluctuations. We argue that an analogous conclusion (...) holds whenever a patch of de Sitter is embedded in a larger theory with an infinite-dimensional Hilbert space, including semiclassical quantum gravity with false vacua or complementarity in theories with at least one Minkowski vacuum. This reasoning provides an escape from the Boltzmann brain problem in such theories. It also implies that vacuum states do not uptunnel to higher-energy vacua and that perturbations do not decohere while slow-roll inflation occurs, suggesting that eternal inflation is much less common than often supposed. On the other hand, if a de Sitter patch is a closed system with a finite-dimensional Hilbert space, there will be Poincaré recurrences and dynamical Boltzmann fluctuations into lower-entropy states. Our analysis does not alter the conventional understanding of the origin of density fluctuations from primordial inflation, since reheating naturally generates a high-entropy environment and leads to decoherence, nor does it affect the existence of non-dynamical vacuum fluctuations such as those that give rise to the Casimir effect. (shrink)

In 1975, Colwyn Trevarthen first presented his groundbreaking explorations into the early origins of human intersubjectivity. His influential model dictates that, during intimate and playful spontaneous face-to-face protoconversations, the emotions of both the 2–3-month-old infant and mother are nonverbally communicated, perceived, mutually regulated, and intersubjectively shared. This primordial basic interpersonal interaction is expressed in synchronized rhythmic-turn-taking transactions that promote the intercoordination and awareness of positive brain states in both. In this work, I offer an interpersonal neurobiological model of Trevarthen’s (...) intersubjective protoconversations as rapid, reciprocal, bidirectional visual-facial, auditory-prosodic, and tactile-gestural right brain-to-right brain implicit nonverbal communications between the psychobiologically attuned mother and the developing infant. These co-constructed positive emotional interactions facilitate the experience-dependent maturation of the infant’s right brain, which is in an early critical period of growth. I then address the central role of interpersonal synchrony in intersubjectivity, expressed in a mutual alignment or coupling between the minds and bodies of the mother and infant in face-to-face protoconversations, as well as how these right brain-to-right brain emotional transmissions generate bioenergetic positively charged interbrain synchrony within the dyad. Following this, I offer recent brain laterality research on the essential functions of the right temporoparietal junction, a central node of the social brain, in face-to-face nonverbal communications. In the next section, I describe the ongoing development of the protoconversation over the 1st year and beyond, and the co-creation of a fundamental energy-dependent, growth-promoting social emotional matrix that facilitates the emergence of the highly adaptive human functions of mutual play and mutual love. In the final section, I discuss the clinical applications of this interpersonal neurobiological model of intersubjectivity, which has a long history in the psychotherapy literature. Toward that end, I offer very recent paradigm-shifting hyperscanning research that simultaneously measures both the patient and therapist during a psychotherapeutic interaction. Using the Trevarthen’s two-person intersubjective model, this research demonstrates changes in both brains of the therapeutic dyad and the critical role of nonverbal communications in an emotionally-focused psychotherapy session. These studies specifically document interbrain synchronization between the right temporoparietal junction of the patient and the right temporoparietal junction of the clinician, a right brain-to-right brain nonverbal communication system in the co-constructed therapeutic alliance. Lastly, I discuss the relationship between the affect communicating functions of the intersubjective motivational system and the affect regulating functions of the attachment motivational system. (shrink)

De acuerdo con la fenomenología husserliana la experiencia primordial del valor descansa en vivencias emotivas. Para sostener esta idea Husserl sugiere el paralelismo entre la percepción externa y la percepción de los valores. El objetivo de este trabajo es clarificar tal paralelismo enfatizando un problema particular del análisis husserliano: la tonalidad afectiva del objeto de valor y su relación con la apercepción sentimental involucrada en la experiencia de los valores.According to husserlian phenomenology the primordial experience of value lays (...) in emotive lived-experiences. In order to sustain his Idea Husserl suggest a parallelism between the external perception and the perception of values. The aim of this work is to clarify such parallelism stressing a particular problem of husserlian analysis: the affective tonality of the object of value and its relation to the feeling apperception involved in the experience of values. (shrink)

