Le but du présent essai est de montrer la différence entre la phénoménologie descriptive et la phénoménologie transcendantale en ce qui concerne la per­ception et la constitution du sens objectif de l’expérience. La conception générale qui anime notre travail peut être caractérisée comme « néo-brenta­nienne ». -/- Nous ne visons pas à une exposition complète de la théorie de la synthèse passive telle qu’elle est développée principalement dans le volume XI des Husserliana1. Notre but n’est pas de faire (...) un résumé de cette doc­trine2, mais d’en comprendre certains points critiques. -/- Ce que Husserl appelle « la sphère de la passivité » (der Sphäre der Passivität)3 est en fait un titre générique pour une série de problèmes particulièrement riches. Elle fait écho aux thèmes centraux de la phénoméno­logie husserlienne : la structure du remplissement, le rapport entre représen­tations vides et représentations intuitives, le rapport entre sens et intuition, la constitution de l’objet, la genèse de nos concepts et finalement le continu perceptif et son unité. Comme la passivité au sens qui nous intéresse re­couvre un champ plus large que les concepts de synthèse passive et d’inten­tion passive, nous nous bornerons à interroger seulement certains passages de l’œuvre husserlienne, notamment les recherches sur la constitution dans les Ideen II (Hua IV) et le cours sur les synthèses passives (Hua XI). Il faudra rappeler que, s’étendant de la VIe Recherche logique — le sensible et l’intel­ligible, le rapport entre la réceptivité et la spontanéité — et la découverte du concept de monde de la vie (Lebenswelt), la question de la passivité est, au fond, quelque chose qui traverse comme un fil conducteur toute l’œuvre de Husserl. Toutefois, malgré l’attention accordée par Husserl à la passivité de la conscience, nous voudrions suggérer dans ce travail que (1) son idée de la pensée humaine n’est rien d’autre que l’idée d’une expérience qui, en tant que remplissement du sens, est nécessairement liée à l’activité de l’esprit ; (2) et que cette idée n’est pas seulement une abstraction de ce que nous appelons « expérience », mais qu’elle empêche une véritable description des actes de conscience par rapport au réel, le réel n’étant jamais quelque chose que le sens peut saisir dans sa totalité4. Dans l’optique husserlienne, la raison présente une aspiration à l’unité5 que notre perception semble incapable de satisfaire. La transformation transcendantale de l’intentionnalité brentanienne implique une relation au réel telle qu’elle porte en elle, dans sa structure, un sens implicite. La possibilité de saisir ce sens « caché » dans les profondeurs des actes mentaux est précisément ce que nous allons mettre en question dans le présent essai. (shrink)

Foucault and Derrida react in two different ways to the new paradigm imposed by structuralism. Foucault uses structuralism to overcome phenomenology, in fact structuralism shows the naivety of phenomenology, in its claim to rely on conscience to constitute meaning. Instead, Derrida on the contrary immediately nurtures a certain distrust of structuralism, especially in its philosophical ambitions and uses the resources of phenomenology to criticize it, showing the metaphysical implications operating in it. We want to show how this opposing position is (...) generated by the specific way in which the two philosophers have responded to the open problems and bequeathed by Husserlian phenomenology. In particular, the theme of “passive genesis,” which was raised in the French debate by Tran-Duc-Thao and Merleau-Ponty, is central. In the first writings it emerges how Foucault has received Merleau-Ponty’s theses and it is precisely to overcome them that he inaugurates an archaeological analysis to try to distance himself from the normalizing anthropological discourse present in the passive synthesis. Derrida reads passive genesis in a radically different way from Merleau-Ponty (and therefore Foucault): the radical nature of Husserl’s phenomenology has opened a space to question the transcendental genesis of philosophical discourse and its possibility of transcending its historical, social and psychological genesis and therefore the sciences that preside over these dimensions. Consequently, showing the naivety of structuralism, Derrida’s research of the sixties is configured as post-structuralist. (shrink)

This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that (...) occurs in some of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible. (shrink)

I argue that Merleau-Ponty and Deleuze both offer accounts of passivity capable of paving the way for a philosophy of time constitution operating outside the structure of human consciousness. Taking, as a point of departure, the fundamental role that temporalization plays in phenomenology as the universal grounding of givenness, I argue that both Merleau-Ponty and Deleuze offer similar and complementary accounts of “lower levels” of time constitution: they both think through the articulation of a non-anthropomorphic “here and now” that precedes (...) the articulation of a fully-fledged consciousness. I then argue that this passive time constitution, which precedes any human faculty of thought, is de facto open, beyond the “here and now,” to multiple degrees of virtual memory or “pure past.” Such considerations subvert and complexify the common views that equate the animal’s capacity of retention with its capacity to be open to a world. Finally, I suggest that these syntheses of temporalization are not teleologically oriented, that is, their deployment in organic systems of higher complexity is neither their culmination, nor their final stage. The organic syntheses can be made to resurface. For the human subject, this results in the disorganization of thought and the reshaping of sense-making faculties. (shrink)

The book outlines the contribution of passivity to the constitution of phenomena as diverse as temporal syntheses, perceptual associations, memory fulfillment and cross-cultural communication.

The emerging field of synthetic biology aims to design biological entities by engineering methods. Nature is explicitly no longer something ‘out there’, but instead as whatever is actively made in scientific laboratories. Although apparently unrelated to the Anthropocene, interesting discussions arise once confronted with each other. On the one hand, authors such as Bruno Latour have forced us to reflect on how we are not the masters of nature as was claimed before. We can even speak of ‘the end of (...) nature’. On the other hand, synthetic biology claims that we can now be the masters of nature we have never been before. Nature exists indeed, namely the nature that we have created in the laboratory. How to relate these two perspectives? Their simultaneous emergence appears paradoxical, but must not too hastily result in the conclusion that synthetic biology is merely the latest shape of our childish, modern dreams. Rather synthetic biology can be a critical interrogator of the ‘end of nature’. Can we really endorse that it is impossible to “return to a pre-modern notion of nature” and this “take-offpoint is irretrievably lost”? Or must we make the more modest claim, that modern projects often fail, but that success is not excluded? I argue that Latour mix up two possible conclusions: starting from the correct conclusion that we are uncertain that we are certain they jump to stating that we are certain that we are uncertain, which does not follow. We can never be certain again that we can reduce things to passive nature, although it might work for some cases, perhaps even synthetic biology. (shrink)

