We examine the necessary physical underpinnings for setting up the cosmological standard model with a global cosmic time parameter. In particular, we discuss the role of Weyl's principle which asserts that cosmic matter moves according to certain regularity requirements. After a brief historical introduction to Weyl's principle we argue that although the principle is often not explicitly mentioned in modern standard texts on cosmology, it is implicitly assumed and is, in fact, necessary for a physically well-defined notion (...) of cosmic time. We finally point out that Weyl's principle might be in conflict with the wide-spread idea that the universe at some very early stage can be described exclusively in terms of quantum theory. (shrink)

In the literature on the compatibility between the time of our experience and the time of physics, the special theory of relativity has enjoyed central stage. By bringing into the discussion the general theory of relativity, I suggest a new analysis of the misunderstood notion of becoming, developed from hints in Gödel's published and unpublished arguments for the ideality of time. I claim that recent endorsements of such arguments, based on Gödel's own ‘rotating’ solution to Einstein's field (...) equation, fail: once understood in the right way, becoming can be shown to be both mind-independent and compatible with spacetime physics. Being a neededtertium quidbetween views of time traditionally regarded as in conflict, such a new approach to becoming should also help to dissolve a crucial aspect of the century-old debate between the so-called A and B theories of time. (shrink)

The paper shows the standard definition of time at a distance to be beset with ambiguities that may be solved by making a fresh start taking its point of departure in the idea of a cosmic time as proposed by the British tradition of relativistic cosmology.

In this manuscript we initiate a systematic examination of the physical basis for the time concept in cosmology. We discuss and defend the idea that the physical basis of the time concept is necessarily related to physical processes which could conceivably take place among the material constituents available in the universe. As a consequence we motivate the idea that one cannot, in a well-defined manner, speak about time ‘before’ such physical processes were possible, and in particular, the (...) idea that one cannot speak about a time scale ‘before’ scale-setting physical processes were possible. It is common practice to link the concept of cosmic time with a space-time metric set up to describe the universe at large scales, and then define a cosmic time t as what is measured by a comoving standard clock. We want to examine, however, the physical basis for setting up a comoving reference frame and, in particular, what could be meant by a standard clock. For this purpose we introduce the concept of a `core' of a clock and we ask if such a core can - in principle - be found in the available physics contemplated in the various `stages' of the early universe. We find that a first problem arises above the quark-gluon phase transition where there might be no bound systems left, and the concept of a physical length scale to a certain extent disappears. A more serious problem appears above the electroweak phase transition believed to occur at $\sim 10^{-11}$ seconds. At this point the property of mass disappears and it becomes difficult to identify a physical basis for concepts like length scale, energy scale and temperature - which are all intimately linked to the concept of time in modern cosmology. This situation suggests that the concept of a time scale in `very early' universe cosmology lacks a physical basis or, at least, that the time scale will have to be based on speculative new physics. (shrink)

