La première question que cette étude examine est celle du rôle que le Socrate de Platon et le Socrate de Xénophon reconnaissent à l’ askêsis dans la genèse de la vertu. La question de l’ askêsis débouche à son tour sur une autre question, celle de l’exemplarité de Socrate. Dans la mesure où celui qui s’exerce à la vertu a besoin d’un modèle, il faut également examiner si Platon et Xénophon proposent Socrate comme un modèle digne d’être imité. L’étude qui (...) suit s’inspire de l’approche que j’ai coutume d’appeler l’« exégèse comparative », laquelle consiste à confronter l’une à l’autre, sur un même thème socratique, les positions défendues respectivement par le Socrate de Xénophon et par le Socrate de Platon, afin de mettre en lumière les différences entre leurs positions respectives, la portée de ces différences et, surtout, les raisons qui les sous-tendent. La question du rôle de l’ askêsis dans la genèse de la vertu se prête particulièrement bien à l’exégèse comparative dans la mesure où la question de départ est clairement formulée, en des termes très voisins, dès les premières lignes du Ménon et au début d’un chapitre des Mémorables (III 9). (shrink)

While Foucault referred to Benjamin just once in his entire corpus, scholars have long noticed affinities between the two thinkers, mainly between their conceptions of history: their emphasis on discontinuity, their historiographical practices, and the role of archives in their work. This essay focuses, rather, on their practice of critique and, more specifically, on their conception of the relation of this practice to exercise or askesis. I examine the role of askesis as a self-transformative exercise in Foucault’s late (...) work and how this concept reverberates throughout his idea of critique as the exercise of an ethos demanding arduous work. Against this background, the role of exercise (Übung) in Benjamin’s Origin of the German Traeurspiel, his interest in ascetic kinds of exercise or schooling, and its ties to critique are discerned. This comparison reveals significant similarities in Foucault’s and Benjamin’s conception of philosophy, as well as different emphases in their inheritance of the Kantian critical project: critique as an exercise of an attitude attentive to possibilities for transformation in the present vs. critique as involving an attitude-transforming exercise; critique as a modern ethos that needs to be reactivated vs. critique as propaedeutic, as a preparation for a modern tradition. (shrink)

In his renowned courses at the Collège de France from 1982 to 1984, Michel Foucault devoted his lectures to meticulous readings and interpretations of the works of Plato, Epictetus, Seneca, and Marcus Aurelius, among others. In this his aim was not, Edward F. McGushin contends, to develop a new knowledge of the history of philosophy; rather, it was to let himself be transformed by the very activity of thinking. Thus, this work shows us Foucault in the last phase of his (...) life in the act of becoming a philosopher. Here we see how his encounter with ancient philosophy allowed him to experience the practice of philosophy as, to paraphrase Nietzsche, a way of becoming who one is: the work of self-formation that the Greeks called _askésis_. Through a detailed study of Foucault's last courses, McGushin demonstrates that this new way of practicing philosophical _askésis_ evokes Foucault's ethical resistance to modern relations of power and knowledge. In order to understand Foucault's later project, then, it is necessary to see it within the context of his earlier work. If his earlier projects represented an attempt to bring to light the relations of power and knowledge that narrowed and limited freedom, then this last project represents his effort to take back that freedom by redefining it in terms of care of the self. Foucault always stressed that modern power functions by producing individual subjects. This book shows how his excavation of ancient philosophical practices gave him the tools to counter this function-with a practice of self-formation, an _askésis. _. (shrink)

The present paper attempts to explain Socrates’ remark in Symposium 212b, where the expression “diapherontos askein” is used to describe Socrates’ attitude towards erotic matters [ta erotika]. The analysis of the dialogue shows that a human being with a reliable power of Eros and knowledge about the proper way of life should strengthen their character virtues through self-restraint and justice. This power is a natural component of every person, and the knowledge about life can be obtained both from the Symposium (...) itself and from the speech of Diotima. Furthermore, in the apology delivered by Alcibiades as well as in the Apology and Phaedo, Socrates is presented to the reader as the perfect moral ideal that serves as a criterion for leading a proper life. While the two aforementioned elements provide a suf ficient condition for being a philosopher, they do not guarantee access to transcendent reality. If this access is to be attained at all, it is only through hard work on the moral and intellectual aspect of being human. (shrink)