In Cinema 1 Deleuze creates the taxonomy of the movement-image by extending Henri Bergson's account of the sensory-motor process in Matter and Memory through the semiotic system of Charles Sanders Peirce. Through this nexus of Bergson and Peirce, Deleuze can account for each image and sign, their impetus and their relationship to one another. In contrast, the taxonomy of the time-image, the focus of Cinema 2, is given no such genesis. Rather, the images and signs appear in situ, as if (...) ready-made. This article proposes that the impetus for the taxonomy of the time-image lies in the account given of the three passive syntheses of time in Difference and Repetition, and that the nine aspects of the passive syntheses can be seen to correspond to the nine proper signs of the time-image. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Leibniz and the Natural World: Activity, Passivity, and Corporeal Substances in Leibniz’s PhilosophyMichael FutchPauline Phemister. Leibniz and the Natural World: Activity, Passivity, and Corporeal Substances in Leibniz’s Philosophy. New Synthese Historical Library, 58. Dordrecht: Springer, 2005. Pp. xiii + 293. Cloth, $149.00.Leibniz's metaphysics has long been viewed as one of the more noteworthy systems of idealism in early modern philosophy. At the ground-floor level of his austere ontology, (...) the standard view maintains that the world is not populated by bodies in space and time, but rather by immaterial, mind-like entities: monads. All the rest is a kind of ontological construction from these simple substances. In this book, Pauline Phemister seeks to overturn the idealist reading of Leibniz and to show that "the true immaterial substances in Leibniz's philosophy" are "monads that exist as animated corporeal creatures" (76). What is ontologically basic for Leibniz are not immaterial monads but "living corporeal substances" with "both mental and physical characteristics" (3).If Phemister is right, one wonders what to make of Leibniz's many endorsements of idealism, as, for instance, when he says that "the explanation of all phenomena solely through the perception of monads... with corporeal substances to be rejected, [is] useful for a fundamental investigation of things" (Leibniz to Bartholomew Des Bosses, June [End Page 162] 16, 1712). This programmatic summary is only one of numerous statements from the late period where Leibniz asserts that ultimate reality is composed of immaterial monads. One possible option would be to posit an indecisive vacillation in Leibniz's late philosophy. Rejecting this, Phemister's strategy for dealing with texts such as these—including the "New System," the "Principles of Nature and Grace," and the "Monadology"—is to dismiss them as the rhetorical subterfuge of a Leibniz who is only exoterically, not privately, a Cartesian (15, 163). Leibniz is a public Cartesian in that he "invites comparison of his rational monads with Cartesian minds" by suggesting that the former, like Cartesian minds, are immaterial and incorporeal (13). This is ostensibly only a ruse Leibniz used to ingratiate himself to a Cartesian audience, hiding from them his real view that genuine substances are always corporeal. We are not told why Leibniz would have expected an idealist philosophy that explains mind-body interaction in terms of a pre-established harmony to be well received by Cartesians, but with this hermeneutical principle in hand, Phemister has deftly insulated her criticism from textual refutation.A more pressing concern is Phemister's principle thesis that "the monad is a corporeal substance" (73). Phemister argues that monads are not complete substances unless they comprise not only a soul-like entelechy, but also primary and secondary matter: a monad is not substantially complete "without the subordinate monads that comprise its organic body" (41). What is important to note in this account is that for monads to be complete substances, they must consist of both a "soul-like aspect" and secondary matter, an organic body (133). This organic body is itself an aggregate of other corporeal substances, which are themselves combinations of entelechies and primary and secondary matter (81). The clear consequence of this is that the monad's existence as a complete substance is dependent upon the existence of other substances, namely, those substances that aggregate to form its organic body, the secondary matter that completes the monad as substance. Hence, the existence of complete substances—the only genuine substances—is ontologically derivative. This conclusion flatly contradicts Leibniz's repeated assertions that substances are ontologically basic, not depending for their existence on the existence of other substances, the very cornerstone of Leibniz's metaphysics.This account is also beset by a vicious circularity. For there to be complete substances, there must first be secondary matter, as secondary matter is a constituent of complete substances. As Phemister puts it, "both primary and secondary matter complete the dominant entelechy," making it a genuine substance (71). Without secondary matter, the dominant entelechy does not exist as a substance. But the existence of secondary matter is itself dependent upon the existence of complete substances, for secondary matter just is an aggregate of corporeal substances (84... (shrink)

Si le concept husserlien de passivité a fasciné toute une génération de philosophes (Merleau-Ponty, Landgrebe, Levinas, Henry), il a rarement fait l'objet d'une étude qui adopte la perspective du fondateur de la phénoménologie. Sa célébrité a comme masqué sa spécificité, créant une sorte de doctrine officielle de la passivité qui a, en fin de compte, peu de choses à voir avec la pensée et les intentions de Husserl. En effet, là où les phénoménologues contemporains voient dans la passivité la zone (...) d'ombre où le programme d'une phénoménologie transcendantale et subjective s'effondrerait, Husserl considère, de son côté, qu'elle appartient sans reste à la sphère de la constitution et qu'elle consolide par conséquent son transcendantalisme. Loin d'être un domaine de sens irréductible à la rationalité, elle représente même le fondement des opérations de la pensée catégoriale. C'est en son sein que doivent être cherchées les « sources » des formes supérieures de la logique. Toute passive et préconsciente qu'elle soit, l'expérience antéprédicative appartient sans reste pour Husserl au sujet transcendantal et ne le destitue donc pas de sa position centrale et primordiale. Ce travail s'attache ainsi à suivre cette genèse du catégorial à partir de l'expérience passive et à montrer qu'elle entre dans le projet général, qui a été toujours celui de Husserl, d'asseoir la phénoménologie transcendantale sur le socle originaire de l'expérience du monde. Remerciements Avant-propos Remarques Chapitre premier. Le sens phénoménologique de la passivité Chapitre II. La refondation méthodologique de la phénoménologie Chapitre premier. La formation du concept husserlien de « synthèse passive » Chapitre II. La constitution passive de l'expérience dans les Analysen zur passiven Synthesis Chapitre III. Le rôle de l'affection dans la formation de l'unité sensible Chapitre IV. La phénoménologie de l'inconscient Chapitre premier. Les présupposés fondamentaux de la généalogie de la logique Chapitre II. L'analyse généalogique du jugement prédicatif Chapitre III. L'origine de l'erreur dans la passivité Conclusion.Le conflit des fondements Bibliographie Index nominum. (shrink)

C’est dans l’approche phénoménologique de la subjectivité que la question de l’identité du moi se pose avec la plus pure radicalité. Le problème s’inaugure chez Husserl : la réduction mène à l’analyse de la constitution qui rend possible l’ego transcendantal. Mais rendre compte de son identité en termes d’auto-constitution aboutit à l’aporie. L’incompatibilité entre trans-temporalité de l’ego et synthèse intentionnelle semble dépassée par Michel Henry, qui substitue l’affectivité originaire de l’auto-affection pure à la spontanéité de la « synthèse (...) passive ». Mais au prix d’une contradiction : si l’expérience paradigmatique de la vie est celle de la souffrance, la structure du souffrir confirme-t-elle l’étrange thèse selon laquelle « c’est la souffrance qui se souffre elle-même »? (shrink)

Cette étude est née de la remarque troublante d’un roman dans lequel un personnage relit Anna Karénine et se rend compte qu’il a tout oublié de sa première lecture : l’histoire, les émotions vécues alors, tout cela paraît n’avoir pas laissé de traces. Je me suis donc interrogée sur la nature de l’expérience esthétique et le type de souvenir qu’elle engendre. Une expé­rience peut-elle ne pas laisser de traces ? mais alors est-elle encore une expérience ? ou bien peut-on envisager (...) des traces qui ne soient pas des souvenirs disponibles, mobilisables à volonté ? et comment alors les conce­voir ? Il s’agissait donc de cerner à la fois le type d’expérience que forme l’expérience esthétique et le type de souvenirs qui s’y constituent. Partant de Husserl, l’analyse a permis de définir l’expérience esthétique comme expé­rience menée dans la neutralité, sur le mode du quasi ; ce faisant cela paraît accréditer la possibilité qu’il n’y ait pas de réels souvenirs mais seulement des quasi-souvenirs. Néanmoins parce que cette thèse reste paradoxale, j’ai cherché le moyen de concilier à la fois la neutralité existentielle de cette expérience dans l’appréhension de l’objet esthétique et la possibilité d’une affection réelle voire d’une transformation en profondeur du sujet. J’ai alors poursuivi l’examen en m’appuyant sur un texte de Roman Ingarden ( Vom Erkennen des literarischen Kunstwerks , § 24) et sur les leçons des synthèses passives de Husserl. L’enjeu de cette recherche engage donc la place et le rôle de l’expérience esthétique dans la constitution de la personnalité. (shrink)