Herman Dooyeweerd writes that “the idea of cosmic time constitutes the basis of the philosophical theory of reality in [A New Critique of Theoretical Thought].” My aim is to present and defend the hypothesis that Dooyeweerd’s idea of time is, in part, mistaken at its foundation. His idea of a cosmic temporal coherence of diverse modal aspects arose from the absolutization of a concept of temporal universality that he adopted uncritically as the transcendental basic Idea of (...) cosmic time. My immanent-critical assessment leads to the hypothesis that temporality should be recognized as the first modal aspect, which, for Dooyeweerd, has been lost to view. Recovering both the sphere sovereignty of the temporal aspect and the equal universality of all aspects opens the way to a resolution of Dooyeweerd’s temporal/supratemporal dialectic and to a new perspective on naive experience and the meaning of humans as God’s image. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:RICOEUR, WNERGAN, AND THE 1 INTELLIGIBILITY OF COSM.lC TIME JAMES R. PAMBRUN Bt. Paul University Ottawa, Oanada Introduot:Wn HE QUESTION OF TIME ihas entered into the work f ·every major philosopher s1ince Aristotle. As Heidegger (who is 1fond oif il'eco·vering these forgotten questions) has shown, time is not merely an ar.bitrary WJay of reckoning or calculating the fleeting moments of day-to-day life; rather, it is an (...) exipressrion of our very mode of heing.1 One of the major philosophers who!has taken up this question rin our own day and has pfaced it at the center of his·continuing work in rpib.ilosophical anthropology is Pia.JUI Ricoeur. He has ·shown how the ·symbols, metaphors, and narratives of time offer orientations to reflection: they not only point to the existential romplexities of human iftfe in its personal, social, and cosmic dimensions ibut also to its fundamental intentionrulities to.ward meaning that undergird these objectifications of time. Beyond this, Ricoeur himself has set up the question of time on new foundations. In his own elaho!I'ation of this question, he ib.as identified two distinct objectifications of time: cosmic 1 "Have we not, as Heidegger says, gained access, thanks to time, to the 'original phenomenological knowledge of the inner and unified structure of transcendence'?" Paul Ricoeur, Fallible Man (Chicago: Henry Regnery, 1967), p. 66. Besides Heidegger's classic Being and Time, see also his Basic Problems in Phenomenology (Bloomington, Indiana: Indiana University Press, 1982): "Dasein's basic constitution is grounded in Temporality" (p. 228). Also, The History of the Concept of Time (Bloomington, Indiana: Indiana University Press, 1985), especially pp. 140-141. 471 47~ JAMES R. PAMBRUN time ;and the time of the human spirit. When taken together these obj.ecbifications create ia paradox or pairadoxes (he names them "aporias ") for the general :intelligibility of time. They occur when ·oosmic time oonfronts existential time. Co.smic time, wihich :identifies the relationship between a;ny two arbitrarily chosen moments in ovder to measure a specific magnitude of time, is indifferent to eristentiail time, which is based on existentially, therefo!l.'e, meaningfully-detemiined categories of past, present, 1and foture.2 Fail' from parrulyziing his thinking, howevier, these apori.:as invite Ricoeur not only to probe mo!l.'e deeply the intelli~hilities he is seeking to understand ibut also to seek &om different disciplmes a Jight which may he shed on resolving these aporias.3 In this article, I do not wish to address tihe question of the intelligibility of time '3.t the more general ihermeneuticaJ level that Ricoeur has identified for his own work. I wish ·rather to engage RicoeUT's :analysii.s o[ one s1ide of this question, namely, the meaning and mtel:l.igibility of cosmic ti.me. And f& this purpose the general :ftmmework that Ricoeur has set urp in his discussion on the phenomenology of time in the thivd volume of ihis most rrecent work, Time and Narrative, is ru:t a;pproprri.ate starting point for our o.wn study. 2 Paul Ricoeur, Temps et reoit, Tome 3 (Paris: Cerf, 198·5), pp. 30 & 31. The other volumes in this trilogy are Temps et reoit, Tome 1 (Paris: Seuil, 1983) [Eng. Time and Narrative, Vol. 1 [trans. by Kathleen McLaughlin and David Pellauer] (Chicago.and London: University of Chicago Press, 1984)]; Temps et reoit, Tome 2, La configuaration dans le 1'ecit de fiction (Paris: Seuil, 1984) [Eng. Time and Narrative, Vol. 2 (Chicago and London: University of Chicago Press, 1985)]; the English translation of the third volume appeared from the same publisher in 1988. For a good outline of Ricoeur's program in these three volumes see John Van den Hengel's review of Volume 2 in Eglise et TMologie 18 (1987) : 401-405. a Note, for example, the three disciplines Ricoeur engages in dialogue in his recent three-volume work Temps et recit: literary works on narrative, historiography, and phenomenology. Earlier he wrote, "Finally, by carrying the debate to the level of language, I have the feeling of encountering other currently viable philosophies on a common terrain." "Existence and Hermeneutics," in Oonfiict of Interpretations (Evanston: Northwestern University Press, 1974... (shrink)

Directly after his first article for Philosophia Reformata (Dooyeweerd 1936a), Dooyeweerd published a long article in two installments about cosmic time. The first was entitled “Het tijdsprobleem en zijn antinomieën op het immanentiestandpunt i” (Dooyeweerd 1936b); its translation, entitled “The Problem of Time and Its Antinomies on the Immanence Standpoint,” was later published in Dooyeweerd (2017). This first installment lays out the basis of Dooyeweerd’s idea of transcendental time and can be regarded as a complete article (...) in itself. According to Dooyeweerd (1953–1958, 1:28), the idea of cosmic time constitutes the basis of his theory of reality. In this article, we will take a close look at the significance of cosmic time in Dooyeweerd’s conception. (shrink)

A woman and a man desire to come together stirred by the primal fire of Kama and the man deposits his egg in the womb of the woman. This egg develops into a human undergoing nine or ten months of evolution. This process is the microscopic replication of the method evolved by God to create the universe. Rigveda (10.121) mentions Hiranyagarbha, the Golden Egg as the source of the creation of the universe. It is said that God, wishing to create (...) the world, produced an egg as big as the cosmos. God meditated for a thousand years sitting inside the egg and when the egg burst, the Lord himself was born out of the egg as the Progenitor of the universe (“He made Himself by Himself.”, Taitiriya Upanishad: 2.7.1). The Rishis called the Egg Brahmanda (the Cosmic Egg), and the Progenitor Manu. Scientists have discovered that the universe has an oval shape. Like the nine months of the evolution of the human egg, the Cosmic Egg also undergoes nine stages of evolution before it gets dissolved during what we call ‘Maha Pralaya’. The Puranas mention that Brahmanda has 14 biospheres, seven nether and seven upper inhabited by different types of souls. If we count from the human world, there are ten dimensions of consciousness. Rishis called these astral biospheres Mandalas/Lokas with different wavelengths and colours. Sri Karunakara Guru referred to them as Avasthas, or spiritual stages. The Buddhists and Hindu esoteric sects such as the Theosophical Society explain these levels of the Absolute in terms of Physical plane, Astral plane, Mental plane, Buddhic plane, Atmic plane, Anupadaka plane, Adi plane and Shiv and Shakti. These Avasthas are related to the expanding consciousness reaching up to the core of the Cosmic Egg, the Paramatma. Like a spider which creates a web around it sitting in the centre, and withdraws it in the end, Paramatma creates and withdraws webbed multi-dimensional universes. Nobody can say when it started and when it will end as it is a beginningless and endless process. (shrink)

We construct all cosmic field tensors which are symmetric rank-two tensor concomitants of a metric and a background metric and which have zero divergence when the background metric satisfies the generalized De Donder condition. The resulting background cosmic field represents an Einstein space-time.