This essay examines what the philosophy of Paul Ricoeur can contribute to current debates on the role of spiritual exercise, or askēsis, in philosophical life. The influential work of Pierre Hadot and Michel Foucault has sparked a widespread interest in the ancient model of philosophy, variously described as a way of life, art of living, or care of the self. Ricoeur’s potential contribution to this conversation has been overlooked, largely because he does not discuss these themes explicitly or often. However, (...) Ricoeur’s early phenomenology of embodiment in The Voluntary and the Involuntary offers valuable insights regarding the exercises of self-transformation. After a brief survey of Ricoeur’s concept of askēsis, this essay draws on Ricoeur to demonstrate the merits of physical exercise, or gymnastic, in ethical and spiritual formation. Gymnastic, Ricoeur shows, can be a form of spiritual exercise. The final section of the paper then makes a similarly counterintuitive claim: namely, that reading is an embodied practice that can facilitate the ethical formation of the lived body. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Acts of Askēsis, Scenes of PoiēsisThe Dramatic Phenomenology of Another Violence in a Muslim Painter-PoetNauman Naqvi (bio)[End Page 50]The Divinity is beautiful and loves beauty. Cultivate the ethos of the Divinity. Askēsis is my glory, and all askēsis is from me.— Hadith of the Prophet Muhammad, Sahih al-Bukhari>> Introduction: Presenting the Drama of the Gnostic Ontology of Violence in IslamIn current discourse on violence in Islam, the fundamental importance (...) of the Prophetic distinction—a distinction iterated in a number of hadith, or speech-events of the Prophet Muhammad—between the greater, inner jihad, against the ego (al-jihad al-akbar), and the lesser, outward jihad, against oppression and animosity (al-jihad al-asghar), has often been cited. Even so, an originary measure of the significance of this exemplary distinction—abyssal in its simplicity, disclosing as it does the divinity proper to the divinely ordained imperative of jihad (such disclosure of divinity being the very task and telos of the Prophetic speech-event, its very eventfulness (hadatha)—has hardly been taken or heeded.It has not, to begin with, been explored that both forms strikingly share the violent word, jihad: in Arabic, forceful effort or struggle. It is as if the reality and intensity of these two radically different forms of force are adequated a priori in the Prophetic speech-event—if anything, it is the former, the inner jihad, that has the greater reality, the more violent, imperative intensity. With their difference a matter of degree and quality, the two are at once intimately related and violently real, linguistically leaving us little space for the distinction between the metaphoric and the literal in this demanding economy, language, and ontology of violence.1The line that has been drawn between the two forms of violence in the Prophetic speech-event is not ontological per se—it is the axis of the stage of their dramatic encounter, the battle line of their distinction. This axis, this vertical battle line of distinction, is the strait, but upwardly infinite, dramaturgical space wherein is enacted the gnostic ontology of violence in Islam. It is the axial line of force emanating from Islam’s extraordinary emphasis on the radical purification of one’s intention, one’s very intentionality (i.e., the purification not just of the springing ground of one’s comportment, but of the anterior ground where one receives and apprehends the real as such), in a quest for the demanding Divinity that would hurl the Islamic subject both inside and outside itself in its own endless search and infinite encounter. It is the battle line of distinction that races through the world stage of Islam’s arts, knowledges, and practices—the auratic line of force pulsating through the fields of its charismatic inheritance of generous visions, discourses, and gestures. Indeed, it is the piercing erotic arrow of divine love and mercy that is the subtle motus animi continuus of Islam’s graceful works of poiēsis.For the violent task of askēsis assigned by the great imperative of inner jihad is closely related both to the imperative of beauty in Islam—where the effects of askēsis: virtue and virtuosity, are densely, passionately cathected and imbricated with the beautiful2 by [End Page 51] virtue of the latter’s manifestation of divinity—as well as to the imperative of knowledge, wherein theory and praxis are united in askēsis.3Beauty and its creation—the act of poiēsis —are also, then, violently real, as are knowledge and its effects, since together they all have a kenotically violent askēsis as the condition and telos of their possibility, as the very ground(s) of their emergence and potentiality. Thus, the significance of the greater jihad is (again) to be read potentially, in the entire range of the arts, gestures, habits, and letters of Islam, its artifacts and bodies, where generous, kenotic, sacrificial logics are on display, not just in the lesser archive of jihad (in acts of greater jihad on far bygone battlefields), but in the epic world-panorama of the acts and scenes of askēsis and poiēsis that are... (shrink)

Michel Foucault turned to Classical and Hellenistic philosophy late in his career, a change of focus that surprised and was misunderstood by many at the time. Often, it is supposed that his aim was to find the “freedom” that he had allegedly denied in his earlier works on power relations; he is thought to have proposed an autonomous self which would oppose and resist dominating political institutions. I instead contend that Foucault’s work on the Ancients is better understood as a (...) challenge to or interrogation of current understandings of freedom. Rather than locating a subject whose freedom would consist in a lack of determination (whether from power or any other source), “freedom” in Foucault’s work on the Ancients is the result of a deterministic production. Rather than describing a freedom which is already naturally ours, Foucault shows how Classical and Hellenistic subjects used techniques to constitute themselves as free. Hence his later works’ emphasis on askesis, or “practices of the self”— that is, the work one performs on oneself in order to transform what one is. Practices of askesis, and those of Epictetus in particular, show that knowledge alone is not sufficient for morally improving oneself. Practices of askesis also indicate that treating one’s volition (or “will”) as a quasi-object to be adjusted through practical techniques does not alienate freedom, but rather is freedom’s foundation. Indeed, Foucault shows that through the exercises of askesis, a subject can be produced and constituted as free for the first time. Examples of askesis in Epictetus are given to show how a Stoic could force himself to have a morally correct volition: taking ideas which he knew but could not follow, and transforming them into principles of actual conduct which he could not help but follow. The sense of “freedom” and “subject” developed in Foucault’s reading of the Stoics thus remains wholly foreign to free will as an original possession of a purely autonomous self. In fact, it challenges free will on a number of issues, including the relation of choice to knowledge, how to effectively reform and reshape desire and judgment, and the benefits of treating oneself as a quasi-object. It is through askesis that Foucault most clearly raises these challenges, and in so doing, makes us question our reliance on the free will as an explanation for human ethical behavior. He replaces it with askesis, a set of effective techniques which can actually transform us into the ethical selves we want to become. (shrink)

This article explores the ethical imperative to dramatise in the work of Georges Bataille and Gilles Deleuze, two of the most radical thinkers in twentieth-century philosophy, as a peculiar kind of askesis. Whereas askesis is often associated with asceticism or self-denial, in the sense of self-regulation and abstention, Bataille and Deleuze advocate training the self towards intensification of the liminal and extreme, which can rather be understood as a denial of self – its dissolution or laceration. Few attempts (...) have been made to compare their work, even though both share a commitment to resisting the closures that bind our desires and inhibit our full participation in and confrontation with the ebbs and flows of an impersonal, immanent life. Through careful consideration and comparison of their work, I argue that both offer important methods for engendering modalities of ecstatic being characterised by sensitivity to immanence, which have important ramifications for our ability to address phenomena of ethical indifference and resist the constrictions of social control mechanisms that decimate our political imaginations and inhibit our resolve to invent a different future. In the final sections, I interrogate the differences in their invocation of affect and art. (shrink)

Educational Theory, Volume 72, Issue 1, Page 31-46, February 2022.

