This book examines the past, present, and future states of time-travel research, and also looks at the bizarre anomalies of time itself.

In a pair of very important papers, namely “Space, Time and Individuals” in the Journal of Philosophy for October 1955 and “The Indestructibility and Immutability of Substances” in Philosophical Studies for April 1956, Professor N. L. Wilson began something which badly needed beginning, namely the construction of a logically rigorous “substance-language” in which we talk about enduring and changing individuals as we do in common speech, as opposed to the “space-time” language favoured by very many mathematical logicians, perhaps most notably (...) by Quine. This enterprise of Wilson's is one with which I could hardly sympathize more heartily than I do; and one wishes for this logically rigorous “substance-language” not only when one is reading Quine but also when one is reading many other people. How fantastic it is, for instance, that Kotarbinski1 should call his metaphysics “Reism” when the very last kind of entity it has room for is things —instead of them it just has the world-lines or life-histories of things; “fourdimensional worms”, as Wilson says. Wilson, moreover, has at least one point of superiority to another rebel against space-time talk, P. F. Strawson; namely he does seriously attempt to meet formalism with formalism—to show that logical rigour is not a monopoly of the other side. At another point, however, Strawson seems to me to see further than Wilson; he is aware that substance-talk cannot be carried on without tenses, whereas Wilson tries to do without them. Wilson, in short, has indeed brought us out of Egypt; but as yet has us still wandering about the Sinai Peninsula; the Promised Land is a little further on than he has taken us. (shrink)

Four-dimensionalism is the thesis that everyday objects, such as you and me, are space-time worms that persist through time by having temporal parts none of which is identical to the object itself. Objects are aggregates or sums of such temporal parts. The main virtue of fourdimensionalism is that it solves—or does away with—the problem of identity through change.1 The main charge raised against it is that it is inconsistent with the thesis according to which there is change in the world.2 (...) If this charge could be sustained, then we would need compelling arguments in support of the view that things are four-dimensional, since the view that there is no change in the world conflicts with so many of our most well-supported common-sense beliefs. In what follows, however, I want to show that, contrary to what is usually believed, fourdimensionalism does not entail a changeless world. (shrink)

A discussion of the sense in which reality is mind-dependent for Kant and for David Lewis. Plus a lot about space-aliens (and a bit about pimple-worms).

This thesis is about the conceptualization of persistence of physical, middle-sized objects within the theoretical framework of the revisionary ‘B-theory’ of time. According to the B-theory, time does not flow, but is an extended and inherently directed fourth dimension along which the history of the universe is ‘laid out’ once and for all. It is a widespread view among philosophers that if we accept the B-theory, the commonsensical ‘endurance theory’ of persistence will have to be rejected. The endurance theory says (...) that objects persist through time by being wholly present at distinct times as numerically the same entity. Instead of endurantism, it has been argued, we have to adopt either ‘perdurantism’ or the ‘stage theory’. Perdurantism is the theory that objects are four-dimensional ‘space-time worms’ persisting through time by having distinct temporal parts at distinct times. The stage theory says that objects are instantaneous temporal parts (stages) of space-time worms, persisting by having distinct temporal counterparts at distinct times. In the thesis, it is argued that no good arguments have been provided for the conclusion that we are obliged to drop the endurance theory by acceptance of the B-theory. This conclusion stands even if the endurance theory incorporates the claim that objects endure through intrinsic change. It is also shown that perdurantism and the stage theory come with unwelcome consequences. -/- Paper I demonstrates that the main arguments for the view that objects cannot endure in B-time intrinsically unchanged fail. Papers II and III do the same with respect to the traditional arguments against endurance through intrinsic change in B-time. Paper III also contains a detailed account of the semantics of the tenseless copula, which occurs frequently in the debate. The contention of Paper IV is that four-dimensional space-time worms, as traditionally understood, are not suited to take dispositional predicates. In Paper V, it is shown that the stage theory needs to introduce an overabundance of persistence-concepts, many of which will have to be simultaneously applicable to a single object (qua falling under a single sortal), in order for the theory to be consistent. The final article, Paper VI, investigates the sense in which persistence can, as is sometimes suggested, be a ‘conventional matter’. It also asks whether alleged cases of ‘conventional persistence’ create trouble for the endurance theory. It is argued that conventions can only enter at a trivial semantic level, and that the endurance theory is no more threatened by such conventions than are its rivals. (shrink)