Cet essai a pour but de montrer comment la notion de plasticité articule la façon dont Husserl engage la problématique de la donation. Pour ce faire, il interprète le passage de la phénoménologie statique à la phénoménologie génétique comme le chemin qui mène de l’analyse du cogito éveillé à celle de son éveil ; il montre par la suite comment cette réorientation méthodologique lie la question de la donation à celle des origines du cogito. Ce texte se compose ainsi de (...) quatre parties, qui traitent respectivement (1) du problème de la donation chez Husserl et Marion ; (2) de la relation entre l’apparaître et l’émergence de la conscience chez Husserl ; (3) du cogito éveillé comme expression d’une méthode statique ; (4) de l’éveil du cogito comme complétant l’explication statique avec les dimensions latérale et verticale de la donation. (shrink)

What is the primary function of consciousness in the nervous system? The answer to this question remains enigmatic, not so much because of a lack of relevant data, but because of the lack of a conceptual framework with which to interpret the data. To this end, we have developed Passive Frame Theory, an internally coherent framework that, from an action-based perspective, synthesizes empirically supported hypotheses from diverse fields of investigation. The theory proposes that the primary function of consciousness is (...) well-circumscribed, serving the 'somatic nervous system[. For this system, consciousness serves as a frame that constrains and directs skeletal muscle output, thereby yielding adaptive behavior. The mechanism by which consciousness achieves this is more counterintuitive, passive, and “low level” than the kinds of functions that theorists have previously attributed to consciousness. Passive frame theory begins to illuminate (a) what consciousness contributes to nervous function, (b) how consciousness achieves this function, and (c) the neuroanatomical substrates of conscious processes. Our untraditional, action-based perspective focuses on olfaction instead of on vision and is 'descriptive' (describing the products of nature as they evolved to be) rather than 'normative' (construing processes in terms of how they should function). Passive frame theory begins to isolate the neuroanatomical, cognitive-mechanistic, and representational (e.g., conscious contents) processes associated with consciousness. (shrink)

Cet essai a pour but de montrer comment la notion de plasticité articule la façon dont Husserl engage la problématique de la donation. Pour ce faire, il interprète le passage de la phénoménologie statique à la phénoménologie génétique comme le chemin qui mène de l’analyse du cogito éveillé à celle de son éveil ; il montre par la suite comment cette réorientation méthodologique lie la question de la donation à celle des origines du cogito. Ce texte se compose ainsi de (...) quatre parties, qui traitent respectivement (1) du problème de la donation chez Husserl et Marion ; (2) de la relation entre l’apparaître et l’émergence de la conscience chez Husserl ; (3) du cogito éveillé comme expression d’une méthode statique ; (4) de l’éveil du cogito comme complétant l’explication statique avec les dimensions latérale et verticale de la donation. (shrink)

The topic of this paper is a theory of the organism as subject. It is an ascription of subjectivity to organic bodies. I restrict my analysis, in this presentation, to the question of temporality; particularly, to the way individual bodies produce out of their own metabolic activity the temporal field with which they interact. I structure this discussion by way of an elucidation of Gilles Deleuze’s concept of the larval subject as it emerges out of his Difference and Repetition. I (...) begin with the nature of repetition and time, move into an explication of organic rhythm, and unify these reflections in a reflection on the nature of organismic temporality. In terms moreproperly Deleuzian, I claim that out of the passive temporal syntheses constitutive of the present emerge the rhythmic contractions of the larval self and the polyrhythmic network of the organismic subject. In drawing on Deleuze in this way, I hope to achieve a novel and fruitful perspective on the individual nature of bodily time that makes credible an ascription of subjectivity, a concept traditionally afforded only to the human, to all living bodies. (shrink)

My paper is divided into three parts. The first examines the different versions of phenomenology that Husserl used during the Freiburg period, including genetic phenomenology, which is considered, in Experience and Judgment, as the basis for his genealogy of logic. I also examine the doxa-episteme opposition, which is one of the central topics of this book, and I claim that Brentano's epistemic asymmetry between internal and external perception can be considered as a special case of this opposition, which Husserl seeks (...) to overcome. The second part consists in an account of the genesis of the concept of primary content, such as it was first introduced in his Habilitationsschrift in order to replace Brentano's notion of physical phenomenon, to Ideas I where Husserl seems to have abandoned this notion, and replaced it with that of hyle which he conceived in a way similar to that of traditional atomism. The third part shows that the lectures and the working manuscripts of the Freiburg period, including Experience and Judgment, dispel the impression left by Ideas I by providing an original analysis of the dimension of sensory experience. Our starting point is an analysis of the cases of misperception that serve as arguments against Brentano's theory of external perception and whose function here is to uncover several distinctions relating to the modes of consciousness which are directly related to primary contents and to the qualitative dimension of experience. I conclude on the subject of passive syntheses and argue that they refer to a multiplicity of relations that structure phenomenal experience. (shrink)

This article seeks to adumbrate something of an ascending complement to Blondel's descending Christology. For Blondel, the Word as Incarnate is not only the Redeemer but is also he in whom creation is constituted. Christ's synthesizing perception of creation mediates between the world and the creating Absolute and establishes things as real. Blondel's 'Panchristism' suggests that in his passive perception Christ is the keystone that solidifies and integrates even the most ignoble components of creation. In the current economy this (...) passive perception embraces the world as marred by sin. The way in which sin assumed by Christ in suffering and passivity is transformed in redemption is left underdeveloped, however. One aspect of a Christology that ascends from the sufferings of Christ is highlighted in reference to Blondel's own devotion to the Sacred Heart. This devotion illuminates an integration of sin and suffering into glory that is compatible with Blondel's thought. (shrink)

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our knowledge (...) is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

This insightful and provocative discussion of John Dewey’s philosophy appears a decade after Richard Gale’s publication of his important book The Divided Self of William James (Cambridge University Press, 1999). In that earlier work, Gale exposed and explored the tension in James’s thought between the robust Promethean tendency to pursue a “morally strenuous life” and a passive mystical tendency toward unity with that which is greater than oneself. The present study is a kind of sequel to that work, as (...) Gale shows the same tendencies to be operative in Dewey’s philosophy, however, not remaining in tension (as with James) but finally integrated or synthesized, so that he can be accurately portrayed as a “Promethean .. (shrink)