Of the practices John Cassian brings from Egyptian desert elders to southern Gallic monks, his scriptural hermeneutics best reflects the dynamic link between exegesis and askēsis, reflection and action, and authority and agency. His four-fold method reinforces the view that scripture is absolutely authoritative but incredibly obscure and therefore requires interpretation. Riddled with contradictions, acts of violence, and the plainly nonsensical, scripture provides foundations in early Christianity only through the complex interplay of interpretation, authority, and power. To read exegesis only (...) as an intellectual exercise or assertion of power, however, neglects its relation to other forms of askēsis in Cassian’s Conferences and Institutes. For Cassian, scriptural interpretation renders lived practice and practical knowledge inseparable from contemplative knowledge. Cassian’s view of scriptural meditātiō is shaped in late antique Christian milieus where interpretive reading practices shape ascetic habits alongside practices of manual labor, fasting, and prayer. For Cassian and the Egyptian desert ascetics with whom he trained, scriptural interpretation does not lead to keen description or reflection alone, but must impact one’s practices, one’s tropos, one’s very way of life. Such a perspective allows us to see not only the relevance of Cassian’s ethics to Christian thought and practice, but also to approach Cassian’s texts with a critical eye for how they enable reflection on contemporary religious ethics beyond the particulars of Christian predicates. (shrink)

This article seeks to extend and refine Alastair MacIntyre’s moral theory of virtue ethics, by probing behind the Benedictine Rule—so fulsomely invoked at the end of After Virtue—to the ascetical theology of the noted, Eastern, ‘Cappadocian’ theologian of the fourth century: Gregory of Nyssa. I shall argue that Gregory’s vision of ascetical bodily practice complicates MacIntyre’s contemporary appropriation of virtue ethics. It does so by underscoring the diachronic, developmental character of personal ethical maturation—a theme which finds no expression in MacIntyre’s (...) otherwise sophisticated account of ‘narrative’. (shrink)

The paper explores the role of body in Epictetus’s Discourse and Buddhist Satipaṭṭhāna Sutta and underscores the importance of embodied practice in Epictetan askēsis (‘training or exercise’). It argues that the important but unrecognized role of the body in Epictetan askēsis can be better understood if we introduce in some perspectives of early Buddhism. From the angle of spiritual exercise, early Buddhism maintains that the meditator ought to experience the body directly and contemplate the body as an impermanent physical object, (...) and not identify oneself with it. And based on the insight into the reality of the body and the cultivation of bodily awareness, the meditator can detach himself from the transient phenomenon and remove the unwholesome states of mind. Similarly, for Epictetus, by training our impression on the body and regarding the body as an indifferent thing but not the true self, one may successfully attain the truth of the body conditioned in various social contexts and then realize detachment and freedom. Therefore, in both early Buddhist meditation and Epictetan askēsis, the embodied practice of contemplating the body as it actually is, is also a spiritual exercise to understand the phenomenal world and detach from external things and to examine and tranquilize the internal world. (shrink)

Contemporary ethicists largely ignore the recent, revolutionary findings of psychodynamic psychology. The author argues that ethicists have been dissuaded from taking psychodynamic psychology seriously by hostile attacks on the credibility of the psychodynamic paradigm, and confusion about the contribution that clinical findings can make to ethics. With respect to these obstacles, the credibility of the psychodynamic paradigm is vouchsafed by a growing body of empirical studies that support the main psychodynamic hypotheses, particularly those of interest to ethicists. This new research (...) points toward the need to expand the range of issues covered by contemporary ethics by retrieving and updating the ancient tradition of askesis, involving thought-exercises oriented towards cultivation of habits of mind conducive to acting morally in one's daily activities. The paper concludes by sketching several ways in which self-reflection may improve moral decision-making. (shrink)

Philosophy as a way of life has been undergoing a revival in recent years. This essay explores how the central idea of the spiritual exercises can be used to develop an account of philosophy of religion as a way of life. It details some of the contemporary uses and trajectories of philosophy as a way of life. Through engaging the religiously inflected philosophies of Karl Jaspers and Simone Weil, this paper argues that their thought can present an account of philosophy (...) of religion as a way of life that is both ethically and transcendentally oriented. (shrink)

In both ancient tradition and modern research Pythagoreanism has been understood as a religious sect or as a philosophical and scientific community. Numerous attempts have been made to reconcile these pictures as well as to analyze them separately. The most recent scholarship compartmentalizes different facets of Pythagorean knowledge, but this offers no context for exploring their origins, development, and interdependence. This collection aims to reverse this trend, addressing connections between the different fields of Pythagorean knowledge, such as eschatology, metempsychosis, metaphysics, (...) epistemology, arithmology and numerology, music, dietetics and medicine as well as politics. In particular, the contributions discuss how the Pythagorean way of life related to more doctrinal aspects of knowledge, such as Pythagorean religion and science. The volume explores the effects of this interdependence between different kinds of knowledge both within the Pythagorean corpus and in its later reception. Chapters cover historical periods from the Archaic Period (6th century BC) to Neoplatonism, Early Christianity, the European and Arabic Middle Ages, and the Renaissance through to the Early Modern Period (17th century AD). (shrink)

Este precioso livro surge a partir da publicação da tese de doutorado do Antonio Carlos de Oliveira Rodrigues (ou Tarquínio para os mais próximos) realizada em 2015 pela PUC/SP.