The nature of “the self” has been one of the central problems in philosophy and more recently in neuroscience. This raises various questions: Can we attribute a self to animals? Do animals and humans share certain aspects of their core selves, yielding a trans-species concept of self? What are the neural processes that underlie a possible trans-species concept of self? What are the developmental aspects and do they result in various levels of self-representation? Drawing on recent literature from both human (...) and animal research, we suggest a trans-species concept of self that is based upon what has been called a “core-self” which can be described by self-related processing as a specific mode of interaction between organism and environment. When we refer to specific neural networks, we will here refer to the underlying system as the “core-SELF.” The core-SELF provides primordial neural coordinates that represent organisms as living creatures—at the lowest level this elaborates interoceptive states along with raw emotional feelings while higher medial cortical levels facilitate affective-cognitive integration . Developmentally, SRP allows stimuli from the environment to be related and linked to organismic needs, signaled and processed within core-self structures within subcorical-cortical midline structures that provide the foundation for epigenetic emergence of ecologically framed, higher idiographic forms of selfhood across different individuals within a species. These functions ultimately operate as a coordinated network. We postulate that core SRP operates automatically, is deeply affective, and is developmentally and epigenetically connected to sensory-motor and higher cognitive abilities. This core-self is mediated by SCMS, embedded in visceral and instinctual representations of the body that are well integrated with basic attentional, emotional and motivational functions that are apparently shared between humans, non-human mammals, and perhaps in a proto-SELF form, other vertebrates. Such a trans-species concept of organismic coherence is thoroughly biological and affective at the lowest levels of a complex neural network, and culturally and ecologically molded at higher levels of neural processing. It allows organisms to selectively adapt to and integrate with physical and social environments. Such a psychobiologically universal, but environmentally diversified, concept may promote novel trans-species studies of the core-self across mammalian species. (shrink)

Summary of claims: (1) One of the most important relationships between the ontical and the ontological in Heidegger’s thought is the central, ontologically revelatory role that he gives to moods. (2) Heidegger uses the word “mood” as a term of art to refer to the whole range of disclosive affectivity. (3) Because of the role that Heidegger grants to mood as a primordial way of disclosing Being-in-the-world, and because it is impossible to think mood without also thinking the (...) lived body, Heidegger has placed the latter at the center of Dasein’s disclosedness. (4) Heidegger’s account of mood thus entails and highlights, rather than neglects, the ontological significance of the body. (shrink)

The later Stoics, especially – and most notably – Posidonius of Apamea, allegedly the greatest polymath of his age and the last in a celebrated line of great philosophers of the ancient world, gradually developed the belief that all parts of the universe, either ensouled or not, were actually interconnected due to the omnipresent, corporeal, primordial kosmikon pyr which, according to Stoicism, pervades each being as the honey pervades the honeycomb. As for reasonable beings, in particular, kosmikon pyr takes (...) the form of logos. Due to that power, Posidonius believes, the phases of moon, for instance, can affect the succession of tides and ebb–tides; on the same grounds, the signs can have major effect on the course of events and, therefore, allow for divination. That kind of interconnectedness, apart from justifying the interdependentness of all beings to each other, testifies for an utter kinship between them, for sympatheia. In this short paper I intent to show that Posidonius’s approach has been promptly adopted and utilized by modern holistic theories concerning Environmental Ethics, especially by Arne Naess’s Deep Ecology and Ecosophy T, in the context of which notions such as kinship, interconnectedness, interdependentness and identification of all beings are key parameters for the articulation of their argumentation. I also intent to outline some essential – in my opinion – differences in the way Posidonius and Naess make use of the notion of interconnectedness, together with some inconsistencies which can be potentially fatal, at least as far as a system of ethics is concerned. This is because notions such as cosmic sympathy may possibly establish an interesting, even charming and influential cosmology or metaphysics, but when it comes to ethics, in my opinion, they can only provide shaky grounds for establishing a firm one, since they allow for deterministic views, which more or less leave no room for personal responsibility, to wit for personal praise or blame. (shrink)

A orientação da fenomenologia para uma hermenêutica da facticidade do Dasein permitiu a Heidegger sublinhar a importância primordial do afecto na dinâmica ontológica do cuidado. Mais que uma instância de passividade, no sentido husserliano, a Befindlichkeit vem a ser a forma desperta e activa de ser-no-mundo “sentindo-se”, isto é, enquanto compreensão afectiva tácita ou experiência do existir na quotidianidade e na história. Constitui, por isso, o solo abissal pré-reflexivo do que será a Ontologia Fundamental, o qual só na História (...) do Ser terminará de explicitar-se. Mas é também, ao nível da análise meta-ontológica da existência fáctica, que o estatuto da afectividade se revela plenamente, no quadro de uma possível terapia das perturbações do viver e conviver do Dasein de cada um, contornando a mera dinâmica pulsional pensada por Freud. O nosso percurso procurará atender a estes diferentes pontos, tendo como fio condutor o fenómeno exemplar do temor, nas suas diferentes variantes. (shrink)