Kant's purpose in the Critique of Pure Reason was to describe the nature and set the boundaries of human knowledge. At the heart of this ambitious enterprise is his doctrine of apperceptive self-identity. He insists that in order for us to know anything, there must be a unitary self capable of being aware of its own identity over time. Unfortunately, Kant's descriptions of this unitary 'I think' are extremely obscure, and his accounts of how it functions in the first Critique's (...) overall theory of knowledge are extremely problematical. ;I believe that much of the diversity of opinion about Kant's theory of self-identity has arisen owing to a lack of consensus about what really constitutes an adequate account of self-identity in the first Critique. I contend that an adequate account must satisfy four basic requirements. First, the theory must be compatible with his solutions to certain philosophical problems that emerge in the analysis of ordinary human cognition. Second, the theory must be consistent with the principles underlying his general account of human knowledge. Third, the theory must explain the cognitive relation between the momentary phenomenal self and the transtemporal, a priori unity of apperception. And fourth, it must explain the ontological status of this unitary 'I think'. ;I contend that the key to Kant's theory of apperceptive self-identity is found in his notion of synthesis. I look closely at what synthesis means for Kant, what he does with it in his account of human knowledge, and how his detailed account of objective synthesis may be used to shed light upon his more obscure accounts of the unitary synthesizing agent. I suggest that Kant's theory of apperceptive self-identity may be understood as a more generalized version of his theory of schematism. Both involve the synthetic unification of something pure and actively formal with some empirical and passively given content; and both are intimately connected with the nature of time. I show how these two facts may be used to elucidate the nature of the apperceptive subject, and how Kant's theory is able to satisfy the four requirements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Affectivity and Personality: Mediated by the SocialMartin Heinze (bio)Keywordsaffectivity, sociality, personalism, psychiatric anthropologyBy emphasizing the concept of the person, Rosfort and Stanghellini are to be congratulated for overcoming a reductive concept self driven by the limits of neurobiological research. In this commentary, I emphasize some points about the context of these thoughts concerning the dialectic of nature and freedom and the social realm in which the connections of affectivity (...) and personhood are situated.As discussed in philosophical anthropology, the concept “person” involves both the human capacity for freedom and the legal status given to an individual in society. Nevertheless, even in its most intensive understanding as personality and lived freedom, human existence cannot be separated from its being natural (including being emotional). Moreover, being natural is the condition sine qua non for a free conduct of life. The dialectic of freedom and naturality is addressed by Rosfort and Stanghellini as “ontologic ambiguity” or, to use an older phrase, the structure of “homo duplex”. The aspect of passivity in human existence in which we are determined by our physiology, our environment, and our biography becomes visible. On the other hand, we also see the active dimension of personhood: the possibility to put ourselves into question, to relate to ourselves, to undergo change, and to invent ourselves anew. In the Plessnerian sense, the “ec-centric” nature of the human condition enables us to become active in this way. Plessner supplanted the dialectic between passivity and activity with his notion of Leidenschaft—passion. In the German word Leiden we find the double meaning of suffering and being passionate. Humans are bound to act between the spheres of nature and free will. They suffer from being in the world and can also be passionate by acting in this reality. Leidenschaft thematizes both passivity and activity as well as their unity. Human beings are passive through being dependent on their circumstances. They are passionate, however, when they reflect on these conditions or attempt to come to terms with them. From the dialectical understanding, a unique structure emerges as mutually conditioned, both active and passive. The “passionate man” (a term that Plessner uses to define humanity) synthesizes his being dependent on others with his own freedom to create himself. Passion can be understood as an enhancement of sensuality and spirituality in the context of the conditio humana: “Human reflectivity does not stop in front of sensuality but rather enhances it or weakens it—and both directions can be dangerous for sensuality.” (Plessner 1976, 167, author's translation). [End Page 273]With Kierkegaard, we have to express this even more intensively: a human being is not only shaped by the dialectic of freedom and nature, but—through living—is himself this dialectic. Thus, human personality and human freedom cannot be disconnected from the dimension of passivity that lies at the very heart of freedom. In Jacob Böhme's words, the human situation is that of Naturfreiheit—being free by and through its very own nature. It is neither apart from nature (naturlos) nor is its freedom abstract.The fundamental characteristics of human personality, as described by Rosfort and Stanghellini, are activity, responsibility, freedom, will, reflexivity, and self-distance, but also corporality. In the conduct of life, the realm where this is all realizes is the realm of human relationships to other human beings, that is, a shared world only out of which a successful self-relation can develop. In this sense, the authors quote Grøn: “The normative dimension thus pertains to the self that one already is in relating to others, to a world in between, and to oneself.” Grøn refers to Kierkegaard's attempt—but now with regard to psychopathology—to overcome the duality of human nature by transforming the concept of the self to that of the person. For psychiatric anthropology, there is no way to circumvent this. Thus, psychiatric theories that concern human being inevitably involve a personalistic perspective.Ferdinand Tönnies was the first to use the concept of person to describe social realities. In his classical study from 1887, “Community and Society” (Gemeinschaft und Gesellschaft), he contributed to philosophical personalism. Insofar as the person seeks... (shrink)

Having asked, “What, then, is time?” Augustine admitted, “I know well enough what it is, provided that nobody asks me; but if I am asked what it is and try to explain, I am baffled.” We all have a sense of time, but the description and explanation of it remain remarkably elusive. Through a series of detailed descriptions, Husserl attempted to clarify this sense of time. In my book, I trace the development of his account of our temporal self-awareness, starting (...) with his early 1905-1909 lectures on time consciousness and proceeding through the 1917-18 Bernau Manuscripts, the Analyses of Passive Syntheses of the 1920’s and ending with the C, B and E manuscripts on time and instincts of the 1930s. Although my book covers all the stages of Husserl’s account of temporality, it is nonetheless systematic in its approach. It is organized about a number of basic topics in the theory of time and presents and critically appraises Husserl’s positions on the issues pertaining to each. • THE ONTOLOGICAL STATUS OF TIME: Is time objective or subjective? Is it “out there,” a part of external reality or does it have a merely subjective existence, residing only in our memories and anticipations? Does Husserl’s “subjective” account presuppose ob-jective time? • THE “PRESENCE” OF THE PAST AS PAST: Memory, if it is to be distinguished from a direct, sensuous perception, must grasp the past as past. It must somehow “see” what no longer exists as no longer existing. The issue is: how do we do this? The same question arises with regard to our grasp through anticipation of the future as future. • THE TEMPORALITY OF OBJECTS: For Husserl, the apprehension of any sort of extended event, such as a melody, involves the synthesis of the “retentions” (the short term memories) of its notes and the anticipations these retentions awake in us. The question, here, is: what exactly is involved in this synthesis of retentions and anticipa-tions? How can these elements come together to present a single, individual object rather than presenting us with merely a collection of disparate presentations? In other words: How does temporal synthesis accomplish this presentation? • THE TEMPORALITY OF CONSCIOUSNESS: Husserl asserts that consciousness, in placing its object in time also places itself in time. How does it do this? What is the relation between the consciousness that places itself in time and the consciousness that is placed in time? How do we unify them? • THE ONTOLOGICAL STATUS OF TIME-CONSTITUTING PHENOMENA: Husserl claims that “time-constituting phenomena are evidently objectivities fundamentally different than those constituted in time. They are neither individual objects nor individual processes, and the predicates of such objects or processes cannot be meaningfully ascribed to them.” This assertion raises a number of questions about the ontological status of these time-constituting phenomena. If we cannot apply the predicates of individual objects to them, what is the nature of their being? Given that such phenomena com-pose the field of consciousness, what is the ontological status of consciousness? Furthermore, if our apprehension directs itself towards individual objects, how can our consciousness grasp the pre-individual, time-constituting phenomena that make it up? At issue here is the status of Husserl’s own descriptions of consciousness and the temporal process. Does his theory undermine the possibility of the evidence he presents for it? • THE RELATION OF CONSCIOUSNESS TO THE EGO: Our sense of self involves more than our consciousness, more than the memories, perceptions, and anticipations that give it its content. It involves our sense as the subjective referent of every act, as the person to whom the world appears, as the one who is affected by the world and who acts with regard to it. What is the relation of this sense of self to our time consciousness? How does the simultaneous constitution of consciousness and its object result in the presence of the I that is the subject of consciousness? (shrink)

Indeterminism, understood as a notion that an event may be continued in a few alternative ways, invokes the question what a region of chanciness looks like. We concern ourselves with its topological and spatiotemporal aspects, abstracting from the nature or mechanism of chancy processes. We first argue that the question arises in Montague-Lewis-Earman conceptualization of indeterminism as well as in the branching tradition of Prior, Thomason and Belnap. As the resources of the former school are not rich enough to study (...) topological issues, we investigate the question in the framework of branching space-times of Belnap (Synthese 92:385–434, 1992). We introduce a topology on a branching model as well as a topology on a history in a branching model. We define light-cones and assume four conditions that guarantee the light-cones so defined behave like light-cones of physical space-times. From among various topological separation properties that are relevant to our question, we investigate the Hausdorff property. We prove that each history in a branching model satisfies the Hausdorff property. As for the satisfaction of the Hausdorff property in the entire branching model, we prove that it is related to the phenomenon of passive indeterminism, which we describe in detail. (shrink)