This essay argues that the engagement with Greece and Rome after The Will to Knowledge allowed Foucault to bring clarity to his conception of limited freedom in complex societies. The Classical fulfilled this function paradoxically by being jarringly different from and integral to the discourses of modern sexuality. Foucault’s engagement with the Classical in The Use of Pleasure and The Care of the Selfcontinued his established method of uncovering the development of a discourse, or set of discourses, over time. He (...) thereby demonstrated the historical specificity of understandings of sexuality and the self. It follows that if the ancient self was a historical construct, then the modern self must also be such. But Foucault’s Classical engagement leads him to an innovative position in which the disciplinary dynamics of ancient self-knowledge offer a practical philosophy. Foucault’s Greek philosophy could have effects through two related mechanisms: the care of the self through askesis and the speaking of truth to power through parresia. Through the rigors of askesis, the self can be rendered an object of analysis and hence a critical position external to the self can be achieved. Externality allows the philosopher to exercise parresia since the constraints of society have been surpassed and consequently offers a prospect of agency and a measure of freedom. The second part of the essay questions the extent of that freedom by reading Foucault against Tacitus, particularly the Agricola and the mutinies episode in the Annales. These episodes show the limitations of parresia and how parresia is bound into the workings of imperial power. In the Tacitean model, externality is a viable political stance, but is problematic ethically. The essay concludes by contrasting Foucauldian and Tacitean models of historical change. (shrink)

Normal 0 false false false EN-US JA X-NONE This essay describes Peter Sloterdijk’s “side view” of philosophy. That is, it describes the self-disciplines that make philosophical activity possible. Along similar lines, the paper draws on the work of Pierre Hadot, who also reads philosophy as an askēsis or exercise of self-transformation. Bringing together the work of Sloterdijk and Hadot, the essay reframes the question, What is Philosophy? by asking, Who is the philosopher? To this end, the essays synthesizes the work (...) of Hadot and Sloterdijk, describing first the philosopher’s exercises of self-transformation, then their relation to the city and the community at a large, and finally their connection to the practice zones, enclaves, and microclimates, to use Sloterdijk’s terms, that enable the philosopher to perform certain maneuvers in thought. The paper concludes with an assessment of Sloterdijk’s global view of human practice—which he calls “the planet of the practicing”—to suggest that a planetary perspective should hold a privileged view for future philosophical inquiries. Who are the philosophers? They are the practitioners of planet Earth, the ascetic planet. (shrink)

The purpose of this article is to explore the intersection between the ancient philosophical concept of àskēsis and contemporary boxing discipline, investigating boxing’s potential as an educational tool for cultivating ethics, personality, and virtues. Drawing on Hadot and Foucault’s theories, the study analyzes the ethopoietic purposes of Stoic spiritual exercises and technologies of the self, examining their relevance to modern boxing practices. By scrutinizing the cultural practices of boxing, the article elucidates how they can judiciously be employed to foster ethical (...) development. By analyzing the parallels between philosophical doctrines and boxing ethics, an attempt is made to emphasize the embodiment of virtues that boxing champions could potentially have. In addition, the author, a former boxer turned coach, reflects on the changes in sporting values within boxing over the past two decades and discusses the practical and moral paradox of the problem of sub-concussions and concussions versus the formative purposes of ethos. While acknowledging the risk of chronic traumatic encephalopathy, the author argues that boxing, if approached consciously, can contribute positively to the development of personality and ethical behavior. (shrink)

The review identifies the components of H. M. Lloyd’s contextual intellectual reconstruction of Marquis de Sade’s philosophical system in the context of the Enlightenment. The fundamental importance of the Enlightenment discourse of sensibility, its influence on the theory of natural law and moral philosophy of the eighteenth century is established. The main stages of reconstruction of Sade’s “system” are demonstrated, namely: 1) philosophical context (ontology and epistemology) as a discourse of sensibility; 2) particularities of the “roman philosophique” as a genre; (...) 3) the moral philosophy of the era and the Sade's response to it; 4) Sade’s theories of corporeal sensibility and affective self-cultivation, that isits philosophical askesis; 5) understanding of Sade in the context of the development of contemporary philosophy. It is noted that such reconstruction problematizes of the formal and substantive components of philosophical discourse in the academic environment. (shrink)

Within the philosophy of sport, the phenomenon of practising has received very little attention, whereas other related aspects of sport such as excellence and competition have been subjected to many and thorough studies. This essay will attempt to clarify this particular phenomenon of practising through the notion of athletic ascetics, which will be analysed as a special variant of askēsis. Drawing especially on Foucault’s lectures on ascetics in ancient philosophy and Sloterdijk’s anthropology of the practising life, the essay outlines and (...) interrogates the potential relevance of an ascetological understanding of sport. Through both descriptive and normative analysis, it is argued that athletic ascetics can refine our understanding of performance in sport and comprise an embodied account of the formative aspect of ethics, with implications for ethical considerations related to performance enhancement. (shrink)