Faced with the conflict between our intuition that no two things ever share a place at a time and these counterexamples to it, philosophers usually try to find a happy medium between sticking with the original intuition and rejecting all of its counterexamples or giving up the whole intuition and accepting all the counterexamples. Some counterexamples might be rejected on conceptual grounds : one may deny for instance that absolute space is in the same place that the entities located therein (...) on the ground that absolute space is not itself located. One may also reject the distinct existence of some of the entities put forward in the examples : determinable properties might be nothing else than boolean combinations of determinate ones, spots on a screen may be just four dimensional worms whose passing through each other is a matter of part sharing rather than compenetration, etc. But as long as the conceivability of at least one counterexample is granted, the impenetrability intuition has to be weake- ned. To this end, one can weaken either the modal force of the impenetrability intuition or its scope. One may claim for instance that things are impenetrable in our world, but grant that the remaining counterexample refers to genuine metaphysical possibilities (although not natural ones). On the other hand, on may claim that the impenetrability intuition does not bear on every entity in the outside world, but only on some of them. Locke, famously, did not want to give up the metaphysical necessity of impenetrability, but agreed to restrict it to entities of the same kind.4 One other way to restrict the scope of the intuition of impenetrability is to claim that only independent entities (substances, or things proper) are impenetrable , or that only material entities are. (shrink)

In this paper, I argue that perdurantism is incompatible with priority monism: the view that the universal mereological fusion, U, is fundamental. For the monist’s fundamental object can neither persist by being a trans-temporal object (i.e., a space-time ‘worm’) nor by being an instantaneous stage. If U persisted via being a worm, it would be grounded in its temporal parts, meaning that it would not be fundamental as it would not be ungrounded. If U were a stage, on the other (...) hand, it would face a problem from the possibility of ‘temporal gunk’. But if U persisted by neither being a worm nor a stage, then U could not persist via having temporal parts, and thus perdurantism would be false. Given that a similar combination of perdurantism and priority pluralism also faces a problem from temporal gunk, I conclude that perdurantism does not sit well with mereological based accounts of fundamentality. (shrink)

Protestant (medical) missionaries were the main proponents of Western medicine in China after the Opium Wars. Several studies have highlighted how they used spectacular surgery as a means of gaining public trust. As well as surgery, they also administered anthelmintic drugs such as santonin as a tool of persuasion and conversion. Many anthelmintic drugs of the European materia medica had a colonial history. My paper analyses how coloniality materialised in medical practice and anthelmintics in China. For the late nineteenth century, (...) I will examine the colonial practices in which the drug santonin was involved. At the time, santonin was the drug of choice for treating roundworm. In the early twentieth century, medical missionaries became involved in parasitological research on parasitic worms such as hookworm and Fasciolopsis buski. For this period, I will explore how new knowledge about anthelmintics emerged in the scattered knowledge space of China, and how it related to colonialism and imperialism. (shrink)

