This paper is focused on the possibility of a dialogue between Object-Oriented Ontology (OOO) and phenomenology, a dialogue concerning the problem of objects and relations. In the first part, the author shows what is interesting in OOO from a phenomenological perspective and why it should be considered as a challenge for contemporary philosophy. The second part develops the phenomenological perspective of the author, a perspective based on Merleau-Ponty’s “carnal” phenomenology, as well as some suggestions coming from the Italian (...) school of Gaetano Kanizsa. The third part is dedicated to the objections of the author to the OOO view regarding the separation between objects and relations: a separation which leads to Harman’s quadruple object. In the concluding portion, the author shows that, despite evident differences between phenomenological and OOO’s views of relations, OOO offers new starting points for phenomenological reflections, thanks to its specific focus on objects and its pluralistic view of reality. (shrink)

We humans tend to believe that things are only real in as much as we perceive them, an idea reinforced by modern philosophy, which privileges us as special, radically different in kind from all other objects. But as Graham Harman, one of the theory's leading exponents, shows, Object-Oriented Ontology (OOO) rejects the idea of human specialness: the world, he states, is clearly not the world as manifest to humans. "To think a reality beyond our thinking is not (...) nonsense, but obligatory." At OOO's heart is the idea that objects--whether real, fictional, natural, artificial, human, or non-human--are mutually autonomous. This core idea has significance for nearly every field of inquiry which is concerned in some way with the systematic interaction of objects, and the degree to which individual objects resist full participation in such systems. In this brilliant new introduction, Graham Harman lays out OOO's history, ideas, and impact, taking in art and literature, politics and natural science along the way. From Sherlock Holmes, unicorns, and videogames to Dadaism, Voltaire, and string theory, this book will change the way you understand everything. (shrink)

The aesthetic theory of Graham Harman’s Object-Oriented Ontology (OOO) revolves around the concept of allure, a nonliteral experience of an object’s displacement from its qualities that draws attention to a deeper reality. But applying allure to aesthetic interpretation is hampered in two ways. First, OOO necessarily moves between the constrained viewpoint of experience and a more global perspective. Yet mixing these “inside” and “outside” views can risk ambiguity. Second, the phenomenological difference between the parts and qualities (...) of an object must be clarified before Harman’s model of wholes and parts can be incorporated into OOO aesthetics. Addressing these two ambiguities will make it possible to further develop OOO’s resources for aesthetic commentary. For instance, one conclusion is that allure itself has two varieties: a tension between the object and its qualities (“allusion”) and a tension between the whole and its parts (“collusion”). These options parallel Harman’s twofold critique of reductionism. Another conclusion is that the literal needs an explanation within the framework of OOO insofar as it is a genuine feature of experience. (shrink)

ABSTRACT Graham Harman’s Object-Oriented Ontology prioritises aesthetics as first philosophy, and finds increasing interest from those working across art, architecture and the humanities in general. This article tests the application of Harman’s ideas by applying them to a thorny issue related to the domain of serial art, and serially developed drawing in particular. The issue concerns the productive role of the beholder in constituting the serial artwork as a unified thing, wherein it appears manifestly deeper than the sum (...) of its physical parts. Referring to an artwork produced by contemporary artist Stefana McClure, I build upon prior propositions on serial art put forward by Christy Mag Uidhir and Nicolas de Warren to make the case for seeing serially. This uses Harman’s understanding of aesthetics to claim that imagined iterations constitute an integral element to serial drawing, brought into play when the beholder reflects upon the loose relationship between the array of qualities the artwork palpably presents and its withdrawn reality as a unified object. (shrink)

This paper is a discussion and critique of G. Harmon's interpretation of Ortega 's work, as set out in Harmon's "Guerrilla Metaphysics." I argue that while Harmon is right to point out Ortega 's critique of idealism, Ortega nevertheless remains a 'philosopher of access.' Ortega 's disagrees with the idealist i claim that we access reality through ideas, but agrees with the more basic point that philosophy ought to give an account of how we access reality.

The debate surrounding the definition and specificity of cinema continues in contemporary film philosophy and theory. This article challenges the traditional approach of medium specificity and proposes Object-Oriented Ontology (OOO) as an alternative framework for understanding cinema. Drawing on OOO’s core principles, the article argues that films, like all objects, are autonomous entities with their own reality. Their meaning is not inherent, but rather emerges through the “performative” interaction between the film object and the viewer. This (...) interaction generates “sensual qualities” that constitute the film’s aesthetic experience. The article contends that focusing on the performativity of cinema, rather than seeking a fixed definition, offers a more productive approach to philosophizing on film. It allows for a deeper understanding of how films function as objects and the ways they generate meaning in relation to viewers. (shrink)