The word ‘sport’ next to Nietzsche’s name may raise eyebrows among many Nietzsche readers. ‘What an odd pairing?’ one may ask. We prefer Nietzsche and arts or something from the domain of the Geist. Sport is embedded in mass culture and Nietzsche detests anything that has to do with masses; fandom, an important part of sport culture, is nothing Nietzsche would look at favourably but call it a manifestation of the herd instinct. Besides, clubs and sports organizations control this sporting (...) culture through political and economic apparatuses. On the other hand, modern sports, far from producing higher types and the overhuman, appeal to the lowest common denominator, the person on the street and all athletes are equal. All of these objections notwithstanding, one may still speak of a sporting spirit that embodies play, ecstasy in the sense of Dionysian, inventiveness, agonism, grand spectacle, festivity, a specific type of aesthetics and a form of askesis of the body, and a specific outlet for enactment of active justice and a Gestalt of power relations. Playfulness and game-making are crucial in sports, and play is key to Nietzsche’s thought. Sport is a form of letting go, losing oneself in the game, and can be construed as a field for Dionysian forces. Agonism, a significant aspect of Nietzsche’s thought, applies to all competitive sports. Furthermore, sport constitutes one of the major types of spectacles in our age. Finally, sport belongs to the regime of the body, a form of askesis, which Nietzsche would have supported as opposed to the ascetic idealism. In what ways do Nietzsche’s ideas on interpretation shed light on sport and its various aspects as listed above? What hermeneutic tools do we have to interpret sport as a field of culture? These were the guiding questions for this essay. (shrink)

Between the first and the second volume of The History of Sexuality there is a gap of eight years in which Foucault did not publish anything except interviews. Analyzing some of those interviews, the article reconstructs the reasons that lead Foucault to abandon the thematization of power’s constraints imposed on the subject and start to elaborate an ethics in which the subject can be rid of him or herself thorough a care of pleasure. Arguing how this change does not represent (...) for Foucault a denying of his previous work but its evolution, the article shows that, despite Foucault’s attempt to establish a discourse other than psychoanalysis, his ethics of sexuality unwittingly returns to the “force” that psychoanalysis recognizes as animating sexuality. (shrink)

The Stoic Epictetus famously criticizeshis students for studying Stoicism as ‘mere theory’ and encouraged them to add training to their educational program. This is made all the more interesting by the fact that Epictetus, as a Stoic, was committed to notion that wisdom is sufficient to be virtuous, so theory should be all that’s required to achieve virtue. How are we then to make sense of Epictetus criticism of an overreliance on theory, and his insistence on adding training? This paper (...) argues that this tension can be resolved through an appeal to the metaphor of ‘digesting theory’. Epictetus discusses the digestion of theory in three parts of his existent work. While the use of digestion as a metaphor for moral progress in Epictetus has been noted, an explanation as to exactly what this process consists of has yet to be provided. This paper attempts to provide such an account. I argue that digestion consists of assimilating what we have learnt conceptually, at the level of general principles, into specific beliefs concerning existent objects. I argue further that this process of digestion can only be achieved through what Epictetus calls training (askesis). (shrink)

Starting from the current trend to digitise the university, this thesis aims to clarify the specific relation between university thinking and its use of media. This thesis is an investigation concerning the sensorial and medial conditions which enable the event of thinking to emerge at the university, i.e. conditions which do not make thinking necessary, but possible. Thinking is approached as an event which can happen while studying at the university, not as an outcome, nor a disposition or skill. The (...) ambition of this thesis is theory development and of making a contribution in the field of philosophy of education. The theoretical framework discussed in chapters one and two will allow first, an analysis of the university sensorium inspired by the work of Ivan Illich who, through a history of the senses, pioneered this kind of research applied to medieval reading practices. Secondly, the work of media philosopher Vilém Flusser is used to operationalize the analysis of media at the university; this thesis will use the Flusserian concepts of code, modes of consciousness, transcoding, gestures, intellectual field, dialogue and apparatus. The methodology consists of a novel approach inspired by Flusser’s phenomenology of gestures: in order to find traces of thinking, this investigation looks for gestures (with media) occurring in university practices, gestures which seem to imply some form of coding or transcoding. The first chapter critically discusses Ivan Illich’s historical hypothesis of the mediatic specificity of the university thinking. Illich works with a particular conception of the history of the senses through which he shows how the invention of the optical text and its way of reading gave rise to a new way of thinking which was later fostered by the university. The text emerges as an instrumental way of using the book for studying and thinking, a profanation and suspension of the book. This move is taken to be the signature move of the university which enables a particular way of thinking: abstract and non-visual thinking, which is made present through the event of reading. The second chapter introduces the media-theoretical framework of Flusser by discussing his particular take on codes and the modes of consciousness enabled by the dominant codes. Provisionally, transcoding is taken to be an indication of the event of thinking. The threshold introduces the approach of a phenomenology of gestures which will be used in the following two chapters. The third chapter examines the practice of university lecturing from a sensorial and gestural perspective by using several direct observations of lectures and historical reports of lectures. It was found that the lecture does not promote any particular sense, hence no particular mode of consciousness, and that the media in the lecture suffers a continuous transcoding. Thinking in the lecture was described as a thinking which suddenly makes itself present for all those attending the lecture. The fourth chapter examines MOOCs which are taken to be the digital counterpart of the university course. The specific media usage enabled by MOOCs is described starting from two case studies: an xMOOC and the bMOOC (designed by KU Leuven and LUCA researchers). Using interviews and an autoethnographic account, this chapter finds indications of what could be digital gestures in the MOOC and concludes that thinking in the MOOC occurs as a collective construction of a techno-image. The fifth and final chapter outlines the theoretical contributions of this thesis. The kind of thinking made possible by university practices is described as a form of collective thinking, non-productive and anti-apparatus. The ways in which this thinking is made possible are theorised by introducing the notion of mediatic displacement, a specific event in which the particular logic of media is suspended in such a way as to make room for a thinking which is not determined by any mediality. The notion of intellectual askesis is proposed for the collective enactment of attention, as the sensorial condition which makes possible the mediatic displacement. In light of these findings, the thesis proposes to understand the promise of the digital university as still a utopian project to come, because it cannot yet enable the sensorial and collective attention techniques which the classical university managed to enact through its study practices. (shrink)