This essay analyses the role played by okra in The Underground Railroad, together with how it functions in relation to the soil that sustains it and which allows it to grow. I argue that okra represents an otherwise lost African past for both protagonist Cora and for the show in general and that this transplanted plant, similar to the transplanted Africans who endured the Middle Passage on the way to ‘New World’ slave plantations, survives by going through ‘black holes’, something (...) that is not only linked poetically to the established trope of the otherwise absent Black mother but which also finds support from physics, where wormholes (similar to the holes created by worms in the soil) take us through black holes and into new worlds, realities or dimensions. This is reflected in Jenkins’s series (as well as Whitehead’s novel) by the titular Underground Railroad itself, which sees Cora and others disappear underground only to reappear in new states (the show travels from Georgia to South Carolina to North Carolina to Tennessee to Indiana and so on), as well as specifically in the show through the formal properties of the audio-visual (cinematic/televisual) medium, which, with its cuts and movements, similarly keeps shifting through space and time in a nonlinear but generative fashion. Finally, I suggest that we cannot philosophise the plant or the medium of film (or television or streaming media) without philosophising race, with The Underground Railroad serving as a means for bringing together plants and plantations, soil and wormholes and Blackness and black holes, which, collectively and playfully, I group under the umbrella term ‘black (w)hole foods’. (shrink)

An astonishing debut from the beloved NPR science correspondent: intimate essays about the intersection of science and everyday life. In her career as a science reporter, Nell Greenfieldboyce has reported from inside a space shuttle, the bottom of a coal mine, and the control room of a particle collider; she's presented news on the color of dinosaur eggs, ice worms that live on mountaintop glaciers, and signs of life on Venus. In this, her debut book, she delivers a wholly original (...) collection of powerful, emotionally raw, and unforgettable personal essays that probe the places where science touches our lives most intimately. Expertly weaving her own experiences of motherhood and marriage with an almost devotional attention to the natural world, Greenfieldboyce grapples with the weighty dualities of life: birth and death, constancy and impermanence, memory and doubt, love and aging. She looks for a connection to the universe by embarking on a search for the otherworldly glint of a micrometeorite in the dust, consults meteorologists and storm chasers on the eerie power of tornadoes to soothe her children's anxieties, and processes her adolescent oblivion through the startling discovery of black holes. Inspired throughout by Walt Whitman's invocation to the "transient and strange," she remains attuned to the wildest workings of our world, reflecting on the incredible leap of the humble flea or the echoing truth of a fetal heartbeat. A beautiful blend of explanatory science, original reporting, and personal experience, Transient and Strange captures the ache of ordinary life, offering resonant insights into both the world around us and the worlds within us. (shrink)