The descriptions in the literature of mystical experience and psychedelic experience, such as that induced by LSD, are usually written by persons who have actually experienced only one or perhaps neither of the two states. Because many of the most important effects can be understood by direct experience but only partially described in ordinary language, such lack of direct experience is a major drawback. Since there is disagreement over the question of whether mystical experience and LSD experience can be ‘the (...) same’, it would be helpful if an individual who has experienced aspects of both states would compare them. One of the authors describes his experience with both states. A particular form of mystical experience, cosmic consciousness , occurred spontaneously; no mind altering drugs were used. ALS later took LSD on 12-15 occasions. Both states of consciousness involved alterations in time sense, subject/object boundary, cognition, mood and perception. However, the changes with CC were qualitatively and quantitatively different from those of LSD. The authors conclude that CC and LSD can be quite different states of consciousness, although we cannot completely rule out the possibility that psychedelics might sometimes induce the same kinds of mystical experiences that occur for non-drug reasons. (shrink)

The cosmic cycle described in the surviving fragments of Empedocles' poem is the alternation, in endless succession, of Love and Strife. Dr O'Brien's book is primarily an analysis of this elaborate system. It seeks to determine the positions which Love and Strife occupy in the world at different times.

The present article attempts at combining Big History potential with the potential of Evolutionary Studies in order to achieve the following goals: 1) to apply the historical narrative principle to the description of the star-galaxy era of the cosmic phase of Big History; 2) to analyze both the cosmic history and similarities and differences between evolutionary laws, principles, and mechanisms at various levels and phases of Big History. As far as I know, nobody has approached this task in (...) a systemic way yet. It appears especially important to demonstrate that many evolutionary principles, patterns, regularities, and rules, which we tend to find relevant only for higher levels and main lines of evolution, can be also applied to cosmic evolution. Moreover, almost everything that we know about evolution may be detected in the cosmic history, whereas many of the evolutionary characteristics are already manifested here in a rather clear and salient way. Of course, many of the characteristics are manifested in initial or nonsystematic forms but some features, on the contrary, appear to be more distinct just in the cosmic phase. And at the same time when many characteristics and features which are typical of biological and social evolution unexpectedly reveal their roots or protoforms at earlier phases, one becomes aware that the universal character of evolution is real and it can be detected in a number of manifestations. One should also bear in mind that the origin of galaxies, stars, and other celestial objects is the lengthiest evolutionary process among all evolutionary processes in the Universe. Such an approach opens new perspectives for our understanding of evolution and Big History, of their driving forces, vectors, and trends, it also creates a consolidated field for the multidisciplinary re-search. (shrink)

In this book, the authors present current research in the study of Cosmic Passion for the Aesthetic. It engages arts from different tradition, showing their cultural contexts and discloses dimensions of awareness that transgress the characteristics of art works. This book delves into the deeper meaning of art, and shows how various cultures attempt to suppress other cultures and their arts, and how the suppressed reappear and reassert themselves in new contexts. It travels through different conceptions, speculations, definitions and (...) portrays how the aesthetic, the expressive, that is not identical with the characteristics of an art work, is what all art works attempt to capture. The aesthetic encompasses the passionate dimension which is not limited or reducible to anything -- it is cosmic. The latter is disclosed by the aesthetic passion that is most apparent in comparative studies of arts, above all through examining the art of India, the text visually captures the aesthetic, cosmic passion. In addition, it questions what is aesthetic value, judgements on art, the authors draw on how the depictions of the cosmic in art can assume a way of understanding specific interpretation of space, time and movement prior to any theological, mythical, theoretical or even scientific explanations and portray a flow of sensuous envelopment which resonates with cosmic passion. This book would interest not only artists, but students of cultures and comparative civilisations, and indeed for those who are interested in the ways that cosmic awareness has been and is being explicated in civilisations. (shrink)

The concept of temporal flow has been attacked both on the grounds that it is logically incoherent, and on the grounds that it conflicts with the theory of relativity. I argue that the charge of incoherence cannot be made to stick: McTaggart's argument commits the fallacy of equivocation, and arguments deployed by Smart and others turn out to be question-begging. But objections arising from relativity, so I claim, have considerably more force than Lucas acknowledges. Moreover, the idea of equating the (...) cosmic time which arises in general relativistic cosmology with a metaphysically preferred space-time foliation, founders on the fact that the Friedmann models are idealisations. Finally, Lucas may be right in claiming that dynamical wave-function collapse, provided it does not propagate superluminally, will define a preferred foliation. But it is arguable that this consideration, so far from supporting Lucas's position, is grounds for rejecting collapse interpretations of quantum mechanics. (shrink)