A careful reading of the Gorgias along with related dialogues, such as the Apology, the Theaetetus, and other texts, shows that agonism is indispensable to the critique of prevailing opinions, to the transformation of the interlocutor through shame-inducing elenchos, and to philosophy as an ongoing, lifelong ‘training’ (askêsis) of oneself in relation to others. In this way, following Plato’s texts in understanding philosophy as agôn involves rethinking philosophy as an engaged contestation of one’s peers and the received opinions that are (...) part of our relatedness to one another, as well as rethinking agôn as involving not just verbal combativeness, but also—in line with its root-meaning—as a matter of being gathered together in community through discourse (logos). (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)

The aim of this thesis is to consider the relationship between philosophy and biography, and the bearing that this relationship has on debates concerning the nature and function of philosophy. There exists a certain tradition that conceives philosophy exclusively in terms of rational discourse and as such explicitly rejects the idea of any substantial relationship between philosophy and the way in which one lives. I shall argue that the claim that philosophy cannot have any impact upon biography is often based (...) upon an implicit conception of philosophy as primarily rational discourse. In contrast to this I shall draw upon Socratic and Stoic philosophical resources in order to reconstruct an alternative conception of philosophy as an art concerned with one's way of life. Central to this conception will be the relationship between philosophical discourse or argument and philosophical training or exercise. I shall argue that the ancient claim that philosophy is primarily expressed in one's behaviour presupposes a conception of philosophy as an art that involves both rational discourse and training or exercise as two equally important components. I shall argue that by adopting this alternative conception of philosophy as a techne it will be possible to understand properly the relationship between philosophy and biography. In Part One I shall outline the ancient idea that philosophy is something expressed in one's life, the Socratic conception of philosophy as an art, the Stoic development of this conception into an art of living, and some ancient objections to this Stoic conception. In Part Two I shall examine the relationship between philosophical discourse and exercises in Stoic philosophy, focusing upon the neglected concept of philosophical askesis. Central to this will be the literary form of such exercises and so I shall focus upon two texts concerned with philosophical exercises. (shrink)

Several versions of Diogenes of Sinope’s death are reported in Book VI of the Lives and Opinions of Eminent Philosophers. The heirs of Diogenes have transmitted to posterity that of suicide by self-asphyxiation, a death they deem worthy of his philosophy. This study aims to identify the Cynic foundation of Diogenes’ suicide by reconstructing the Cynic outlook on voluntary death. Several fragments and testimonies show that the Cynics consider life and death indifferent: what matters above all is to lead a (...) good life. Suicide is only justified when the philosopher’s body suffers from extreme and lasting weakness. To reach and maintain his ideal of freedom, the Cynic must submit his body to a training that requires some physical strength. Therefore, as soon as he loses the capacity to practise the Cynic askesis because of the physical limitations brought on by old age or illness, the philosopher does not hesitate commit suicide. This justification is attested in the exhortations to suicide formulated by the Cynics and in the accounts of the self-inflicted deaths of Metrocles, Heracles, Demonax and Peregrinus. (shrink)

RESUMO Esboça-se neste artigo uma possível via de interpretação ao problema ético-estético, ou ainda ético-poiêtico da criação de si, a partir de uma reavaliação da noção de hipocrisia, enquanto arte do engano e arte do ator, reaproximando-a da hypókrisis [ὑπόκρισις] grega. Para tanto, procura-se estabelecer um diálogo, ou mesmo um contraponto, com aqueles pensadores que, nas preleções de Foucault, conformaram na antiguidade clássica e helenística os elementos para se pensar, por meio do discurso parrêsiástico e da prática da áskêsis, a (...) criação de si enquanto estética da existência. O lastro para essa compreensão vem de uma reavaliação das formas de inteligência estocástica e astuciosa que comandam a lida com a inconstância, a multiplicidade e os acasos - formas às quais os gregos atribuíram o nome da deusa Mêtis [Μήτις]. Mais afeitas a estas inconstâncias, práticas tais como: a simulação, a dissimulação e a ênfase - próprias da arte do engano - ganham sob essa ótica uma feição de virtuosidade que o pensamento filosófico hegemônico, afeito à retidão e ao enfrentamento heroico diante do real, dificilmente se disporia a reconhecer. ABSTRACT This paper outlines a possible way of interpreting the ethical-aesthetic or ethical-poiêthical problem of the creation of self, from a re-evaluation of the concept of hypocrisy, while art of deception and the art of the actor, reconnecting it with the greek hypókrisis [ὑπόκρισις]. For it aims to establish a dialogue, or even a counterpoint, with those thinkers who, in Foucault's lectures, conformed in classical and Hellenistic antiquity elements to think, through the parhêsiástic discourse and the practice of áskêsis, the creation of self while an aesthetics of existence. The ballast for this understanding comes from a re-evaluation of forms of stochastic and astute intelligence who command the dealings with the fickleness, the multiplicity and the accidents - which forms the Greeks attributed the name of the goddess Mêtis [Μήτις]. More related to these uncertainties, practices such as: the simulation, dissimulation and the emphasis - related to some art of deception - win under this optics a feature of virtuosity that the hegemonic philosophical thought, wont to the righteousness and the heroic confrontation facing the real, would hardly accept. (shrink)