This paper examines the connection between Kierkegaard’s philosophy of existence and Graham Harman’s object-oriented ontology. The claim is that Harman’s position provides a conceptual apparatus that can beneficially address some basic ontological points in Kierkegaard about actuality, the self and the reality of individual subsisting mind-independent entities. On the other hand, Kierkegaard’s emphasis on the human self as a place situated in existence can provide a supplement to Harman’s realism which implicitly relies on topological notions. If we (...) define an entity, in a broad sense of the term, as something in its own right irreducible to its being-in-a-relation, but we do not want to end up in a frozen universe of isolated monads, we must revisit the notion of relationality in terms of vicarious causation (Harman) or indirect communication (Kierkegaard). (shrink)

continent. 2.1 (2012): 6–21. The French philosopher and novelist Tristan Garcia was born in Toulouse in 1981. This makes him rather young to have written such an imaginative work of systematic philosophy as Forme et objet , 1 the latest entry in the MétaphysiqueS series at Presses universitaires de France. But this reference to Garcia’s youthfulness is not a form of condescension: by publishing a complete system of philosophy in the grand style, he has already done what none of us (...) in the older generation of speculative realists has done so far. His book is sophisticated, erudite, rigorous, imaginatively rich, and abundant in worldly wisdom– despite the author’s conclusion that wisdom does not exist. The quality and scope of Forme et objet took few observers by surprise, since Garcia has been treated as an emerging philosopher to watch across half a decade of Parisian oral tradition. But Garcia was not just the subject of rumor, being already well known to the French public as a writer of fiction. His debut novel, La meilleure part des hommes , 2 was awarded the 2008 Prix de Flore 3 and has already appeared in English as Hate: A Romance . 4 His follow-up novel, Mémoires de la jungle , 5 made clever use of a chimpanzee narrator. Nor was Garcia only published as a novelist before last November: his philosophical study L’Image 6 had already appeared when the author was just twenty-six, a year before he was crowned by the muses at the historic Café de Flore. And then in 2011, just months before the appearance of Forme et objet , Garcia published a widely distributed work entitled Nous, animaux et humains , 7 with its focus on Jeremy Bentham’s ideas about animals. Given this prolific and versatile track record, an optimistic scenario might envisage the young Garcia as one of those combined literary/philosophical talents who appear intermittently in France across the centuries: Jean-Paul Sartre is merely the most famous recent case. While more time is needed to see how Garcia will channel his impressive mental energies, Forme et objet displays such breadth of insight that its author has a good chance to emerge as one of the leading philosophers of his generation. If we accept Aristotle’s dictum that the peak mental age is fifty-one, then to read Garcia’s massive book is to gain some idea of what European philosophy might look like in the futuristic-sounding 2030’s. The present article is confined to Forme et objet . At 486 pages, the work is obviously daunting in size. Indeed, it is even longer than it sounds, given that many of its early sections are printed in a smaller typeface to designate them as supplemental commentary to the main flow of the argument. But while the length of the book reportedly led to delays in French publication, and will probably slow the inevitable appearance of an English translation, the length of the book should not deter interested readers– much of it results from Garcia’s teacherly writing style. Whereas Quentin Meillassoux’s prose displays an arctic economy of means, Garcia’s style is reminiscent of the repeated lessons of oral classroom proceedings. Rarely is the reader given fewer than three or four chances to master an idea before the author moves on to the next. In practice, the style feels welcoming rather than long-winded. Otherwise, the structure of Forme et objet is surprisingly simple. There is a useful Introduction of less than twenty pages. Then comes Book I: Formally , running to approximately 135 pages. Here Garcia outlines the most basic features of a thing “no matter what it is,” or n’importe quoi , an everyday phrase that Garcia shapes into a technical term. This part of the book feels at times like a more amiable version of Hegel’s Science of Logic , a parallel emphasized further by the threefold articulation of its theme: 1. Thing; 2. Thing and World; 3. Being and Understanding. This is followed by the much longer Book II: Objectively , totaling more than 300 pages. It contains sixteen essay-like meditations on specific kinds of objects—including time, animals, humans, history, gender, and death. Here each chapter rolls smoothly into the next, making this second part of the book feel more like a different work of Hegel: The Phenomenology of Spirit . But these are merely analogies. Garcia is no Hegelian, even if the book contains a few dialectical flourishes that seem to reflect his early enthusiasm for the Frankfurt School. Forme et objet ends with a six-page Coda, followed by the usual page of acknowledgments. In what follows, I will briefly summarize each of these four parts of the book before ending with some more general remarks. Before doing so, it will be useful to situate Garcia biographically (as much as I am able) and philosophically. Though Toulouse is his native city, his formative years were spent largely in Algeria, where his family has deep roots. During our sole private conversation, Garcia mentioned that his parents are professors of literature. 8 As a student of philosopher Garcia flourished so early that many of his current ideas date to his teenaged years: “There are sentences in Forme et objet that I wrote when I was seventeen,” he said in response to a question on that cold night on the Canal St.