Husserl’s Logical Investigations has undergone explicitly conceptualist and non-conceptualist interpretations. For Richard Cobb-Stevens, he has extended understanding into the domain of sensuous intuition, leaving no simple perceptions that are actually separated from higher-level understanding. According to Kevin Mulligan, Husserl does in fact sunder nominal and propositional seeing from the simple or straightforward—and yet interpretative—seeing of particulars. To see simply is not to exercise an individual meaning or a general concept. Arguing that Logical Investigations provides evidence for both views, I endeavour (...) to show that the account of perceptual consciousness in Husserl’s subsequent work is far more clear and consistent. It is one of growing beyond the situation portrayed by Mulligan and into the one explicated by Cobb-Stevens. Though they are notionally separable, pre-conceptual syntheses at the passive and noematic levels are inevitably interwoven with conceptual and categorial articulations in a developed consciousness. (shrink)

The study of human diversity in the first half of the 19th century has traditionally been categorized as a type of armchair-based natural history. If we are to take seriously this characterization of the discipline it requires further unpacking. Armchair anthropology was not a passive pursuit, with minimal analytical reflection that simply synthesized the materials of other writers. Nor was it detached from the activities of informants who were collecting and recording data in the field. Practitioners in the 19th (...) century were highly attuned to the problems associated with their research techniques and continually sought to transform their methodologies. The history of British anthropological research is one of gradual change and the adoption of new observational techniques into its methodologies. This article looks at the history of 19th-century British anthropology and examines in detail the observational practices of its researchers. In doing so it aims to answer the question: What is armchair anthropology? (shrink)

This essay studies the unfolding of Levinas' concept of transcendence from 1935 to his 1984 talk entitled "Transcendence and Intelligibility." I discuss how Levinas frames transcendence in light of enjoyment, shame, and nausea in his youthful project of a counter-ontology to Heidegger's Being and Time. In Levinas' essay, transcendence is the human urge to get out of being. I show the ways in which Levinas' early ontology is conditioned by historical circumstances, but I argue that its primary aim is formal (...) and phenomenological; it adumbrates formal structures of human existence. Levinas' 1940s ontology accentuates the dualism in being, between what amount to a light and a dark principle. This shift in emphasis ushers in a new focus for transcendence, which is now both sensuous and temporal, thanks to the promise of fecundity. Totality and Infinity (1961) pursues a similar onto-logic, while shifting the locus of transcendence to a non-sexuate other. The final great work, Otherwise than Being or beyond Essence (1974) offers a hermeneutic phenomenology of transcendence-in-immanence. It rethinks Husserl's focus on the transcendence of intentionality and its condition of possibility in the passive synthesis of complex temporality. If the 1974 strategy 'burrows beneath' the classical phenomenological syntheses, it also incorporates unsuspected influences from French psychology and phenomenology. This allows Levinas to develop a philosophical conception of transcendence that is neither Husserl's intentionality nor Heidegger's temporal ecstases, in what amounts to an original contribution to a phenomenology both hermeneutic and descriptive. (shrink)

It is expected that industrial heritage actually tells the story of the emerging capitalism highlighting the dynamic social relationship between the “workers” and the owners of the “production means”. In current times of economic crisis, it may even involve a painful past with lost social, civil, gender and/or class struggles, a depressing present with abandoned, fragmented, degraded landscapes and ravaged factories, and a hopeless future for the former workers of the local (not only) society; or just a conquerable ground for (...) controversial investments. This is certainly an emotionally charged subject matter, with multiple readings and interpretations. However, this view is only partial when facing landscape during its historical evolution process. A diachronic study, thus, embraces all resources that probably gave rise to a variety of human activities; all of them embody heritage values -“subjectively” or “objectively” perceived- their evaluation, though, is a matter of an on-going process of the civil society. Greece's landscape accommodates a diversity of diachronic productive practices that may overlap historical periods, technological evolutions and social transformations. Pre-, early and industrial exploitation of resources does not remain firm but vary according to time and the needs of each society. The comparative scale of certain resource exploitation is highlighted as the key for the assessment methodology in close relation to the specific frame of a local landscape and a historical period. Even though archaeological evidence may possibly reveal and document continuity in a range of sustainable productive processes without conflicts, great controversies emerge when new investments are “offered” as an antidote to economic crisis -not harmonized to the local scale, traumatizing thus the “spirit” of the landscape. Suggestions for incompatible productive use and investment planning imply irreversible and irreparable effects on the environment, society and economy of a region and are only faced through social awareness. Case studies of passive and/or active involvement of local communities, in synthesizing and enhance landscape’s “spirit”, its diachronic industrial heritage and the embedded tangible and intangible values, will support a pragmatic -not a suspended- step towards a sustainable future. Quoting Neil Cossons (TICCIH Congress 2012) “Industrial imperialism ensures its position and protects its future not by the conquest of distant lands as by the securing of its sources of raw materials ... The modern world is as much under the control of the major industrial powers as it ever was during the colonial era”; if such a case can the industrial heritage sector remain apolitical? (shrink)

Deleuze's theory of time set out in Difference and Repetition is a complex structure of three different syntheses of time – the passive synthesis of the living present, the passive synthesis of the pure past and the static synthesis of the future. This article focuses on Deleuze's third synthesis of time, which seems to be the most obscure part of his tripartite theory, as Deleuze mixes different theoretical concepts drawn from philosophy, Greek drama theory and mathematics. Of central (...) importance is the notion of the cut, which is constitutive of the third synthesis of time defined as an a priori ordered temporal series separated unequally into a before and an after. This article argues that Deleuze develops his ordinal definition of time with recourse to Kant's definition of time as pure and empty form, Hölderlin's notion of ‘caesura’ drawn from his ‘Remarks on Oedipus’ (1803) and Dedekind's method of cuts as developed in his pioneering essay ‘Continuity and Irrational Numbers’ (1872). Deleuze then ties together the conceptions of the Kantian empty form of time and the Nietzschean eternal return, both of which are essentially related to a fractured I or dissolved self. This article aims to assemble the different heterogeneous elements that Deleuze picks up on and to show how the third synthesis of time emerges from this differential multiplicity. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This paper argues for a Kierkegaardian account of personal identity in dialogue with MacIntyre, Korsgaard, Frankfurt, Ricœur, and Marion. I engage with the scholarly debate on Kierkegaard’s relationship to practical and narrative accounts of the self and argue that he criticizes the ideal of self-authorship because authentic selfhood must be co-authored with others and embedded in the narrative setting and history that is provided by facticity. Moreover, this relation to facticity requires ethical commitment and existential faith. The phenomenology of the (...) call can show how such commitment and faith overcomes self-alienation by synthesizing the passive and active aspects of selfhood. (shrink)

The article analyses the concept of truth from the point of view of intentionality as it was developed by Edmund Husserl. The first step of the analysis consists in deploying the specific features of intentionality in the sense of directedness of the consciousness towards something, with its constitutive moments such as the intentional object, intentional sense, quality or different modes in which an object is given. The intentional living experiences conceived in this way are therefore objectifying acts charged with a (...) certain claim for truth. The justification of that claim can only be found in the original given-ness or in the intuitive fulfillment. Truth is the fulfillment of an empty signifying intention. Through the extension of the concept of intuition to the realm of the categorial, there is also an extension of the notion of truth. Truth is the noematic correlate of evidence understood as synthesis of coincidence. In this sense truth is the fulfillment of the intention of a state of affairs. Truth has a 'history' made up of different syntheses of coincidence which occur in a passive way. The passive syntheses guide or determine the way the categorial acts are performed and organized. They structure the prepredicative experiences necessary for the constitution of the predicative knowledge of truth. (shrink)