En este artículo se analiza el concepto de imperativo metanoético que Peter Sloterdijk presenta en ¡Has de cambiar tu vida! Nuestro objetivo es iluminar la naturaleza de lo que, en trabajos anteriores, hemos denominado -a raíz de la obra de Bernard Suits-: razón lúdica. Para ello, primero, expondremos y analizaremos el sentido del imperativo metanoético en Sloterdijk, así como los elementos principales de su razón ascética. Segundo, mostraremos cómo ambos son consecuencia del análisis ontológico de corte heideggeriano en la que (...) Sloterdijk basa su propuesta de filosofía moral. Tercero, presentaremos en términos sloterdijkianos tanto el análisis ontológico de Suits, como el posible imperativo metanoético que se desprendería de su razón lúdica. Por último, centrándonos en el papel que Sloterdijk otorga a la figura del «ocioso», mostraremos las posibles conexiones entre Suits y Sloterdijk. Mostraremos la relación que existe entre los imperativos lúdicos y ascéticos donde, además, el acto «jugar» recibe un papel central en la «respuesta a la pregunta por el ser». In this article, we analyze Peter Sloterdijk’s concept of “metanoethical imperative” in You Must Change Your Life. Our goal is to shed light on what, by drawing on Bernard Suits, we call “ludic reason.” To do so, we will present and examine in depth the meaning of Sloterdijk’s metanoethical imperative, as well as the main features of his concept of “askesis.” Second, we will argue that both concepts are the result of the Heideggerian ontological principles underlying Sloterdijk’s moral philosophy. Third, we will provide a “Sloterdijkean” interpretation of Suits’ account of games by focusing on the metanoethical imperative that could be derived from the notion of the ludic reason. To conclude, we will focus on the role that the figure of the “Good-for-Nothing” plays in Sloterdijk’s account, showing connections between Suits’ and Sloterdijk’s approaches. We will argue that, in the philosophical approaches of both philosophers, the idea of game playing is closely tied to the “question on Being.”. (shrink)

L’objet du livre est, comme son titre l’indique, une analyse de la notion d’« art de vivre » dans la philosophie stoïcienne. Selon l’auteur, la philosophie stoïcienne est conçue par les stoïciens comme un « art de vivre », « appuyé sur des principes rationnels (logoi) qui s’expriment dans le comportement (erga, bios) de quelqu’un après une période d’entraînement pratique (askesis) » (p. 118), ou « exercices spirituels ». L’ouvrage propose donc une interprétation de la philosophie stoïcienne d...

Asceticism as a part of the good life is often discussed in the contemporary philosophy (Foucault, Agamben, Sloterdijk). The aim of this article is to analyze and criticize the encouragement to ascetic practices which was formulated by a German conservative sociologist and philosopher, Arnold Gehlen (1904-1976). In my text, I track the history of the philosophical concept of asceticism and describe Gehlen’s anthropological suggestion that ascetic practices should be actualized and secularized. The author of Der Mensch claimed that the return (...) to asceticism can become an utopian answer to the imperatives of the consumer society. I analyze his distinction of three types of askesis as stimulans, disciplina and sacrificium. Subsequently, I criticize Gehlen’s belief that asceticism has not been secularized in the modern age by showing that he ignored the phenomenon of “wordly ascetiscism” described by Max Weber and his followers. In the final section, I point out some authoritarian and elitist moments in Gehlen’s image of asceticism and I suggest alternative possibilities of developing his intuitions. (shrink)

Ethical philosophy was born in the gyms of Athens. This book returns a body of abstract thought to its original context, to understand how training for the body sparked training for the mind. We will use archaeology to reconstruct the reality of ancient athletics and literary texts to critique philosophers’ idealized versions of this reality. We will explore a cluster of questions about the nature of happiness (eudaimonia), the role of human excellence (arete) in this life and what forms of (...) training (askesis) may help up secure these goals. Along the way, we will join philosophers in attempting to define individual types of excellence: courage, moderation, justice, wisdom. We will think about the role of friendship and erotic love in a well lived life, and we will evaluate concepts of mental “health” and strategies for spiritual “exercise”. While our society tends to separate the body and the mind, recent work in Positive Psychology is reaffirming many insights of Greek philosophy through modern empirical study. If Philosophy at the Gym sounds like a contradiction, then that’s where its value lies: it invites readers to wrestle with central questions of ancient ethics, while providing toeholds in the current science of purpose, mindset and flow. This introduction to Greek ethics will be useful for those starting or about to start college or anyone else looking for a framework to think about what they want out of life and what they’re doing about it. (shrink)

THE CONCEPT OF LITURGICAL ASCETICISM SERVES TO RELATE LITURGY and ethics as seen in the case of energy conservation. Disciplined practices undertaken to limit energy consumption can deepen contemplative awareness of God's creative energy as work in the world and the moral significance of human cooperation with it as an expression of one's baptismal commitment rooted within a particular faith community. The liturgical location of the moral agent who engages in such askesis implies a sacramentally informed epistemology as a (...) way of knowing oneself in relation to God and all of created reality that imbues conservation practices with eschatological meaning. (shrink)