Knowing is an activity through which agents and world produce themselves. This is often expressed by the enactive claim that agents bring forth a world. I analyse this idea for different modes of agent–environment engagement: interactional, transactional, and constitutional. Something is produced in each case. Bringing forth a world is not only an epistemic but an ontological claim. Acts in their fine structure result from a process of fact production, or f/acts. F/acts co-emerge with their 'preconditions', e.g.intentions, affordances, across the (...) subject/object divide. F/acts define their inner temporality and affectivity, comprising both event and experience. A plurality of worlds is admitted in this enactive view, without entailing antirealism. We cannot bring forth just any world. World resistance organizes action and experience. I touch on the implications for objectivity and free will and discuss the primordiality of activity, community, and relationality. From a notion of groundlessness in early enactive work, I suggest that a participatory universe is better conceived as a meshwork of groundless grounds. (shrink)

Suggesting that phenomenology results in an “imperialism of the same” that considers the other only in terms of their effect upon the subject rather than in their genuine alterity, Levinas initiates a line of thought that can still be discerned in the work of Foucault, Derrida and Claude Lefort. However, this paper argues that Merleau-Ponty’s work is capable of avoiding this line of criticism, and that his position is an important alternative to the more dominant Derridean and Levinasian conceptions of (...) alterity. Moreover, this essay will also extricate Merleau-Ponty from Levinas’ claim that his philosophy is “sustained by an unaccountable affection”. Rather than ignoring the alterity of the other, and also without presupposing some primordial affectionate bond with the other, Merleau-Ponty explicates an interesting conception of what responsibility towards the ‘otherness of the other’ should consist in. Basically, he insists upon the way in which self and other are always already intertwined together (or reversible), and suggests that respecting the alterity of the other should involve the imperative to further immerse oneself in this transformative bond – to transform what we think of as self, and also what we think of as ‘other’. (shrink)

Much of classical Hindu thought has centered on the question of self: what is it, how does it relate to various features of the world, and how may we benefit by realizing its depths? Attempting to gain a conceptual foothold on selfhood, Hindu thinkers commonly suggest that its distinctive feature is consciousness (caitanya). Well-worn metaphors compare the self to light as its awareness illumines the world of knowable objects. Consciousness becomes a touchstone to recognize the presence of a self. A (...) rock is insentient, void of consciousness, and purely an object. Selves, however, are loci of awareness and thus subjects. Some schools, most notably classical Sāṁkhya and Advaita Vedānta, take this approach to its furthest conclusion: consciousness is not only unique to the self, but is the fundamental feature of selfhood. Other putative features of the self—feelings, memories, moral responsibility, and importantly, agency (kartṛtva)—are taken to be the impositions of insentient matter (prakṛti) or symptoms of primordial illusion (avidyā). Against this position, Nyāya defends a more robust notion of selfhood, placing qualities like desire, aversion, volition, and moral responsibility alongside cognition as the self’s distinctive qualities. These various aspects of selfhood come together neatly when we consider agency. An agent performs intentional actions under her volition, which is triggered by her own cognitive and affective states. Her volitional acts further generate moral consequences which she must bear, and which are, in the Indian context, embodied in the form of karmic merit and demerit. For Nyāya, agency is, therefore, a special expression of the self’s different capacities and potentialities, which coherently binds them together. Nyāya’s view is an important contribution to Indian theories of self as it is a counterpoint to what we may call exclusively cognitive accounts of selfhood in other influential Hindu schools, as noted above. The first half of this paper will consider Nyāya’s conception of agency in relation to selfhood. The second half will discuss Nyāya’s arguments with other Hindu schools—specifically Sāṁkhya—in support of the thesis that the self must be an agent as well as a knower. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

We discuss the relation between string theory/supergravity and the observational data in cosmology, as well as at LHC, past and future. We pay particular attention to the possibility of the future detection of primordial gravitational waves and how this might affect our understanding of fundamental physics.