-Martin. I recalled that remark when reading his brilliant account, late in the book, of the central role of adolescence in contemporary culture. While many prodigies blow through their formal academic training without serious obstruction, Garcia’s student memories are rich in tales of isolation and struggle, though equally rich in gratitude for a half-dozen or so exceptional teachers who provided the intellectual space he needed: Meillassoux and Alain Badiou are simply two of the most prominent figures on that list. Though there are many points of agreement between Garcia’s philosophical position and my own, he not only reached his position years before reading my work, 9 he arrived along a rather different path: not through phenomenology, but via the Frankfurt School, which may be one of the reasons for his profound fascination with aesthetics. Garcia’s cultural background is as broad as one could wish: he is no less informed about punk rock and European football leagues than about the spiritualist roots of Bergson’s philosophy. Curious about everything and contemptuous towards nothing, Garcia can be expected to write insightfully on dozens of topics in the years to come. Given that his philosophy is so personally tantalizing in its agreements and disagreements with my own, and given the great internal richness of Forme et objet itself, the present review is no better than a first effort at coming to terms with the challenges posed by this minstrel from the rising generation. This is especially intriguing for older Generation X’ers like me, since confrontation with the younger generation is one of the many themes treated insightfully in Garcia’s book. 1. Introduction Garcia begins in defense of a so-called “flat ontology,” in which all things are equally things. While Roy Bhaskar 10 used this term pejoratively to refer to anti-realist philosophies that flatten everything onto an epistemic plane of human access, Manuel DeLanda 11 (an admirer of Bhaskar) reversed it into the positive principle that all realities are equally realities. Similar notions can be found in the “absistence” of Alexius Meinong, 12 the “irreduction” of Bruno Latour, 13 and my own critique 14 of the undermining/overmining pair. Also noteworthy is Levi Bryant’s use of the term “flat ontology” throughout The Democracy of Objects 15 and his earlier essay “The Ontic Principle.” 16 But for Garcia, flatness is only one face of the cosmos, and one that he ultimately declares to be rather impoverished. Even so, he always remains an advocate of a flat ontology. Insofar as everything is equally something, no matter what it is ( n’importe qui ), everything is equally a thing, equally solitary in its relation with world. This is why his book abounds in those long lists of random, ontologically equivalent entities that Ian Bogost has playfully termed “Latour Litanies.” 17 The first litany in Garcia’s book runs as follows: “We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things.” (7) Yet Garcia is frankly dualistic; his flat ontology only lasts until page 159 and the end of Book I (entitled “Formally”), which deals entirely with things that are equally things. Thereafter Garcia turns his attention from things to objects, which are not flat in the least, but engage in hierarchical relations with one another. In agreement with both DeLanda and the speculative realists, Garcia proclaims that his book “proposes to put to the test a thought about things rather than a thought about our thought about things .” (8) Just as ducklings are “imprinted” (9) after hatching and treat the first creature they see as their mother, philosophers are imprinted by the idea with which they begin. Hence, philosophies that begin with human access will never truly find their way back to things. This makes Garcia rather suspicious of twentieth century philosophy, since “the twentieth century—to which in some way this work proposes to bid adieu—has been a period of theorizing modes of access to things rather than things...” (9) Among other possible benefits of the philosophy of things that Garcia proposes, it is fully able to account for thought as a special variant of things, while the reverse is not possible.(10) In Book I of Forme et objet , Garcia’s “things” are so flat, so de-determined, that he is forced to renounce some of the most basic features ascribed to things by most realists. As he tells us in his foreboding third footnote: “We will maintain that the solitude [of things] is less than unity, less than identity, and that it does not imply acceptance (any more than refusal) of the principle of non-contradiction.” (11) In a contemporary world cluttered with too many things, Garcia’s flat and formal plane provides us with some breathing room: “The formal plan of thought enables or re-enables us to cut short all accumulation—whether of knowing, experience, or action—by a simplicity, an impoverished surface...” (13) As Garcia says elsewhere in responding to a Deleuzian critic of the book, his starting point in flat ontology is designed to obstruct the claims of both analytic philosophy and Hegelianism: “Hence, this work seeks to protect each thing—real, imaginary, inconsistent, contradictory—both against Ockham’s Razor and against the Aufhebung or dialectical process.” 