Cosmic Justice Hypotheses. -/- This applied-logic lecture builds on [1] arguing that character traits fostered by logic serve clarity and understanding in ethics, confirming hopeful views of Alfred Tarski [2, Preface, and personal communication]. Hypotheses in one strict usage are propositions not known to be true and not known to be false or—more loosely—propositions so considered for discussion purposes [1, p. 38]. Logic studies hypotheses by determining their implications (propositions they imply) and their implicants (propositions that imply them). Logic (...) also studies hypotheses by seeing how variations affect implications and implicants. People versed in logical methods are more inclined to enjoy working with hypotheses and less inclined to dismiss them or to accept them without sufficient evidence. Cosmic Justice Hypotheses (CJHs), such as “in the fullness of time every act will be rewarded or punished in exact proportion to its goodness or badness”, have been entertained by intelligent thinkers. Absolute CJHs, ACHJs, imply that it is pointless to make sacrifices, make pilgrimages, or ask divine forgiveness: once acts are done, doers must ready themselves for the inevitable payback, since the cosmos works inexorably toward justice. Ceteris Paribus CJHs, CPCJHs, on the other hand, such as “in the fullness of time every act will be rewarded or punished in exact proportion to its goodness or badness—other things being equal”, leave room for exceptions. For example, some people subscribing to Ceteris Paribus CJHs think that certain bad acts can be performed with impunity as long as certain procedures are carried out previous to, or simultaneous with, or even after the acts. Belief Ceteris Paribus CJHs has been exploited by unscrupulous “spiritual leaders” who claim to have power to grant exceptions. In opposition to belief in CPCJHs are CJHs that hold belief in CPCJHs to be inherently wrong and subject to punishment. Other variants of CJHs are Cumulative Cosmic Justice Hypotheses, such as “in the fullness of time every person will be rewarded or punished in exact proportion to the net goodness or badness of their acts”. Still other variants include the Hereditary Cumulative Cosmic Justice Hypotheses, such as “in the fullness of time every person will be rewarded or punished in exact proportion to the net goodness or badness of their ancestors’ acts”. [1] JOHN CORCORAN, Inseparability of Logic and Ethics, Free Inquiry, S. 1989, pp. 37–40. [2] ALFRED TARSKI, Introduction to Logic, Dover, 1995. (shrink)

Some understand the evolutionary process as more or less predictable; others stress its contingency. I argue that both Christian evolutionists who have assumed that the purposes of the Creator can be realized only through more or less predictable processes as well as those who infer from the contingency of the evolutionary process to the lack of purpose in the universe generally, are mistaken if the Creator escapes from the limits imposed on the creature by temporality, as the traditional Augustinian account (...) supposes. The notion of “purpose” must itself be reinterpreted in such a case. It makes no difference whether the appearance of Homo sapiens is the inevitable result of a steady process of complexification stretching over billions of years, or whether it comes about through a series of coincidences that would have made it entirely unpredictable from the (causal) human standpoint. Either way, the outcome is of God's making, and from the biblical standpoint may appear as part of God's plan. (shrink)

In this article, the authors introduce the concept of a “queer counter-mythology.” They do so by discussing a speculative song they wrote as an enactment of research-creation. Research-creation names an interdisciplinary scholarly praxis where artist-scholars create the artefacts they want to think-with, rather than analysing existing cultural productions. The song discussed in this article, “Cosmic Beavers,” proposes a queer counter-mythology that reimagines the historical, colonial archive by foregrounding the stories of giant, trans-dimensional beavers who shred Lewis and Clark and (...) use them to reinforce their Time-Dam. Drawing on this song, as well as queer theories of time and anti-colonial thinkers, the authors suggest that artistic interventions invoke speculative lures that, while not changing history, can complicate state-sanctioned archives and narratives of the past and future: they frame this intervention as a queer counter-mythology. (shrink)

In the pursuit of knowledge, Dorion Sagan argues in this dazzlingly eclectic, rigorously crafted, and deliciously witty collection of essays, scientific authoritarianism and philosophical obscurantism are equally formidable obstacles to discovery. As science has become more specialized and more costly, its questing spirit has been constrained by dogma. And philosophy, perhaps the discipline best placed to question orthodoxy, has retreated behind dense theoretical language and arcane topics of learning. Guided by a capacious, democratic view of science inspired by the examples (...) set by his late parents—Carl Sagan, who popularized the study of the cosmos, and Lynn Margulis, an evolutionary biologist who repeatedly clashed with the scientific establishment—Sagan draws on classical and contemporary philosophy to intervene provocatively in often-charged debates on thermodynamics, linear and nonlinear time, purpose, ethics, the links between language and psychedelic drugs, the search for extraterrestrial intelligence, and the occupation of the human body by microbial others. Informed by a countercultural sensibility, a deep engagement with speculative thought, and a hardheaded scientific skepticism, he advances controversial positions on such seemingly sacrosanct subjects as evolution and entropy. At the same time, he creatively considers a wide range of thinkers, from Socrates to Bataille and Descartes to von Uexküll, to reflect on sex, biopolitics, and the free will of Kermit the Frog. Refreshingly nonconformist and polemically incisive, _Cosmic Apprentice_ challenges readers to reject both dogma and cliché and instead recover the intellectual spirit of adventure that should—and can once again—animate both science and philosophy. (shrink)

What exists at the fundamental level of reality? On the standard picture, the fundamental reality contains (among other things) fundamental matter, such as particles, fields, or even the quantum state. Non-fundamental facts are explained by facts about fundamental matter, at least in part. In this paper, I introduce a non-standard picture called the "cosmic void” in which the universe is devoid of any fundamental material ontology. Facts about tables and chairs are recovered from a special kind of laws that (...) satisfy strong determinism. All non-fundamental facts are completely explained by nomic facts. I discuss a concrete example of this picture in a strongly deterministic version of the many-worlds theory of quantum mechanics. I discuss some philosophical and scientific challenges to this view, as well as some connections to ontological nihilism. (shrink)