Ortega y Gasset’s old lament that no one had so far attempted a rigorous phenomenology of pain no longer holds since the appearance of Christian Grüny’s recent monograph Zerstörte Erfahrung. Eine Phänomenologie des Schmerzes. Grüny argues for the use of phenomenological categories from Merleau-Ponty in order to understand physical pain as a “blocked escape-movement” , concluding that corporeal suffering makes impossible both a clean distinction and a pure identification between the lived body and the physical body that I am. In (...) my paper, I would like to suggest some improvements to Grüny’s approach through the utilization of the category of self-affection, as the material phenomenology of Michel Henry has developed it. In addition to the radical immanence in which hyle, noesis, and noema are unified into a “carnal cogito,” however, I argue that it is necessary to describe the painful self-affection not only in terms of any sensitive excess whatever , as Grüny posits, but also in terms of a mutation of the sensitive excess into the intra-tactile sphere of sensibility. Thus I endorse the Husserlian insight that makes tactility the primordial structure of sensibility. (shrink)

This article aims to understand the primordial experience of the existence of the Other, presented by Jean-Paul Sartre in the third part of Being and Nothingness. In order for our intention to be effectively understood, we have organized this reading into three duly articulated moments. In the first moment, it is essential to clarify how the French philosopher delimited the problem of solipsism as an obstacle constituted by realist and idealist philosophies that generally deny the conditions of possibility for (...) the existence of the other, as well as the critical description that questions the permanence of solipsistic theories in contemporary times, bequeathed by Husserl, Hegel and Heidegger. From this critique, we will lead our reading to the second moment, which consists of establishing an understanding of the existence of the Other, showing how it appears and affects the subject’s daily life, above all because the Other requires the presence of a body and a consciousness that is distinct from the subject’s. In the last moment, we will emphasize the interesting approach to the gaze and shame, this original feeling that strips the consciousness of any certainty that it is isolated in the world. Thus, the experience of shame comes to be understood as the unveiling of the subject’s consciousness, which perceives itself as “invaded” by the gaze of the Other, thus making the Other’s existence in the concrete relationship effective. (shrink)

O objetivo deste artigo é analisar a interpretação pragmatista da tradição da Teoria Crítica, e o papel que as idealizações neokantianas assumem nesta interpretação. Tentaremos mostrar que, em uma interpretação pragmatista, o cerne da Teoria Crítica consiste em uma tensão argumentativa vinculada à estruturação comunicativo-discursiva típica das sociedades democráticas contemporâneas, como estruturação que confere às discussões práticas um papel primordial na dinâmica social concreta. Partindo de uma análise das diferenças entre as perspectivas antiga e moderna de compreensão da discussão (...) prática, procuramos mostrar que, no âmbito das discussões práticas modernas ou contemporâneas, as idealizações neokantianas assumem um papel central, definido através da oposição a fatores objetivos ou objetivados, alheios à racionalidade, que admitidamente afetam tais discussões. Nesse contexto, as idealizações neokantianas se configuram como suposições idealizadoras, com as quais os participantes das discussões não podem deixar de em alguma medida se comprometer. AbstractThe aim of this paper is to analyze the pragmatist interpretation of Critical Theory, and the role that the neo-kantians idealizations assume in this interpretation. We argue that, in the pragmatist interpretation, the core of Critical Theory is located in an argumentative tension linked to the communicative and discursive structuring typical of the contemporary democratic societies, as a structuring which gives to the practical discussions a primordial role in the concrete dynamics of society. Starting from an analysis of the differences between the ancient and the modern perspectives of comprehension of practical discussion, we argue that, in the context of the modern or contemporary practical discussions, the neo-kantians idealizations assume a key role, defined by the opposition to objective or objectified elements, which are alien to rationality, and affect such discussions. In this context, the neo-kantians idealizations take the figure of idealizing suppositions, with which the participants cannot help engaging. (shrink)

This article presents the conceptual groundwork for a “poetics of the self” by theorizing how and why a creative praxis rooted in Ricoeur’s philosophy of the will and hermeneutics of the living metaphor contributes to an individual’s on-going development of self-awareness. Its focus is on the affective fragility that manifests in an individual’s intermediary status of polarities – finitude and infinitude, freedom and nature – in conjunction with Ricœur’s tensional status of metaphorical truth. The act of writing poetry, it suggests, (...) can be an aesthetic mediation that develops insight into the primordial discord of the servile will. (shrink)

The article starts with a brief overview of the kinds of approaches that have been attempted for the presentation of Phenomenology’s view on the emotions. I then pass to Husserl’s unsatisfactory efforts to disclose the intentionality of emotions and their intentional correlation with values. Next, I outline the idea of a new, “normalized phenomenological” approach of emotions and values. Pleasure and pain, then, are first explored as affective feelings . In the cases examined, it is shown that, primordially, pleasure and (...) pain are recordings for our bodily and spiritual states resulting from our confrontation with beings and situations in the world. Delight and distress are, subsequently, approached as the first full-fledged emotive acts that animate or intentionally interpret pleasure and pain in specific ways. The elementary values of agreeableness and disagreeableness appear correspondingly to the latter in relation to the very pleasure or pain and to what has caused them. In other words, agreeable and disagreeable show how what we confront in the world weighs for us, what value it has for the embodied intentional consciousness, for its state and functioning as well as for its existentio-praxial possibilities in the lifeworld. (shrink)