The Kant-Hegel theory of the self allegedly prevents us from explaining how we can attribute passitivity and activity to one and the same self without either destroying the distinction or covertly assimilating one part of it to the other. Kant's theory of the self inaugurates Hoffman's problem. Kantian synthesis is the work of the Understanding. But the awareness that a series of representations belongs to a single object is not another element in the synthesized manifold. It is supplied by the (...) pure ego and we are passive when we intuit objects; active when we synthesize them. The form of an object in general is supplied by the pure self. Thus the ostensible facts of passive intuition turn out to be covert facts of conceptual transcendental activity. In the Transcendental Aesthetic, moments are parts of one time. In the Transcendental Analytic, the unity of time is a product of the pure ego. The unity of time is not itself another moment in time. Thus, the unity of temporal succession is not just a concept of such a unity but a fact about the activity of the pure ego. We are not merely unable to know time independently of an act of the pure ego. Time itself cannot exist apart from such an act. (shrink)

I propose to look at Levinas’ constellation of figures: recurrence, obsession, persecution, substitution and saying, in chapter IV of Otherwise than Being. This is the core of his 1974 work. I tarry with a remark that Levinas makes there, “Our analyses lay claim to the spirit of Husserlian philosophy […] But […] the present work ventures beyond phenomenology”. Substitution thus returns to Husserl’s passive syntheses, arguing that not everything about sensibility and affect is meaningful or enters into associations of (...) intentions. To dig beneath thematizing consciousness required that Levinas adapt Heidegger’s hermeneutic extension of phenomenology, with its pre-structures, to open phenomenology to interpretive dimensions of lived immediacy. The question of passivity would requires reading Husserl through Heidegger. The task of opposing responsibility to Heidegger’s fundamental ontology necessitates a return to Husserl’s phenomenology of passivity. (shrink)

Insights into the intelligence throughout the natural and technical environment, in the fabric of our devices and dwellings, in our clothes, and under our skin. Is there a way to understand the materials that surround us not as passive objects, but as other intelligences interacting with our own? In Parallel Minds, expert in materials science and nanotechnology Laura Tripaldi delivers not only detailed insights into the properties and emergent behaviors of matter as revealed by state-of-the-art chemistry, synthetic biology, and (...) nanotech, but also a rich philosophical reflection that crosses the frontier between nature and culture, where the most cutting-edge scientific syntheses resonate with ancient myth. The result is a technomaterial bestiary full of unexpected encounters with “strange minds”—from cobwebs to kevlar and carbon fibre, from centaurs to amoebas to arachnids, from polycephalic slime to resonating plasmons, from viruses to golems. Parallel Minds reveals the intelligence at large throughout the natural and technical environment, in the fabric of our devices and dwellings, in our clothes, and even under our skin. Full of lateral ideas and unexpected images, Tripaldi’s book imbues the study and synthesis of materials with a new urgency. For not only do the materials that surround us participate actively in the construction of the world in which we live, but harnessing their ability to interact intelligently with their environment could be the key to the future of our species. (shrink)

Fifteen years after the first edition of this comprehensive work, German historicism remains largely and conspicuously in the shadows. The great historico-philological and historico-sociological work produced by, and on the fringes of, this school has given way to specialization. Great polygraphs of the caliber of a Meinecke, a Vossler, a Curtius, a Cassirer, a Croce, or an Auerbach seem to have completely disappeared from the scene. But is the necessity for cultural synthesis that these men stressed any less urgent today (...) than before? One of the major tasks envisioned by thinkers of the early twentieth century was the development of a philosophical anthropology which would consolidate all the preceding work of cultural synthesis. Today this task remains in the far horizon after a series of distinguished but discontinuous achievements. Thus the reappearance of the ambitious work of Professor Rossi is a welcome event. There are now indications that sociology is moving away from the neutral functionalism of the consensus years and is beginning to show some interest in the subconscious and in concrete constellations of values representative of communal forms of consciousness in a situation. Post-industrial society can no longer be examined with the rough tools of micro- or even macro-analysis. Because of their refinements in quantification and their awareness of the most specific features of every particular form of group consciousness, the new middle range methods are akin to the synthetic spirit of the historical school. As middle range research progresses, its results can provide the ontic ground for an ontology of the human condition in its adjustment to the world, and in its communicative-transcendent goals. For this reason, Rossi’s work, though excellent in its expository aspects should be read with care to avoid overemphasizing, as he does, the distance between rationalism and irrationalism that was apparent in the main tendencies of the historical school. Surely it is a worthwhile thing to show the tensions between the relativists such as Simmel and Spengler, the intuitionists such as Windelband and Rickert, and finally the neo-idealists such as Troeltsch and Meinecke. The tension that pulled apart these intellectual currents shows by contrast the great synthetic force operative in the systems of Dilthey and Weber, which provided the dominant inspiration for the whole school. But the fundamental perspective in today’s reconsideration of historicism need not be the tempering of any search for ideals through the insistence on sober methodological limits. A more fruitful emphasis can be placed today on action as a mediator between thought and adjustment, on community as a mediator between society and individuals, and most of all on expression and adventure as mediators between survival and moral absolutes. With his neo-Kantian insistence on the historical method, on the discovery of the historical horizon of the human condition, and on the establishment of the institutional connections within historical periods, Professor Rossi: a) misses the point of the anti-mechanistic efforts of modern philosophy, i.e., the constitution of synthetic a priori judgments in their true home grounds, the field of spontaneous human communication and action; b) restricts the ability on the part of the historical method to penetrate and elucidate the areas of the unconscious and of passive syntheses ; c) both presupposes and trivializes the definition of freedom. Freedom in Rossi’s interpretation of historicism, seems to result from the objective displacement of values, rather than from the dramatic insufficiency of every finite person as it transpires in the highest forms of symbolic communication and interaction.—A. M. (shrink)

The article is devoted to the study of the philosophy of the common cause of N.F. Fedorov (1829–1903). The ideas related to the active-historical function of humanity in the world ontology are the subject of analytical attention. The method of meaningful analysis re­veals the main intentions of cosmosophy, aimed at the implementation of the project for the comprehensive regulation of nature and for the ontological transformation of the world. A semantic disclosure of a number of systemic categories of the philosophy (...) of cosmism is proposed and the fundamental concept of unrelatedness is explicated. It is noted that projectivism that draws a sharp line between cosmosophy and contemplative cosmic views is a carrier methodological principle of the cosmosophical paradigm. Fe­dorov’s teaching is characterized as an axiological system of supramoralism, aimed at changing the spontaneous natural order, transforming the empirical being. Based on this, it is concluded that Fedorov’s teaching can be defined as a cultural-evolutionary deonto­logy, postulating the need for a conscious stage of the global evolutionary process. It is noted that the axiomatics of the philosophy of cosmism is based on the traditions of the Orthodox creed. At the same time, it is the projective attitude to the world that makes it possible to realize the historical potential of Christianity as a “living religion” that synthesizes science, art and creed. Supramoralism proposes a project of creative eschato­logy, opposed to the passive expectation of a history catastrophic break. Cosmosophy af­firms the imperative of a real apocatastasis, requiring the physical resurrection of all gen­erations of dead people. It is concluded that the target historiosophical vector of cosmism determines the transition of an adult society into a god-like state. (shrink)