This essay aims to provide a self-contained introduction to time in relativistic cosmology that clarifies both how questions about the nature of time should be posed in this setting and the extent to which they have been or can be answered empirically. The first section below recounts the loss of Newtonian absolute time with the advent of special and general relativity, and the partial recovery of absolute time in the form of cosmic time in (...) some cosmological models. Section II considers the beginning and end of time in a broader class of models in which there is not an analog of Newtonian absolute time. As we will see, reasonable physical assumptions imply that the universe is finite to the past, and Section III turns to consideration of the “beginning” itself. We critically review conventional wisdom that a “singularity” reveals flaws in general relativity and briefly assess ways of avoiding the singularity. (shrink)

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

This article reviews, and offers supportive reflections on, the main points of Ernan McMullin's provocative 1998 article, “Cosmic Purpose and the Contingency of Human Evolution,’’ reprinted in this issue of Zygon. In it he addresses the important science-theology issue of how the Creator's purpose and intention to assure the emergence of human beings is consonant with the radical contingency of the evolutionary process. After discussing cosmic and biological evolution and critically summarizing recent solutions to this question by Keith (...) Ward, John Polkinghorne, Arthur Peacocke, Alvin Plantinga, and others, who presuppose in different ways that God is subject to time, McMullin compellingly argues for the traditional position, that God is unconditioned by time, and this enables God to work purposefully through contingency, randomness, and chance just as easily as through law-like regularity. (shrink)

In nontheistic moral traditions, there is a typical ethical conundrum concerning the relation between cosmic order and human agency. Within those traditions, it is generally recognized that the universe has its own order and history that are independent of human will. A moral discourse has to find space to accommodate human agency in the midst of the iron grid of cosmic law. Both Confucius and Aurelius use the concept of timeliness (kairos) to resolve the difficult issue. But their (...) philosophies take on divergent paths. By studying their resolutions of the issue, we will be able to appreciate the distinctive nature of their nontheistic moral narratives. (shrink)

The term 'cosmic consciousness' is mostly used either as an ontological fundamental in metaphysics or to name a mystical experience (event). It was first popularized as a psychological state, an evolutionary attainment following the event, while extension of the mystical experience over time comprises another state, for which the term is also used. Drawing on a personal journey of discovery involving six people's reports of spontaneous cosmic consciousness, including the author's own, this article starts with first-person accounts (...) of the mystical event and state. Then, it reviews the origin of the event–state conflation, and goes on to consider some aspects of the experience and category as used. This includes comments on the phenomenology and conceptual structure of spontaneous cosmic consciousness experience, with the suggestion of a paradigm form along with consideration of 'enlightenment' and the place of psi. (shrink)

The article explicates one significant, although usually overlooked, aspect of all arts: cosmos. Numerous ontological, metaphysical, epistemological, psychological, sociological, and even moralistic factors were discussed throughout the entire history of philosophy, each offering its own version as to the nature and meaning of art. Yet it constantly appeared that something is missing from all these analyses and claims, although it was involved in any art - space, time and movement - cosmic composition. As Kant had sharply demonstrated, this (...) composition is a necessary, a priori condition of all experience, all philosophical and scientific explanations. Given this demonstration, the article shows the ways that space-time-movement is articulated at various levels of awareness and how such an articulation is initiated by art. In this sense, arts are the leading edge of all advancements in philosophy, sciences, and even transformations of daily awareness. (shrink)

This is one of the most important books on quantum mechanics ever written for lay readers, in which an eminent physicist and successful science writer, Heinz Pagels, discusses and explains the core concepts of physics without resorting to complicated mathematics. "Can be read by anyone. I heartily recommend it!" -- New York Times Book Review. 1982 edition.

This article identifies two trends in Dooyeweerd’s conception of ‘cosmic time’, and elaborates their consequences for the philosophy of history. The first trend, connecting time to modal diversity and the order of the modal aspects, prevails in Dooyeweerd’s analysis. The application of the second trend, emphasizing that in each relation frame the temporal order governs subject-subject relations and subjectobject relations, sheds a new light on the interpretation of history conceived of as development of the culture and civilization (...) of mankind. The distinction of faith and religion and the position of the aspect of faith in the order of the modal aspects play important parts in this discussion, in particular with respect to the possibility of transcending time. (shrink)