The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its containing many (...) interesting ideas, Henry’s phenomenological approach is insufficient to describe the aesthetic experience of Kandinsky’s abstract art. For Henry, aesthetic experience is corporeal, primordial, non-intentional, and independent of knowledge and culture.By contrast, I believe that it is possible and more suitable to connect the direct, corporeal, and affective character of the aesthetic experience of abstract art with intentionality and embeddedness in culture and knowledge. (shrink)

In this paper I am discussing the concept of “objective world”, its hope and aim as vigorously presented in Husserl’s famous discourse of the Fifth Meditation. In this manner, the first part of my work focuses on Husserl’s intentionality as knowledge of the “I” or “my ego” as my primordial identity, in relation to “my culturalcommunity” as its primordial one, too. The thesis will then develop into “intersubjectivity” in which “the other” and his “cultural community” as primordially constituted (...) are objective to be fully understood in terms of synthetic knowledge; namely through psychological, cultural, historical and social forms and contents. The second part of my paper takes off from where transcendental phenomenology is grounded to look into the problem of Globalization and questions of value. If the first part followed Husserlian theoretical investigations, sometimes called interpretive philosophy to hopefully acquire universal principles, the second onecan be called practical doctrine, which studies cases presented by a number of specialists who focus on praxis and consequences of Globalization – a theme for economic concerns, but inherently it affects the stability of the community of mankind. This new world order overtly and covertly critiques traditional concepts of nation and culture as it redefines democratic concept, coming home to human rights. Its challenge has been already about the doubts and contradictoriness of “values” in broadest and “reduction” sense. OBJECTIVITY as a noun, and OBJECTIVE, an adjective and noun are terminologies of extremely complicated shades of meaning in Husserl’s Cartesian Meditations, particularly in the fifth one where such terms are used interchangeably to fit the concept of intersubjective Nature; which I will explore and further put it in current economic and political drive to Globalization. In this regard my theme will deal simultaneously with both the critique of Husserlian thought and neo-liberalism (liberal democracy), a twist of democracy for preserving capitalism in what is called a new world order by ordinance and defense of Imperialism as well as the states that so desire to join the world market. (shrink)