The emphasis that the modernity gives to disengagement and beginning leads one to think that the modernity itself is in fact a culture that initiares crisis. Even if there is no initial crisis, it can be created through the ambivalent nature of modernity. Behind the concept of crisis lies the notion that history is a continuous process or movement that opens the door to nihilistic understanding which stems from the idea of contemporary life and thought alienation through the pessimistic meaning (...) of the word. There is a dialectical relationship between the ideas of modernity and progress, and the decadence, and the main theme of Nietzsche's philosophical career. Since the death of Hegel, who made the idea of crisis plausible, everything is nothing but a counter-movement not only in Germany, but also in Europe. The first of these counter-movements is romanticism with its objection to the mind which is liberated from the bonds of tradition. The main thesis of the present article is, between reactiveness of romanticism -on the surface- and the modernity; from one side romanticism's consuming modernity, which is its mirror image, while at the same time feeding from it and modernity's manipulating the ideas developed against it and monopolizing them thanks to its ambivalent nature. For this purpose, following an an anti-enlightenment thinker Nietzsche's, anti-romantic footsteps which at the same time feeds from the romantic heritage, an attempt will be made to analyze the relationship between modernity and romanticism. Another goal of this article is to allow a comparison of how the intellectual development in the West finds its response on the modernization process of our country by probing how the modernization experience of early period Islamist's who experienced this process in a feeling of "backwardness" and with a wounded consciousness and anxiety has led to a shallow romantic worldview. SummaryRomance and romanticism are the main topics of this article. Romanticism is a period, whereas romance is a spiritual attitude not limited to this period, therefore, even today it’s existence is felt. In other words, it is not specific to the Germans. This term is often used to correspond to certain aspects of European intellectual life in the late eighteenth and early nineteenth centuries, for instance between 1790 and 1850. In its extremely diverse definitions, the most "romantic" definition in our opinion, belongs to Novalis: “I'm romanticizing by giving a high meaning to ordinary things, a mysterious reputation to the ordinary, the honor of the unknown to the known, an infinite look to the finite.” The rejection of existing social reality, the experience of loss, the melancholic longing and the search for loss are the main components of the romantic motive. This study is based on the argument that there is a dialectical relation between romanticism and modernity, which is known as an opposing movement against enlightenment thought. The intellectual feature, which contains the opposite of modernity itself, makes this argument plausible. In addition, the view of modernity as a crisis culture due to the emphasis on disengament and beginnings offers us the possibility to establish a relationship between modernity, which accepts itself as decadence, and romance. Behind the concept of crisis lies the idea that history is a continuous process or movement opening the door to the nihilist understanding in which modern life and thought are alienated in a pessimistic sense. Thus, Allan Megill defines historicism as a prerequisite for nihilism. According to the author, Prophets of Extremity, if the history has no direction to be changed, maintained or lost when wandering in history, it also cannot have a "crisis". The suggestion of "God is dead" is the most concise expression of this crisis. In this crisis state of nihilism, it is a completely forlorn condition of living in the present. Today, which is in the absolute forlorn state; the savior declares his belief that he is devoid of all sorts of features, things that let us reconcile with the current situation of things. In the face of this situation, when people see that the present becomes completely forlorn, they move in two opposite directions with a desire to regenerate culturally: They either have to go back to the past or head for the future. However, every attempt to determine what the future or the past posess will require them to be real, belonging to the present. This will return us to the forlorn state. Nietzsche embraces both opposing sides, but does not attempts choose between them. This is the place where Nietzsche dictates that today is corrupt taking a radical attitude against romanticism fed by the notion of crisis. The fact that modernity has given up its critique of reason, which is revealed by its dialectic, had a great influence on Nietzsche's putting distance between himself and romantics. That is to say, in response to enlightened thought, although romantics speak of unity, apparently, they could not prevent emergence of emotion against mind, local against the universal, individual against social, in other words, the emergence of the second values, which they believed that these were belittled and despised by Enlightenment. Therefore, romantics seem like they could not save themselves from being caught in the web of dialectics in the account they entered that is based on the subject-object distinction in cartesian thought. It is because modernity acts with the consciousness that the life is established on the occurrence and decadence. Based on this, we can say that decadence is inevitable. This decadence (distortion) from the outside may be through movements developed against it, or experienced within itself (even if no one attempts to destroy it). Modernity, with the awareness that it cannot escape from the decadence, wants to arbitrate itself by turning this decadence in its favor by manipulating it. In other words, the modernity dramatizes the feeling of crisis considering itself decadence and the seemingly contradictory ideas of avant-garde and decadence become almost synonymous. It must be the reason why Nietzsche identifies modernity with decadence Modernity manages to put the decadence in its body at the center of attraction by producing self-opposing movements, monopolizing and manipulating. In short, both romanticism and avant-garde movements are the movements that are emerged not against modernity but from itself. Just like an apple worm, they both consume modernity and feed on it. They act as a mirror. Although they seem to criticize, as movements that have emerged from it, they allow the modernity to complete and correct the deficiencies. As a result of this, we can say that romantic critical movements are developed against the world and are shaped by modernity, beginning with the idea of enlightenment, and moved forward in the track of modernity.While romanticism developed in the West as opposed to modernity, in Ottoman-Turkish thought, it was seen as the rhetoric of retardation and regretting of backwardness from civilization. It is inevitable that the experience of modernization in a sense of backwardness, with a wounded consciousness and urgency, will open up space for romance. In our modernization adventure starting with Tanzimat, it is a fact that there has not been a drastic reckoning due to Enlightenment on an intellectual basis, industrialization on an economic basis, programs of revolutionary and nationalist formations on a political basis. Therefore, in Turkish thought, it is not possible to talk about a critical tradition developed against modern paradigm. The status of being audience to what was being experienced in Europe, resulting from superiority was transformed into grudge due to the defeats in the military field. Due to the decadence experienced in the present, inability to find the solution to the problems of its age, melancholic state of mind because of being stuck in the golden age experienced in the past, in the case of a preference, led to a romantic world view because of the appeal of its simplicity to imitate what was once lived in the past. Thus, it is very natural that the direction of Namık Kemal, the cult personality of Islamist-Turkish thought, is towards the past even when talking about progress and civilization. Seeing the 19th century Europe as a re-implementation of ideas and institutions that are actually Islamic, Namık Kemal, in our opinion, showed us a clear example of a typical Islamist romanticism and an example of occidentalist approach regarding that the West learned the civilization from Muslims. In fact, the exact equivalent of this approach displayed in Turkish cogito without even knowing that it is romantic, emerging in the personality of Namık Kemal and in the feeling of backwardness,with a hectic and injured consciousness, is kitschization. So much so that, the state of being kitsch also explains the current situation of Islamic geography which is far from creating a tradition for at least a century, and it clearly tells the usual romantic end. (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / penetrates (...) the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