In Arabic and Turkish dictionaries, qıyāmat has a meaning that includes both the end of the world and the day of reckoning. In the Qur’ān, apocalypse is used for referring to the Day of Judgment. The end of the world is described mostly by as-sāa and similar words. First, in order not to cause any confusion, we will use cosmic qıyāmat for the event which will take place after the first blowing of the trumpet and which is called as-sāa (...) by Qur’ān. We will use qıyāmat/doomsday for the event which will take place after the second blowing of the trumpet. According to Qur’ān, the cosmic qıyāmat begins with the first blowing of the trumpet. Its characteristic features are, such as a violent shaking, splitting of the sky, walking of the mountains hitting each other like clouds of dust, darkening of the stars, extinction of the sun and the moon at the same time, overflowing and boiling of the seas, and transformation of the world into a plain platform where there is neither a pit nor a mound after all. On the other hand, qıyāmat/doomsday begins with the second blowing of the trumpet. Since the sky has already opened and the earth has flattened like stretched animal skin as a result of the cosmic qıyāmat, the place is ready. Then people rise from their graves. They are sent in groups to the location of reckoning. There is a court before which no one is subjected to any unfairness; and at the end, there is heaven or hell. There are depictions of apocalypse in many chapters of Qur’ān. In these depictions, it is not clear whether it is the cosmic qıyāmat or the qıyāmat/doomsday. Qur’ān usually begins with depicting cosmic qıyāmat and lasts with portraying qıyāmat/doomsday. Namely, both processes are intertwined. This fact causes confusion between the depictions of cosmic qıyāmat and the ones of reckoning day. For example, the first 5 verses of Surah al-Qāriʿah describe the cosmic qıyāmat. Al-Qāriʿah is one of the names of the cosmic qıyāmat. It is portrayed as a terrible disaster, terrible voice and heart breaking horror. At that moment, people will be thrown here and there like blades around the fire. The mountains will be like coloured wool scattered around. Then the following verse describes the positions of those whose scales are heavy or light. As seen, after a terrifying short scene of cosmic qıyāmat, the verses rapidly pass to describe qıyāmat/doomsday. This is normal considering the dynamic perspective of Qur’ān. However, some commentators have linked the depiction in the first five verses to the following verses and interpreted it as the qıyāmat/doomsday. They tried to justify this through strained interpretations. The same is also true for Surah az-Zalzalah. The first five verses of this surah depict violent quakes, shedding of the heaviness of the earth, astonishment of the human being who are crying "what is happening to this?!". It is certain that violent quakes are referring to cosmic qıyāmat. The shedding of heaviness of the earth is interpreted as earth’s turning upside down. Some commentators claim that the heaviness of the earth means "humans and jinn". They say that this verse articulates the resurrection. In this case, for a meaningful integrity, the two following verses must be replaced. The earth reveals the dead that it has hided underground through resurrection. The reckoning begins and the earth speaks. Human become surprised by this and express their astonishment by crying, "what is happening to this (earth)". However, in such an interpretation, although a meaningful integrity is created via making a replacement, it is not easy to find a place for the following verse "People leave their graves in groups" (az-Zalzalah 99/6). It is reasonable to accept that the first five verses belong to the cosmic qıyāmat and the sixth verse belongs to the Day of Judgment. Because, as from the sixth verse, like in the previous chapter, it is mentioned that people will be removed from their graves in groups. Despite the confusion we have mentioned, this surah is also interpreted as if the whole surah belonged to qıyāmat/doomsday via linking the previous verses to the next verses, similar as in the Surah al-Qāriʿah. A similar confusion also exists in the Surah of al-Infitār, al-Inshiqāq and at-Takwīr. The examples clearly revealed the intertwining between the cosmic qıyāmat and the qıyāmat/doomsday depictions in the Qur’ān.. Knowing the intricacy between the processes of apocalypse scenes in Qur’ān will be a signal for a more accurate interpretation. (shrink)

'The interpretours of Plato,' wrote Sir Thomas Elyot in The Governour, 'do think that the wonderful and incomprehensible order of the celestial bodies, I mean sterres and planettes, and their motions harmonicall, gave to them that intensifly and by the deepe serche of raison beholde their coursis, in the sondrye diversities of number and tyme, a forme of imitation of a semblable motion, which they called daunsigne or sltation.' The image of the planets and stars engaged in an ordered and (...) measured dance is an ancient one. Plato articulated it in a passage in the Timaeus, where he likened the apparent motions of the planets and stars to 'choreiai'. Through the centuries the analogy has challenged Plator's interpreters to define and elaborate the image. Miller has examined a range of poetic and philosophical texts influenced by Plato cosmology, and has discovered frequent comparisons of the cosmic order to 'daunsigne.' He suggests that the vision of the cosmic dance did not develop at random in Western intellectual history but originated in a specific philosophical context and passed through stages of evolution that reflect Gnostic, Christian, Stoic, and Neoplatonic responses to Plato. He argues that the historical variations of the image were often closely related to adaption or criticisms of Plato's theories of visual perception and intellectual vision. The dance, in conjunction with images such as the Great chain of Being and the Lyre of the Heavens, became the dominant image of a peculiarly Late Antique world-view which Miller has called the 'poetic universe'; a world where metaphors, metonymies, and personifications could exist in fact as well as in word. The result of Miller's analysis is vast in scope. The nine chapters of the book each present a thesis on a particular author, but all function together like links in a chain. Miller has been described as 'an historian of visions'; the book has been likened to Auerbach's Mimesis. It is a remarkable contribution to an understanding of the complex interaction of ideas and images in time. (shrink)

Last Thursday, a front page headline in the New York Times announced Astronomers' New Data Jolt Vital Part of Big Bang Theory ". Newly analyzed data from the Infrared Astronomical Satellite, the Times reported, show conclusively that these vast structures are not isolated oddities. Instead, the structures are normal features of our universe which has an intrinsic lumpiness that is far larger and more uneven than can be reconciled with the best current theories about when and how our universe formed.