The four essays collected in this dossier are directed upon the contemporary understandings of blackness, as an ontology, a phenomenology, or a historicity. In the order of their presentation they encompass and situate what seems first to limit black being or overflow it, but which, when questioned, that is, disclosed, or unconcealed, does not fit into this logos, nor is ordered by it, even making what is most discernable about blackness in its past, future, or present, seem imaginary, moored in (...) a non-present,and presence, but in ways which make the non-being that marks blackness as sign, affect, or speaking being, unthinkable except as an appearing, a manifestation, an identity.As a dossier directed upon the present philosophical understanding of blackness, each paper seeks to unanchor blackness from the meanings and presuppositions that it normally calls forth. Beyond what is discernable, or ready-made, each paper addresses structures that make (and have made) blackness discernable as the always given to be seen, as meaningless speech, as pathology, as a concept beyond reason.The dossier opens with a question: what kind of disturbance does blackness present to being? Why does it seem to madden reason, or call forth frenzy? In Calvin Warren’s essay, “The Karen Call,” what comes into correlation with blackness are various kinds of emergency that structure white thought and presence but that belie witnessing and intelligibility, and in whose chain of significations can be discerned an ontological privilege that constitutes the world. To appear emergent, it seems, all blackness has to do is become one with the myth that bans or compromises it; a manifestation in which subject-object relations are already polarized by the dangers that deploy it in dramas of emergency. Once blackness becomes emergent, there is no escape, for it comes up against what Warren, reading Heidegger against the grain, suggests is a racial destiny of Being. To appear black is forthwith to resemble an es gibt that is indissociable from threat, falsehood, fantasy, and obliteration. To that extent, blackness attests to a kind of ontological emergency without surcease or hope, and one whose trace remains in every moment or glimpse; whose technical modality and structure always returns us to the call that is neither speech nor gaze, word nor symbol, but represents an extimacy that is undeconstructable, beyond utterance, meaning, or reparation.Such extimacy seems to induce a crisis in the philosophical notion of being itself. In Axelle Karera’s essay, “Paraontology,” the question asked is why blackness cannot be contained or fitted into ontology itself; or, if philosophy is ontology, why does blackness seem to signify an irreducible resistance to it?How does such resistance occur? If blackness can only be presented as “paraontology,” a word that seems to shelter ontology at the same time as it presents the search for a new order of being, what does the para teach us about blackness as disorder, resistance, or identity? What is its philosophical genealogy and affiliation, and why does the para itself seem to never get beyond its own conciliation, or filiation to philosophy, whose ordering and racist historicity thereby remains the seme and mark of the para as interval, trope, and index? Or, put more simply, can blackness ever resist its own resistance as trope, conjuncture, or representation? Retracing that genealogy through the work of Oskar Becker, Karera uncovers a surreptitious repetition in black uses of the word, in whose weave can be discerned a fascist interference that not only undermines the fugitivity of the resistance so claimed, but one that unwittingly repeats a fascist ontology of world, history, and being.1 It’s a startling, deeply disturbing claim. But the apparent echoing of the Heideggerian bell in black significations of ontology suggests that what is being reabsorbed here is not so much a radical difference but a concept that remains justified and in fee to, pardoned and annulled by, a white notion of being. What, then, can it mean to think blackness as para? Nothing more than a philosophical confusion that confuses l’être qui fuit, that is, the lack that Lacan says cannot be completed or resisted, for an appositional fantasy of displacement. Here everything that is deemed black has to be made meaningful in apposition to ontology, but everything that is black must also, it seems, always return apposition to the white para of ontology; to be black and appositional would, it seems, produce only the disavowal of the philosophical genealogy that always already determines it.One would be right to distrust such claims—the moralism of the refusal, and the scandal of the faux resistance by which the para hides behind its own whited-out screen.In the third contribution to the dossier, the question asked is what would it mean for blackness to repair itself, to let go or retrieve and so redeem its own historical conjuncture? How do we refer to an irreparable past, that is, a past that keeps on coming back, but one that has no sign or signified, no memory that can recapture or reveal it, or simply rejoin us to it without remainder? Rinaldo Walcott’s essay, “‘Retrospective Significance,’” revisits the reparations debate as a question of black being. Instead of repair, he finds desolation and emptiness, or what he calls a staggeringly incoherent rhetoric of coherency. It’s a paradox that addresses what it means to remember or to forget a nothing; if blackness is nothing, how does one reconnect with it, bond with it, compensate it in its historic devastation? What would it mean to receive meaning from such devastation, to express it if this nothingness is absolute, or absolutely valueless? If ontology is a structure, then blackness, Walcott suggests, expresses nothing less than a “slave-ness” that continues to confront and disturb us absolutely, irrevocably. As such slave-ness is the trace that remains as a sign of the irreparable. As a trace, and not a sign, slave-ness becomes the primordial signifier of being, nation, history, and diaspora. But it is what makes it irrecuperable that defines its value and difficulty for the very language of reparation. Walcott pursues this difficult, enigmatic thread through the work of black thinkers on diaspora and identity. He concludes: black being cannot be dissociated from the disturbance it offers value, conscience, and any thought of alterity.The final and fourth contribution returns to the question of blackness as the trace or thread (the monstration) of being. How does one follow the thread (montrer) of blackness if it is always already withdrawn from being? David Marriott’s essay, “Ontology and Lalangue,” evokes Lacan’s concept of lalangue in pursuit of this enigmatic equivocation between letter and signifier, philosophy and psychoanalysis. Showing how both discourses have sought to master this exorbitance as master and/or free it as slave, I show how blackness is extinguished by the very words used to precipitate it into being. The slavish audacity of this lalangue is then shown to disarticulate, or more exactly, withdraw from ontology, but only so that whiteness can be presented and proclaimed all the more as the un-representable truth and logic of Dasein. This way of excluding blackness while preserving whiteness is not only central to philosophical and psychoanalytic understandings of language, Marriott argues, but this way of manifesting itself without manifesting itself is also crucial to the racialization of the logos as such.What is essential here is the way a meaning that is beyond meaning or representation is inserted into a problematic of mastery and servitude that advances-conceals a racial genealogy but in ways that makes the being of blackness an enigma. As such, blackness becomes an exorbitance that is always effaced in its monstration. More, its revelation must necessarily be unrecognized as the very locus of knowledge and truth. In that sense, what would it mean to figure, or to speak, this n’est pas without the consolation of being, meaning, truth, or logic? What would it mean to represent it as situated or defined by the language of ontology? Is black speaking being always in a relationship to and simultaneously the manifestation of a lalangue of lalangue? (shrink)