If we do not shrink from making rough generalizations and adopt a broad, conventional approach, then what we call modernity refers to the process whereby a state of heterogeneity progresses toward homogeneity in time, space, human collectives, social order, and other areas. In his book The Cheese and the Worms, Carlo Ginzburg discusses a late-16th century incident of heterodoxy that cannot be classified into previously existing standard categories. As new knowledge was disseminated thanks to the invention of the Gutenberg printing (...) press, old and new knowledge came into conflict in the mind of a heterodox figure by the name of Menocchio. He attacked the church, saying that it was more important to love one’s neighbor than to love God. Through these small, humble manifestations of change, Ginzburg was able to reveal the juncture when European modern knowledge first emerged from a muddled, undifferentiated state into one of clarity, whereby over the course of about a century of fermentation, its contours eventually became clearly evident around the year 1800. This process has been termed by the pioneer of conceptual history Otto Brunner as the “threshold era”, and by Reinhart Koselleck as the beginning of the “saddle era”. (shrink)

There sits my trusty coffee mug. Just like yesterday, only a bit grungier. So how does it persist through time and change? Is it wholly present at every moment during which it exists, as the friends of endurance think? Or is it a four-dimensional space-time worm that has different parts at different times, as the friends of perdurance think? Or is it instead a momentary object related in various to-be-spelled-out ways to other momentary objects existing at other times? In How (...) Things Persist, Katherine Hawley follows Theodore Sider in defending the third of these three views. (shrink)

Propose une hypothèse originale sur les sources de la pensée de Bergson et sa portée profonde, sur le mouvement de son oeuvre et la méthode qui s'impose pour la lire, sur la place de sa philosophie dans l'histoire.

Le but de cet article est de montrer comment la lecture de Kant par Bergson, loin de se ramener à un mot d’ordre sommaire, comporte une reprise partielle, une critique précise, un refus ultime enfin, qui conduisent au cœur d’une relation profonde entre deux philosophies irréductibles. La reprise partielle de la distinction entre intelligence et intuition, et même entre matière et forme de l’intuition, doit être comprise autrement que comme un hommage ironique. Elle seule permet de comprendre l’unité que Bergson (...) revendique contre Kant, d’abord entre matière et forme de l’intuition, dans le cas du temps, puis entre intelligence et intuition même, à partir de L’évolution créatrice. À son tour, cette unité permet aussi de comprendre pourquoi l’intelligence reste à l’écart de l’intuition pratique dans le dernier grand livre de Bergson. « Gagnée » par l’intuition, l’intelligence ou l’entendement le sont donc bien en un double sens : non seulement surmontés, mais envahis par elle, jusqu’à une limite qui révèle au cœur d’un problème commun, une singulière différence.The purpose of this paper is to show how Bergson’s reading of Kant, far from any expeditive fightword, implies at the same time some reappropriation, a precise critique, and a final objection that together lead to the heart of a profound relationship between two irreducible doctrines. The partial endorsing of Kant’s distinction between intelligence and intuition, and even between matter and form of intuition itself, must not be understood only as a ironical hommage. On the contrary, it helps understanding the unity Bergson advocates against Kant, first between the matter and form of intuition, in the case of time, then between intuition and intelligence itself, after Creative Evolution. In its own turn, that unity helps understanding why intelligence is put aside of practical intuition in Bergson’s last great book. Intelligence or understanding are thus « won » in a double way : not only as surpassed, but also as penetrated by intuition, up to a last limit, which reveals a peculiar difference, at the heart of a common problem. (shrink)