This article analyses the set of ethical questions underlying the emergence of the modern politics of security, as articulated, in particular, in the work of Thomas Hobbes. An ethic is here understood – in line with its ancient philosophical use and the interpretation advanced by authors such as Michel Foucault and Pierre Hadot – as a domain of reflections and practices related to the cultivation and conversion of the self ( askēsis, metanoia). The article aims to demonstrate that, besides attending (...) to the physical safety of the state and its citizens, modern apparatuses of security are also crucially implicated in the formation of their subjects as ethical and autonomous individuals. To substantiate this thesis, the article first illustrates how, since the first appearance of the term in the vocabulary of Western thought – and in Seneca’s work in particular – theories of security have been intimately tied to the cultivation of the self. It thus interprets Hobbes’s reflections on the subject as the upshot of a substantive, if implicit, re-articulation of Seneca’s ethic of security, by focusing on the two authors’ respective understandings of (a) autonomy, (b) the world, (c) ascesis, and (d) politics. Overall, it is suggested that the differences between the two authors testify to a wider political-historical shift: in modern regimes of governmentality, the ethical dimension of security no longer defines the rightful exercise of political power, but rather appears as an object of social and economic governance. (shrink)

Resistance and Techniques of Virginity: A Feminist Reading of The Confessions of the Flesh What is the feminist relevance of Foucault’s posthumously published Confessions of the Flesh? This question is part of a larger debate on the usefulness of the later Foucault in conceptualizing resistance against patriarchal power relationships. This paper follows those who argue in favor of the feminist potential of his concepts of freedom and care for the self, in particular the notions of ascesis and askesis. I (...) argue that resistance against gendered norms is explicit in his discussion of counter-conduct (1978), which he links to late-medieval mysticism and to excessive, physical experiences. Both the gender-component and the excessive corporeal experiences disappear, however, from his later concept of askesis, which suggests that Foucault’s omission of women coincides with a displacement of the suffering body as a site of resistance. In the second part of this essay, I argue that this thesis is complicated by the recently published Confessions of the Flesh, and its lengthy discussion of early-Christian virginity. I conclude by commenting on the historiographical limits to recuperate moments of resistance. (shrink)

Is the Stoic sage a possible or desirable ideal for contemporary men and women, as we enter into difficult times? Is he, as Seneca presents him, the very best person for a crisis? In order to examine these questions, Part 1 begins from what Irene Liu calls the “standard” modern conceptions of the sage as either a kind of epistemically perfect, omniscient agent, or else someone in possession of a specific arsenal of theoretical knowledge, especially concerning the physical world. We (...) contest this contentious conception of the sage for being inconsistent with the Stoic conceptions of wisdom, the technai and knowledge which can be gleaned from the doxographic sources. In Part 2, we suggest that the wisdom of the Stoic sage reflects the Stoics’ “dispositional” conception of knowledge, their substantive conception of reason, and their sense of philosophy as above all an “exercise” or askêsis of a craft or technê for living. It is embodied in an ongoing exercise of examining one’s impressions for consistency with what one already knows, looking back to the natural prolêpseis with which all people are equipped. In Part 3, we show how only this account of the wisdom of the sage, at the epistemic level, enables us to understand how, in the non-doxographic texts led by Seneca’s De Constantia Sapientiae, the sage is celebrated above all for his ethical characteristics, and his ability to bear up in a crisis. Concluding reflections return to our framing concern, as to whether philosophy as a way of life, and the ancient ideal of the sage, can speak to us today not only as scholars, but as individuals called upon to live in difficult times. We suggest that they can and should remain sources of orientation, contestation, and inspiration. (shrink)

AUGUSTINE'S MATURE, ANTI-PELAGIAN UNDERSTANDING OF HUMAN AND divine willing might appear to conflict with his advocacy of human striving to "make progress in righteousness" through various practices of personal reformation. In this essay I consider exercises such as reading and listening to scripture, fasting, and Eucharistie worship; I argue that although deep tensions exist in Augustine's account, ultimately they are not contradictions. Furthermore, recent attempts to retrieve "spiritual exercises" or askesis for contemporary ethical reflection would do well to grapple (...) with Augustine's thought and practice in this area. (shrink)

Moral concern with food intake is as old asmorality itself. In the course of history, however,several ways of critically examining practices of foodproduction and food intake have been developed.Whereas ancient Greek food ethics concentrated on theproblem of temperance, and ancient Jewish ethics onthe distinction between legitimate and illicit foodproducts, early Christian morality simply refused toattach any moral significance to food intake. Yet,during the middle ages food became one of theprinciple objects of monastic programs for moralexercise (askesis). During the seventeenth (...) andeighteenth century, food ethics was transformed interms of the increasing scientific interest in foodintake, while in the nineteenth century the socialdimension of food ethics was discovered, with theresult that more and more attention was given to theproduction and distribution of food products. Becauseof the increasing distance between the production andconsumption of food products ever since, theoutstanding feature of contemporary food ethics is itreliance and dependence on labeling practices. (shrink)

This paper examines Foucault's history of the ancient practices of the self. It suggests that his historical reconstruction usefully distinguishes quite different models of self-cultivation in antiquity, and in doing so helps us to identify and understand the parameters and ambitions of much nineteenth-century German philosophy, especially the ethics of self-cultivation Nietzsche formulates in his middle works. However, it also shows how FoucaultÕs casual formulation of an 'aesthetic of existence' is seriously misleading as a guide to the ancient practices of (...) the self, most notably the Stoic tradition. This paper argues that Foucault does not properly take into account how Stoicism conceives the desire to flee from or break with oneself, which Foucault places at the centre of his own askesis, as a pathological agitation that requires therapy. From the Stoic perspective, in other words, Foucault's askesis of constantly losing oneself is symptomatic of a failure to care for oneself. (shrink)