Kant's critical philosophy promises to overturn both Empiricism and Rationalism by arguing for the necessity of a passive faculty, sensibility, and an active faculty, understanding, in order for cognition to obtain. Kant argues in favor of sense impression found in standard empirical philosophies while advocating conceptual necessities like those found in rational philosophies. It is only in the synthesis of these two elements that cognition and knowledge claims are possible. However, by affirming such a dualism, Kant has created yet (...) another problem familiar to the history of philosophy, one of faculty interaction. By affirming two separate and exclusive capacities necessary for cognition, Kant has bridged the gap between the two philosophical traditions, but created a gap that must be overcome in order to affirm his positive programmatic. Kant himself realizes the difficulty his new philosophy faces when he claims the two sources of knowledge must have a "common, but unknown root." To complete Kant's program one must ask: "What bridges the gap between sensible intuition and conceptual understanding?" In my dissertation, I turn to Kant's philosophy and find the answer to this question in the productive imagination. In order to evaluate the viability of this answer, I problematize the imagination as it has been found in the history of Western philosophy. By tracing the historical use of the imagination in archetypal figures from both empiricist and rationalist traditions, one finds a development of imagination that culminates in the fundamental formulation found in Kant's Critique of Pure Reason. In his critical philosophy, Kant synthesizes the imagination and the use of imagination found in both traditions, thus demonstrating its role in both sensation and understanding. By employing the imagination at both sensorial and conceptual levels, Kant has found, I argue, the liaison that overcomes the dualism established by his requirements for knowledge, as well as the common root for both. (shrink)

I advance a phenomenology of forgetting based on Husserl’s accounts of time-consciousness and passive synthesis. This theory of forgetting is crucial for understanding the transcendental constitution of the past. I argue that without forgetting, neither memory nor retention suffice for a consciousness of the past as past, since both are irreducibly connected to the Living Present. After an initial survey of the challenges that confront a phenomenology of forgetting, I provide a descriptive analysis of forgetting as a complex process (...) that integrates an accomplishment of retention that Husserl called “temporal contraction” with an accomplishment of passive synthesis that Husserl called “affective fusion.” Temporal contraction is the accomplishment that creates a qualitative distinction between near-retentions and far-retentions. Affective fusion enables us to provide a positive phenomenological description of the withdrawal of egoic investment in intentional experiences. Taken together, these two syntheses generate a double concealment in which consciousness both forgets its object and forgets that it has forgotten it, thereby constituting it as part of the truly absent past. (shrink)

Drawing from Arjen Kleinherenbrink's recent book, Against Continuity: Gilles Deleuze's Speculative Realism (2019), this paper undertakes a detailed review of Kleinherenbrink's fourfold "externality thesis" vis-à-vis Deleuze's machine ontology. Reading Deleuze as a philosopher of the actual, this paper renders Deleuzean syntheses as passive contemplations, pulling other (passive) entities into an (active) experience and designating relations as expressed through contraction. In addition to reviewing Kleinherenbrink's book (which argues that the machine ontology is a guiding current that emerges in Deleuze's (...) work after Difference and Repetition) alongside much of Deleuze's oeuvre, we relate and juxtapose Deleuze's machine ontology to positions concerning externality held by a host of speculative realists. Arguing that the machine ontology has its own account of interaction, change, and novelty, we ultimately set to prove that positing an ontological "cut" on behalf of the virtual realm is unwarranted because, unlike the realm of actualities, it is extraneous to the structure of becoming-that is, because it cannot be homogenous, any theory of change vis-à-vis the virtual makes it impossible to explain how and why qualitatively different actualities are produced. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant and the Demands of Self-ConsciousnessFrederick RauscherPierre Keller. Kant and the Demands of Self-Consciousness. New York: Cambridge University Press, 1998. Pp vii + 286. Cloth, $59.95.Pierre Keller finds an argument for transcendental idealism in Kant's conception of the self. Keller argues that, for self-consciousness to be possible, there must be not only an empirical distinction between representations in inner sense and objects outside us in space but also (...) a transcendental distinction between an ontological inner and outer: "We distinguish the inner from the outer within experience, and the outer as what is completely independent of the way we must experience the world, on the basis of the consciousness that we have of ourselves" (236).This ultimate conclusion is reached through an argument begun with a suggestive analysis of Kant's theory of self-consciousness. Keller agrees with many other recent commentators that Kant's theory of mind is functionalist. But to this analysis Keller adds an impersonal account of transcendental self-consciousness. This move can be understood as follows: Knowledge of the self as a particular identifiable empirical individual person depends upon objective evidence of the continuity of self accessible from a third person point of view. Objective knowledge is required because mere inner representation of the self as identical over time might err. This objective knowledge, however, is possible only if there is an empirical self-consciousness or awareness of self in inner sense in which different representations are connected together to form a point of view on that objective realm; thus empirical self-consciousness is the basis for [End Page 285] but not the same as personal identity. Empirical self-consciousness, the existence of a particular point of view, in turn depends upon the more abstract transcendental self-consciousness which is the transcendental condition for the existence of particular points of view as grounded in the totality of all possible points of view (72). The transcendental "I think" which Kant holds to be required for knowledge, then, is a single collection of all possible points of view, or, a possible grand function synthesizing all possible representations to generate an objective world. Keller holds each particular "I," then, to be a subset of this possible (not actual!) global self-consciousness.Here Keller's argument is unconvincing. Kant need not hold that particular points of view in inner sense require a conception of all possible points of view in a global whole of representations. Rather, in order to guarantee the objectivity required for a point of view in inner sense, Kant could hold that there must be objective relations among objects which account for the particular point of view even if those objective relations are not representable to any possible point of view. Keller's overlooking this option is puzzling given the emphasis on objectivity he develops in the remainder of the book.Keller's interpretation of self-consciousness ultimately leads to transcendental idealism through the requirement of objectivity. For since each individual self-consciousness can claim to be such only in reference to a possible global self-consciousness, that global self-consciousness provides the objective background for all subjectivity claims. I can become aware of my place in the world only by becoming aware of other possible relations to the objective world which I might have had. The Refutation of Idealism ultimately makes this claim regarding the necessity of the existence of real objects outside of me in space as the basis for my ability to have any subjective relations at all. Although some have taken Kant's argument here to also refute his own transcendental idealism, Keller holds that this empirical realism can be taken to support transcendental idealism. We must not only have knowledge of objects which we represent as outside of us, such knowledge also cannot ultimately arise from active, spontaneous self-affection, for then the represented object would not be truly able to provide an independent marker for our subjective relations. Thus, there must be objects to which we relate passively; moreover, this passive relation dictates that the objects are "radically independent of us" (216). Hence, the refutation of idealism proves not only that there must... (shrink)