(2005). Between Critique And Metaphysics. Angelaki: Vol. 10, continental philosophy and the sciences the french tradition issue editor: andrew aitken, pp. 39-57.

Mary-Anne Zagdoun se propose, dans l’ouvrage qu’elle consacre à la philosophie stoïcienne de l’art, de combler une lacune. En effet, « l’ampleur et l’importance [de celle-ci] ont été longtemps », selon elle, « sous-estimées » et « il manquait sur la question un travail permettant de situer le problème dans l’ensemble de la philosophie stoïcienne ». (Introduction, p. 9) L’on peut dès à présent dire que le but fixé par l’auteur est atteint : si Mary-Anne Zagdoun souligne à maintes reprises (...) l’in... (shrink)

On se propose d’étudier ici l’unité, la diversité et l’évolution de la pensée de Merleau-Ponty à travers ses deux principaux recueils d’essais, Signes publié en 1960, et Sens et non-sens, paru en 1948, dont l’un annonce l’ouvrage posthume sur Le visible et l’invisible (1964), et l’autre prolonge de l’intérieur la Phénoménologie de la perception (1945). On est ainsi conduit à comprendre comment le problème fondamental de la pensée de Merleau-Ponty autorise la diversité de son œuvre, entre philosophie, sciences humaines et (...) politique, sans espoir de synthèse ou de système, mais conjurant aussi toute dispersion et toute résignation. L’évolution même de cette pensée d’une étape à l’autre en confirme le double héritage, autour d’une intuition centrale et d’une variété irréductible d’expériences. (shrink)

Engagement in marine science has historically been the privilege of a small number of people with access to higher education, specialised equipment and research funding. Such constraints have often limited public engagement and may have slowed the uptake of ocean science into environmental policy. Recognition of this disconnect has spurred a growing movement to promote ocean literacy, defined as one’s individual understanding of how the ocean affects people and how people affect the ocean. Over the last 2 decades, this concept (...) has gained significant traction in marine biology and environmental education circles and now plays a prominent role in the UN’s Decade of Ocean Science for Sustainable Development. Here, we argue that the ocean literacy agenda has largely been shaped and discussed by marine scientists and educators but needs to be expanded to a much larger constituency to be more effective, accessible and inclusive. We discuss diverse cultural settings from around the world and provide examples of indigenous, spiritual, art, ocean user and other groups that are already deeply engaged with the ocean and could provide a variety of perspectives to enrich the ocean literacy concept beyond an understanding of marine science. We suggest that such inclusiveness could remove the historic barriers that have surrounded the field, transform our collective awareness of and relationship with the ocean and help support ongoing efforts to restore marine biodiversity. (shrink)

resumo Trata-se aqui de mostrar como a filosofia de Bergson decorre da constatação da passagem do tempo enquanto fato primordial e originário; nessa medida, as suas obras podem ser consideradas como diferentes tentativas de esclarecer tal experiência da temporalidade que, filosoficamente considerada, consiste na intuição da duração. Para isso, examina-se a forma pela qual o tratamento dado a problemas filosóficos distintos e discutidos em cada um de suas obras efetiva-se como meditação sobre o fato primitivo e seu esclarecimento progressivo. Em (...) primeiro lugar, acompanhamos o percurso de dedução das principais características da duração, sucessão, conservação e ato, sublinhando algumas de suas conseqüências filosóficas. A seguir, examinamos a dimensão crítica da filosofia de Bergson pela análise do pensamento do instante, aquele que desfigura a experiência do tempo e origina a via equivocada da metafísica tradicional; nesse exame procuramos diferenciar tal pensamento da experiência da simultaneidade, que é constitutiva de nossa relação concreta com as coisas. palavras-chave duração, sucessão, simultaneidade, criação, experiência, instante. (shrink)