The writer is an engineering science technician. Based on the epistemology and methodology of materialist dialectics, understanding the thought of the universe origin of Taoist philosophy and Buddhist philosophy, and combining the modern scientific information of modern physics, system science and physical cosmology, the author has put forward a series of new ideas on the universe origin. The new scientific universe ontology calls on the scientific community to prove and explain the origin of the universe with science, solve the doubts (...) of the theoretical scientific community about quantum mechanics, realize the scientific understanding of the universe space and the existence in space, create new ideas and understanding of space and time, and create a new universe view. This is not only the inspiration and verification of modern science to the primitive thought of the universe of our ancestors, but also a new method to solve the contradiction of modern physics, which inspires human beings to think about survival and existence. (shrink)

The apparent contradiction between subjective and objective approaches to time in Augustine can be resolved if it is understood that he regarded cosmic time and the finite things it engenders as being of itself, in some sense, both psychic and self-recording. This interpretation holds whether or not Augustine affirms a world soul. It is justifiable in terms of the continued applicability of his earlier liberal-arts writings to his later texts and his blending of Plotinian vitalism, Porphyrian spiritualism, (...) and his own ‘theurgism’ (especially in his commentary on the Psalms), which is parallel to that of Iamblichus. Augustine’s ‘musical ontology’, which is also a metaphysics of number, word, and seminal reason, leads him to develop a theory of time and memory that anticipates more the spiritual realism of Bergson than it does idealist and phenomenological philosophies. However, for Augustine, time as an image of eternity remains aporetic, and its aporia is ‘resolved’ only by the Incarnation and its sustaining as the liturgical and political community of the Church. Through Christological, and not just angelic, mediation, our memories and expectations truly reach to past and future realities, just as our intentions reach to really located things, but only because all of these are both inherently psychic/intellectual and sustained by the divine eternity. (shrink)

The reader will be familiarized with some inconspicuous additions to the theory of relativity and quantum theory, which concern the energy density in cosmic and sub-nuclear domains. These are seemingly technical details, but they make the extreme vividness of light and its speed understandable. We will also ask anew some questions that concern that apparently objective world, whose objectivity is not just a matter of self-evidence but is constantly being reconstituted in intelligent awareness. Thus, the vibrancy of the presence (...) of the world emerges as a most suitable basis for physical knowledge. Finally, we will discuss the sociological conditions, which, especially in the light of the increasing global epidemics, point to an impending disintegration, even to a collapse of civil society. While new strands of human, artificial and hybrid life forms are emerging, new aviation and nuclear time travel appear in a new light. Time as we knew it is gone forever. We experience both a time-out of time and time out of time. Only the happiest of us will keep our original shape and make our way across the galaxy. (shrink)

The past hypothesis is that the entropy of the universe was very low in the distant past. It is put forward to explain the entropic arrow of time but it has been suggested. The emperor’s new mind. London:Vintage Books; Penrose, R.. Annals of the New York Academy of Sciences, 571, 249–264; Price, H.. In S. F. Savitt, Times’s arrows today. Cambridge: Cambridge University Press; Price, H.. Time’s arrow and Archimedes’ point. Oxford: Oxford University Press; Price, H.. In C. (...) Hitchcock, Contemporary debates in philosophy of science. Oxford: Blackwell]) that it is itself in need of explanation. It has also been suggested that cosmic inflation could provide the explanation, but Price raises a serious objection to this suggestion, which has otherwise received very little attention in the philosophical literature. Price points out that the standard inflationary explanation involves a double standard: although the evolution of the universe described by the inflationary model seems natural from the standard temporal perspective it looks highly unnatural from the reversed temporal perspective. The main purpose of this paper is to propose a novel form of the inflationary explanation that avoids this objection. It is argued that the inflationary model would not involve a double standard if we construct the model with a global “boundary” condition instead of a conventional boundary condition: if we assume that the universe is as generic as possible overall, rather than as generic as possible at some given point as is assumed in the standard inflationary model. This novel form of the inflationary explanation is then compared with Price’s 1996 preferred explanation, a version of the so-called “Weyl hypothesis”. (shrink)

David Benatar argues that one important consideration in favour of anti-natalism is based on the fact that all humans lack cosmic meaning; we will never transcend space and time such that we will have an impact on the entire universe, forever. Instead of denying Benatar’s claim that we lack cosmic meaning, Thaddeus Metz recently argues that our lack of cosmic meaning is not that significant because we ought not to regret lacking a good that we could (...) not have in the first place. He explains the principle behind this idea in modal terms: “the closer the world in which one could access a benefit, the more reasonable are attitudes such as sadness, disappointment, regret when does not acquire it.” I argue that this principle faces a serious counterexample in the form of death. The possible worlds in which one doesn’t die are incredibly distant. Yet, it is appropriate to express deep sadness, disappointment, and regret at the fact that one must inevitably face death. Metz is wrong that we shouldn’t regret lacking a good unavailable to us in the first place. His criticism of Benatar therefore fails. While it might be objected that immortality is not good, my basic point still stands when considering the fact that our lives are not significantly longer. Benatar’s claims about the significance of our lack of cosmic meaning might not be true, but not for the reasons suggested by Metz. (shrink)

It is well-known that the global structure of every space-time model for relativistic cosmology is observationally underdetermined. In order to alleviate the severity of this underdetermination, it has been proposed that we adopt the Cosmological Principle because the Principle restricts our attention to a distinguished class of space-time models (spatially homogeneous and isotropic models). I argue that, even assuming the Cosmological Principle, the topology of space remains observationally underdetermined. Nonetheless, I argue that we can muster reasons to prefer (...) various topological properties over others. In particular, I favor the adoption of multiply connected universe models on grounds of (i) simplicity, (ii) Machian considerations, and (iii) explanatory power. We are able to appeal to such grounds because multiply connected topologies open up the possibility of finite universe models (consistent with our best data), which in turn avoid thorny issues concerning the postulation of an actually infinite universe. (shrink)