Static phenomenological analysis discloses a tension between judgement and perception as a result of the way intentionality was developed in Husserl’s early thought: 1) The apprehension-content schema determines the way noesis is understood as sense-giving, 2) Sensuous perception models the way noema is conceived of as correlative sense. Both directions conflict with regard to the question of the ideality of their noemata. After describing this conflict, this paper aims to lay bare the static relation between judgement and perception in order (...) to follow up its transformation in genetic phenomenology. This may then help to outline a stratification of noematic ideality grounded on the intentional continuity between passive and active syntheses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.4 (2001) 327-329 [Access article in PDF] Husserlian Comments on Blankenburg's "Psychopathology of Common Sense" Osborne P. Wiggins, Michael Alan Schwartz, and Jean Naudin In this essay, Wolfgang Blankenburg sketches his influential view that some of the disturbances of schizophrenia in particular can be interpreted as a pathology of common sense. We think it important at the outset, however, to avoid possible misunderstandings of Blankenburg's (...) point. It is perhaps unfortunate that this point is expressed by use of the phrase, "common sense." As Blankenburg's own essay shows, even among the learned, "common sense" has no definite or univocal meaning. Therefore, it is entirely possible to find many people who, under some conception of "common sense," appear to lack common sense and yet should not be deemed schizophrenic. Consequently, it is probably best to avoid the ambiguous phrase "common sense" altogether and seek to comprehend Blankenburg's point in other terms. That is precisely what we shall attempt here. We do endorse Blankenburg's view. Moreover, we shall pursue his suggestions that a Husserlian phenomenology of our experience of the life-world may provide the basis for developing the kind of psychopathology he seeks. Our ultimate aim, however, is for this phrase "common sense" to vanish into the Husserlian phenomenology we offer, so that all the other meanings of common sense will not threaten Blankenburg's position with misunderstandings.Our comments must remain a mere sketch. Since, however, Husserl's phenomenology is not well known, we shall have to devote some time to outlining those features of it that we deem relevant here.For Husserl, every mental process is an awareness of something. In his terminology, it is "intentional." No mental process occurs in isolation, however. It rather occurs within a concatenation of many other mental processes. Some of these co-occurring mental processes intend the same object; they intend other aspects of the object. For example, a woman may be aware of the color of a dress she is considering wearing. Hence, one process in her mental life is (visually) aware of the brown color. But another process in her mental life may be intending it as a "party dress." And yet another process in her mental life may be (tactually) intending the texture of the cloth. Because all of these mental processes (and many others) intend the same object, namely, the dress, Husserl says that they are synthesized with one another. "Synthesis," then, connotes a multiplicity of mental processes united with one another through intending the same object.Now Husserl believed that it is because the many processes occurring in our mental lives [End Page 327] synthetically intend the many objects we encounter that we experience ourselves as inhabiting a world of objects. If these syntheses failed to occur, we would not experience the world or ourselves as parts of this world. These syntheses make it possible for us to experience objects and events as related to one another in the manifold spatial, causal, temporal, social, political, religious, and other relationships that we do in fact experience. Husserl thus contends that our mental lives "constitute" the world for us. Mental life can accordingly be viewed as "world-constituting." Mental life is thus the condition for the possibility of there being a world of objects for us, to modify Kant's phrase. Husserl thought his notion of world-constituting consciousness sufficiently similar to Kant's for him to appropriate the latter philosopher's concept of "transcendental." Husserl also then spoke of "transcendental consciousness" and the study of this consciousness as "transcendental philosophy."Husserl made many distinctions among kinds of mental processes and their correlative objects. We shall here explicate only one such distinction. Mental processes must be distinguished as those that are actively generated by an ego and those that are not produced by an ego. The latter kind of mental process occurs automatically or, as Husserl writes, "passively." Husserl calls the first kind of mental process "active." Having mentioned him, however, we should also briefly characterize the "ego... (shrink)

The present paper intended to present a proposal for division of phenomenological psychology in two separate areas but interconnected with each other, based respectively on a static and genetic phenomenology. The former is more appropriate for a research field of human psychology, based on the concept of intentionality is presented as an eidetic psychology that can be applied to different subjects of study of psychological research and have as a research field on major issues of psychology, as perception, memory, language, (...) imagination. Phenomenological Psychology II, based on a genetic phenomenology is applied on the psychotherapeutic space because its object of inquiry is a self that has a story based on sedimentations generated in part by passive syntheses that operate at a pre-reflexive level. The genetic analysis is a phenomenological investigation of inter-subjective facticity in a therapeutic context. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.1 (2002) 132-133 [Access article in PDF] Book Review The Other Husserl: The Horizons of Transcendental Phenomenology Donn Welton. The Other Husserl: The Horizons of Transcendental Phenomenology. Bloomington: Indiana University Press, 2000. Pp. xvi + 496. Cloth, $54.95. Few philosophers have been as ill-served by their reception as Husserl. The books he managed to publish during his lifetime provide a very limited perspective (...) on his thought but have determined what Donn Welton, in this magnificent treatise, calls the "Standard Interpretation," shared by analytic and deconstructionist readers alike, in which Husserl is a neo-Cartesian wedded to epistemological immanentism, methodological solipsism, and ontological idealism. That a very different Husserl is found in his vast Nachlass has long been known, but because of its sheer volume and relative inaccessibility it has had little impact on the Husserl-reception beyond a small circle of specialists. Hence in recovering the "Other" Husserl, Welton's aim is not the usual historical one of stripping away anachronistic readings to arrive at an original reception, but one of negating this Rezeptionsgeschichte to reveal a philosophy that has, in a certain sense, never been present.In this, the book succeeds wonderfully. Welton threads through the tangle of the Nachlass to reconstruct the unfulfilled "great systematic work" that occupied Husserl off and on from about 1920 until his death, uncovering thereby the revolutionary implications of Husserl's move from "static" to "genetic" phenomenology that force us to reconsider the Standard Interpretation point by point. While admitting that Husserl never abandoned his Cartesian proclivities altogether, Welton shows how these can be read as dependent moments in a system of "transcendental phenomenology" that ends up "much closer to Heidegger's approach than is usually thought" (233). The relevance for current debates in philosophy is made plain, such that Husserl is, at last, our contemporary.Briefly reviewing a book as ambitious as this inevitably distorts it, but let me comment on its central methodological claim. Transcendental phenomenology emerged from the pre-transcendental phenomenology of the Logische Untersuchungen when Husserl began seeking the "ultimate ground" for scientific cognition (chapters 1-4). This approach, dubbed the "Cartesian Way" by Husserl himself, generated the "Cartesian Enclosures" (chapter 5) of the Standard Interpretation: demanding evidence that is apodictic, adequate, and directly intuitive, Husserl identifies "transcendental subjectivity" with the individual, indeed solipsistic, "stream of consciousness" and interprets this ontologically as the "relativity" of the world. In his pivotal chapter 6, however, Welton shows that Husserl's reflections on time and memory forced him to admit that the "transcendental field" could not be secured by appeal to "adequate evidence" (154). Hence Husserl adopted a "Kantian Way" (158) that supplements intuitive evidence with elements of transcendental "construction" (148). The concept of transcendental "subjectivity" is thereby transformed from an egocentric stream of consciousness to an intersubjective, communicative, embodied, and historical site of the "transcendental genesis" of meaning.Chapters 7-9 detail how Husserl's increasing interest in the genesis of meaning in the 1920s calls forth this transformation. Tracing the problem on the levels of "speech" and "experience," Welton carefully elucidates how, in moving from static through constitutive to genetic analyses, Husserl came increasingly to see that his original "leading clue"--the phenomenon of cognitive act-intentionality--depended upon the passive syntheses and contexts of "motivation" that make up the world-horizon of pre-cognitive "life." Chapters 10 and 12 argue that Husserl's desire to force these insights into a Cartesian framework yielded the dead-end of "transcendental psychologism" and the dubious teleology of an ethico-political "one-worldism." Meanwhile in chapters 13-15, Welton sketches a phenomenologically more defensible concept of world as "horizon"--a nonperceptual, inherently plural, space of meaning structured as "context" (speech) and "background" (embodiment).Chapter 11 is central to the argument, since it describes how the Kantian notion of transcendental deduction ("construction") is to be integrated into phenomenological method. Things move very quickly. Welton relies heavily on Jay Rosenberg's idea that transcendental deduction is a species of "practical reasoning," and on Charles Taylor's... (shrink)