Le but de cet article est de comprendre, sur le cas privilégié de la philosophie « française » au tournant du siècle, comment l’on passe de l’histoire de la philosophie à sa caractérisation nationale, ce qui conduit aussi à deux perspectives complémentaires : comprendre comment cette caractérisation nationale de la philosophie peut se lier à la caractérisation philosophique de la nation, notamment dans la période dont la Première Guerre mondiale fut le terme, comprendre aussi quelle autre conception des lieux, problèmes (...) et moments de la philosophie est possible, qui articule ses dimensions individuelles, communes et historiques. On est ainsi conduit à la lecture de textes précis sur la philosophie française, notamment de Bergson, à un double retour sur le « moment 1900 » en philosophie, et à quelques perspectives plus générales sur l’histoire de la philosophie elle-même. (shrink)

This chapter analyses the circular plan of Jerusalem in Peter of Poitiers' Compendium historiae in genealogia Christi, a synopsis of history widely disseminated and frequently adapted. The plan of Jerusalem reveals how Peter of Poitiers modified and fused different sources, including Peter Comestor's Historia scholastica, to create a visually persuasive image of perfect formal and social order, with six gates foreshadowing the twelve gates of the Heavenly Jerusalem. The visual alignment of the plan of Jerusalem and other diagrams in the (...) Compendium prompts the beholder to reflect on analogies of structures and events, and thus on the order and meaning of history. This argument extends to the late fifteenth-century diagram of the heavenly Jerusalem in Werner Rolewinck's Fasciculus temporum, which functions at the same time as a visualization of the Creed and as an allegorical image of the church, predetermined and eternal. (shrink)

Lorsqu’il fait référence, dans les traités 31 (V,8) et 48 (III,3) à la beauté d’Hélène, Plotin reprend un topos de la littérature grecque antique. Après avoir rappelé les différentes interprétations de cette figure controversée, on examine ici la façon dont Plotin, tout en rejoignant certaines de ces interprétations, retravaille ce topos (dans le cadre de sa polémique contre les Gnostiques) pour lui donner un sens nouveau.

Résumé — Le but de cet article est de montrer que le cœur de la pensée de Simone Weil réside moins dans une philosophie de la nécessité comme telle que dans une philosophie de la rencontre de la nécessité et de l’âme humaine, et de ses effets, du malheur à l’amour, en passant par la vérité. Présente d’emblée, cette pensée connaît cependant deux étapes, comme si l’accent passait de la nécessité à ses effets, étapes que l’on étudie à travers deux (...) textes précis commentés comme les classiques qu’ils devraient être dans la philosophie du XXe siècle en France. C’est aussi par là que Simone Weil rejoint les principaux de ses contemporains, parmi lesquels Camus et Cavaillès, et ainsi le cœur du moment de la Seconde Guerre mondiale, en philosophie comme ailleurs.— This paper intends to show how the core of Simone Weil’s thought is to be found less in a philosophy of necessity as such, than in a philosophy of the encounter between necessity and human soul, and the effects of that encounter, from woe to love, and including truth. However constant, this thought evolves through a difference of accent, as if the stress went from necessity to its effect ; this difference is here studied through the reading of two major writings, which deserve to be considered as XXth Century philosophical classics. It is also through this central thought that Simone Weil meets with such major contemporary philosophical figures as Camus and Cavaillès, and thus with what should be called the moment of the Second World War, in philosophy as elsewhere. (shrink)