RESUMEN Se interroga la atencionalidad propia del amor en cuanto que experiencia privilegiada y primordial del cuidado. En busca de un acceso al fenómeno del amor, se propone interrogarlo conforme al tipo de atención que promueve, asumiendo y discutiendo los recursos aportados por la fenomenología husserliana, así como por las fenomenologías contraintencionales, en particular la de Waldenfels. De este modo, si para describir este fenómeno es preciso dar cuenta del fundamento afectivo de la atención, también hay que reconocer que (...) el amor es vivido como un hecho original o un acontecimiento que implica para el amante una reorientación existencial y atencional. ABSTRACT The article inquires into the attentionality inherent to love as a privileged and primordial experience of care. Seeking access to the phenomenon of love, we suggest inquiring into it according to the type of attention it promotes, drawing on and discussing the resources provided by Husserlian phenomenology, as well as by counter-intentional phenomenologies, particularly Waldenfels'. Thus, while it is necessary to account for the affective grounds of attention in order to describe this phenomenon, it is also essential to recognize that love is experienced as an original fact or as an event that entails an existential and attentional reorientation of the lover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Archive Feelings: A Theory of Greek Tragedy by Mario TelòSean LambertTelò, Mario. Archive Feelings: A Theory of Greek Tragedy. Ohio State University Press, 2020. 344pp.In Archive Feelings: A Theory of Greek Tragedy, Mario Telò takes aim at one of the most canonical (if also one of the most contested) features of Greek tragedy: its potential to deliver catharsis (12).1 Through careful close readings of Greek tragedies informed by (...) psychoanalytic theory and deconstruction, Telò makes a persuasive case that tragedy is anti-cathartic. “The Freudian take on catharsis is complicated, or even undercut,” he writes in the introduction, “by its own anti-cathartic latencies… We can accordingly look at tragedy as a form of dramatic poetry that finds its affective raison d’être… in these anti-cathartic feelings” (34).Telò states that the intent of Archive Feelings is mainly to intervene in the age-old debate, asking: “why do human beings enjoy tragedy?” (14). He suggests that the pleasure of tragedy is, in fact, a masochistic one: a denial of release or pleasure (such as would come from catharsis) that an audience or reader enjoys in its specifically joyless jouissance. At stake is “feeling material,” a “fantasy” of “merging into the impersonal, anorganic, universal matter of elemental life” (44) evoked in tragedy’s death-driven withdrawal from action. With this concept in mind, Telò goes beyond even his own ambitions for his project. More than merely intervening in debates about the pleasures of tragedy, he argues powerfully for the continuing relevance of Greek tragedy for critical theory today, particularly in light of the so-called “affective” and “material” turns in the humanities. Archive Feelings is thus a useful book for classicists conducting interdisciplinary and/or trans-historical research, but even more so for any scholar working within the constellation of psychoanalysis, deconstruction, queer theory, affect theory or critical race theory. Telò makes a persuasive case for tragedy as a lodestar within this firmament–a vital tool for thinking through problems within and across disciplines.In striking contradistinction to previous theorists of Greek tragedy, including Aristotle and Nietzsche, Telò locates the engine of Greek tragedy in the death drive. In so doing, he reads in ancient narratives a number of experiences such as “acceleration, hoarding, vertiginous suspension, [End Page 113] breathless looping, affective bulimia or binge-eating, serial cutting, trying to enter or fold in upon oneself, auto-immune inflammation” (14), and finds in “the orgasm as an unfinished, non-teleological pleasure,” a desire to return to a state of “inert matter” (13).2 Noting that the original meaning of the Greek word archê is “origin,” Telò connects this impulse to once again become “inert” with the desire to create archives. Thus, Telò sees Greek tragedies as both a model for projects of archival reconstruction as well as archival projects themselves: they are “anxious and debilitating” attempts to “re-create the past as it was” (13).3Telò’s study is divided into three parts: Archival Time, Archival Space, and Archival Endings, which attempt to “structurally reproduce the psychological temporalities of the archive” (49). In each of his five chapters, Telò elaborates the diverse narrative masochisms of Greek tragedy, exploring the various stakes and species of tragic anti-catharsis. In Chapter 1, Telò reads the “archive fever” of Sophocles’ Oedipus at Colonus against the “archive fatigue” of Euripides’ Phoenissae, finding in both of these plays—near the end of the epoch of ancient tragedy—an impulse toward “textual hoarding” (76) that both undermines the possibility of catharsis and “exhausts” (106) the possibilities of the genre (107). In both the “synchronic gathering of disparate fragments of experience” into the body of Oedipus before his death and the aesthetics of boredom, fatigue, and inertia that suffuse the Phoenissae, Telò locates a desire to store up, rather than purge, emotions such as pity and fear, in a flouting of the normal formula for catharsis (73).In Chapter 2, Telò looks at the figures of Heracles and Medea in their original myths and tragic incarnations, seeing in both the compulsion to recircle around scenes of their respective “primordial traumas” (145). In Euripides’s Medea, this move manifests in repeated references... (shrink)