At home and abroad, Kagawa Toyohiko was probably the best-known Japanese Christian evangelist, social reformer, writer, and public intellectual of the twentieth century, nominated for the Nobel Prize in Literature twice and the Nobel Peace Prize three times. Appealing to the masses with little knowledge of Christian faith, Kagawa believed that a positive, religio-aesthetic interpretation of nature and science was a key missiological concern in Japan. He reasoned that a faith rooted in the kenotic movement of incarnation and self-giving must (...) strongly support the scientific quest. A voracious reader of science and especially biology, he argues for “directionality,” or what he calls “initial purpose” in the long, painful, cosmic journey from matter to life to mind. Through an antireductionistic, a posteriori methodological pluralism that sought to “see all things whole,” this “scientific mystic” employed Christian, Buddhist, Neo-Confucian, personalist, and vitalist ideas to envision complementary roles for science and religion in modern society. (shrink)

Recent years have seen a growing consensus in the philosophical community that the grandfather paradox and similar logical puzzles do not preclude the possibility of time travel scenarios that utilize spacetimes containing closed timelike curves. At the same time, physicists, who for half a century acknowledged that the general theory of relativity is compatible with such spacetimes, have intensely studied the question whether the operation of a time machine would be admissible in the context of the same (...) theory and of its quantum cousins. A time machine is a device which brings about closed timelike curves—and thus enables time travel—where none would have existed otherwise. The physics literature contains various no-go theorems for time machines, i.e., theorems which purport to establish that, under physically plausible assumptions, the operation of a time machine is impossible. We conclude that for the time being there exists no conclusive no-go theorem against time machines. The character of the material covered in this article makes it inevitable that its content is of a rather technical nature. We contend, however, that philosophers should nevertheless be interested in this literature for at least two reasons. First, the topic of time machines leads to a number of interesting foundations issues in classical and quantum theories of gravity; and second, philosophers can contribute to the topic by clarifying what it means for a device to count as a time machine, by relating the debate to other concerns such as Penrose's cosmic censorship conjecture and the fate of determinism in general relativity theory, and by eliminating a number of confusions regarding the status of the paradoxes of time travel. The present article addresses these ambitions in as non-technical a manner as possible, and the reader is referred to the relevant physics literature for details. (shrink)

his paper offers a fresh interpretation of the role played by the Dream of Scipio in Cicero’s De re publica. It explores Cicero’s key distinction between the cosmic and the local levels of statesmanship and the problems he sees with localism, and it details fully for the first time the importance that Cicero attached to the virtue of magnitudo animi (“greatness of soul”). The paper makes the case that in De re publica Cicero promotes his own innovative (...) class='Hi'>cosmic model of politics, in which magnitudo animi is developed through an educational process situated in the traditional Roman mos maiorum. (shrink)

The Phenomenology of Internal Time-Consciousness is a translation of Edmund Husserl's Vorlesungen zur Phänomenologie des inneren Zeitbewußtseins. The first part of the book was originally presented as a lecture course at the University of Göttingen in the winter semester of 1904–1905, while the second part is based on additional supplementary lectures that he gave between 1905 and 1910. In these essays and lectures, Husserl explores the terrain of consciousness in light of its temporality. He identifies two categories of temporality—retention (...) and protention—and outlines how temporality provides the form for perception, phantasy, imagination, memory, and recollection. He demonstrates a distinction between cosmic and phenomenological time and explores the relevance of phenomenological time for the constitution of temporal objects. The ideas Husserl developed here are explored further in his Ideas and were pursued until the end of his philosophical career. (shrink)

I defend, against its more recent critics, a literal, factual, and consistent interpretation of Timaeus’ creation of the cosmos and time. My main purpose is to clarify the assumptions under which a literal interpretation of Timaeus’ cosmology becomes philosophically attractive. I propose five exegetical principles that guide my interpretation. Unlike previous literalists, I argue that assuming a “pre-cosmic time” is a mistake. Instead, I challenge the exegetical assumptions scholars impose on the text and argue that for Timaeus, (...) a mere succession of events and the relations derived from it (before, after, simultaneous with) imply no time, given the narrow definition of the term used in the dialogue. For Timaeus, I explain, time is measurable, regular, and dependent on the motion of the celestial bodies. A mere succession of events like the one needed to understand the creation story and the pre-cosmos requires none of these elements. Readers of Plato erroneously assume that a succession of events implies time, but that is to impose a conception of time absent in the text. The chapter offers a detailed reconstruction of the pre-cosmic stage under a literalist interpretation and argues how it is compatible with the immutable relationship between the Demiurge and the cosmos. -/- This is an open access chapter distributed under the terms of the CC BY-NC 4.0 license. chapter 4. (shrink)

Herman Dooyeweerd approached time in terms of order. By contrast, Dirk Vollenhoven saw time as continuous change and becoming. Hendrik Hart, in his article “Problems of Time: An Essay,” attempts to steer a middle course between Dooyeweerd and Vollenhoven. However, Hart did not sufficiently take into account that temporality is primarily continuous succession in duration and continuous duration in succession. Nor has he been able to come to terms with the root of cosmic time.