Studying the Bernau manuscripts, we find that because protentions are motivated by the sedimentation of retentions and retention is the retaining of fulfilled protentions, the problem of the birth of consciousness arises. I argue that the phenomenon of sleep and awakening is not fundamental enough to understand the problem of the birth of consciousness, since “far” retentions can here serve as motivations. Consciousness at its birth seems to require a pre-consciousness of hyletic unities, such as manuscript C 4 described, to (...) provide these first motivations. I will show that this model of time-consciousness therefore already requires a rethinking of consciousness according to an open (horizontal) affection-and-action model instead of the absolute (vertical) sensation model. As such, the transcendental solidarity between objectivity of knowledge and subjectivity of experience comes to be founded in the primordial transcendence that the pre-consciousness of C 4 implies. Time-constitution at its core is already motivated by the world to constitute it and itself. (shrink)

Ever since antiquity, philosophy has continuously striven to grasp the phenomenon of humor and laughter, while, in modern times, Bergson certainly holds a special place,\ with his interpretation of laughter, and particularly “humor”, as a form of social sanction. However, such an analysis neglects the fact that the ability to laugh is actually grounded in a primordial sphere of life-affection as such, so that, starting from here, we could understand laughter, in connection with the radical-phenomenological essence of life itself, (...) as being essentially joy. (shrink)

RESUMEN Se interroga la atencionalidad propia del amor en cuanto que experiencia privilegiada y primordial del cuidado. En busca de un acceso al fenómeno del amor, se propone interrogarlo conforme al tipo de atención que promueve, asumiendo y discutiendo los recursos aportados por la fenomenología husserliana, así como por las fenomenologías contraintencionales, en particular la de Waldenfels. De este modo, si para describir este fenómeno es preciso dar cuenta del fundamento afectivo de la atención, también hay que reconocer que (...) el amor es vivido como un hecho original o un acontecimiento que implica para el amante una reorientación existencial y atencional. ABSTRACT The article inquires into the attentionality inherent to love as a privileged and primordial experience of care. Seeking access to the phenomenon of love, we suggest inquiring into it according to the type of attention it promotes, drawing on and discussing the resources provided by Husserlian phenomenology, as well as by counter-intentional phenomenologies, particularly Waldenfels'. Thus, while it is necessary to account for the affective grounds of attention in order to describe this phenomenon, it is also essential to recognize that love is experienced as an original fact or as an event that entails an existential and attentional reorientation of the lover. (shrink)

The Vatican's Letter to the Bishops of the Catholic Church on the Collaboration of Men and Women in the Church and in the World, issued in 2004 to reinterpret biblical creation accounts, were not as successful as they might have been. Instead of focusing attention on social structures of gender domination, the document criticizes feminist theories, which, supposedly, lead to tensions between sexes or tend to destroy family values. I have tried to reinterpret the same cardinal biblical creation accounts by (...) means of an historical-critical approach, etymological interpretation and hermeneutics, and to show how sexual and gender identities are unintentionally constructed by the authors of these accounts and how structures, appearing in these accounts as `structures of sin' have affected the interpretation of these identities in the same Bible and in the world of formation of the New Testament. The story of `primordial sin' in this case is a metaphor of socialization, for the metaphor of the tree of knowledge of good and evil, is to be understood as the tree of knowledge of opinions, rooted in society, tradition, culture, concerning what is good and what is evil, acceptable and unacceptable. (shrink)

A partir du double constat d’une carence de statut et d’une crise de sens de la topologie lacanienne du nœud borroméen, nous tenterons d’expliciter le sens phénoménologique de ce nœud. Réduit à son essence, le nœud borroméen est composé de points et de trous. Or ces trous sont le résultat de mouvements expérimentables sur un mode affectif et charnel. La pul- sion, le désir, l’amour, constituent en effet la matière phénoménale du nœud borroméen. Avec Husserl, Merleau-Ponty et Patočka, nous montrerons (...) que la Terre originaire et immobile cons- titue l’ancrage de tous ces mouvements. Les mouvements-nœuds de la vie affective reçoivent alors une signification ontologique. Ils sont autant de variantes du mouvement primordial vers l’être. (shrink)