18 Yet contrary to the equalizing spirit of many flat ontologies, “we will add to our formal ontology of the equal, an objective ontology of the unequal.” (13) But initially, Garcia joins all flat ontologists in holding that everything is irreducible: “this irreducibility, which we will term the ‘chance’ of each thing... also marks the refusal of a positive thought that reduces things exclusively to natural things, or social things, or historical things, etc.” (15) This irreducible “chance” of a thing emerges as an important technical term in the book, always paired with its inverted brother, the “price to pay” ( prix à payer ). On pages 17-19, we find the only diagrams in the book. What they illustrate is that Garcia wishes to avoid two equally dangerous extremes. The first is the philosophy of substance, featuring the thing-in-itself as a mighty river fed by attributes as if by subordinate tributary streams. This model can be found in many of the classic thinkers of West and East alike. In it, “there is obviously a hierarchization between that which is dragged towards something other than itself, and this other which serves it as an ontological support while supporting its proper being.” (16) For Garcia, the second extreme worth avoiding is the philosophy of events: “One thus conceives trajectories of being, identified as events, facts, powers, intensities, or intentionality. These vectors of being come first, bearing and supporting being, displacing it, but without ever finding a stopping point, a buffer, an objective consistency.” (17) The first model gives us a thing too wrapped up in itself, too compact . This word “compact” (the French and the English are the same) is another technical term for Garcia. But if the “compact” model of things leads us to something more than things, the philosophy of events gives us less than things, by dissolving them into a play of vectors. Garcia’s alternative lies midway between these two extremes: Being enters the thing, being comes out of it. And a thing is nothing other than the difference between the enters and the being that comes out. Thus, the circuit of being is never halted. In the thing, there is never the thing-in-itself. And the thing is never in-itself, but outside of itself. Nonetheless, being is not eventally “pollinated” by vectors: it possesses an objecting halting-point... (19) This single idea is the key to Garcia’s book: the thing is neither a self-contained durable lump nor some sort of evental flux. Instead, the thing is the difference between its various components and its relations with its environment. Or stated differently: “the price to pay for this disposition is a circulation of being that systematically distinguishes two senses of things: that which is in the thing , and that in which the thing is , or that which encompasses it and that which it encompasses,” (19) translating comprendre here as “encompass.” 19 In a beautiful description of a piece of black slate, Garcia sums up the various minerals, qualities, and shapes that compose [ comprend ] it, and calls them “that which is in the thing,” (20) noting that this tells us nothing about “that in which [the slate] is”—namely, all the various situations in which the black slate can be found. Instead, the slate is the difference between these two: the most characteristic principle of Garcia’s philosophy. 2. Formally Book One of Forme et objet , “Formally,” is concerned with the formal equality of all things in a flat world. “Two questions mark the boundaries of reflection: of what is everything composed [ composé ], and: what do all things compose?” (27) Looking downward, we wish to know what everything is made of; looking upward, we want to know the ultimate result of the combination of all things. Here we must turn our attention to the thing n’importe quoi— no matter what it is. (30) Anything with finite qualities is obviously too specific to be relevant to global ontological questions. To an equal degree, something possessing all qualities (think of Whitehead’s God) 20 would not be n’importe quoi either, since it would still be too definite, even if incredibly vast. The same holds for contradictions, since these all differ from each other. The square circle, the non-white black white, and the non-city city are all too distinct to count as the thing no matter what it is. The n’importe quoi must be devoid of all specific qualities, including contradictory ones. In one of the more intriguing points in his book, so reminiscent of Meinong, Garcia proclaims that “the ‘no matter what it is’ is neither a reality nor an abstract construction, nor both of these at once; the ‘no matter what it is’ is simply the plane of equality of that which is real, that which is possible, that which is inexistent, that which is past, that which is impossible, that which is true, that which is false, that which is bad.”(39-40) Since everything has two faces, it would be a grievous mistake to focus on just one of them at the expense of the other, as physicalism or materialism do when reducing the world to minuscule physical underpinnings. For scientistic materialism, “it is either atoms, particles, or fields of force... which are the things.” (47-48) Moreover, “these more-than-things are accompanied by less-than-things: for example, ideas or facts of consciousness are determined by the state of matter and are not autonomous things, but manifestations reduced to secondary effects of material processes...” (48) On this point, Garcia’s position is in complete accord with my own critique of undermining and overmining. 21 Where we disagree is that Garcia is more deeply suspicious of the notion of substance, which I view as salvageable with a few needed changes, while Garcia sees this operation as hopeless: “A substance, in the history of philosophy, is the more-than-thing par excellence.” (51) Another agreement between our positions is visible when Garcia claims (correctly, in my opinion) “that it is vain to distinguish between things which are material and those which are not.” (52) Yet we also find an even more important disagreement, since for Garcia withdrawal cannot be the quality of a thing. Instead, the absence of a thing is simultaneous with it, embodied in all that is not it– the absence of the sculpture of a woman is to be found in the mold that appears at the same time as it, and thus withdrawal must be viewed as an “event” rather than as something pertaining to an object. For Garcia, nothing withdraws beyond access. Since we must distinguish between “that which is something” and “that which something is,” and since the former is identified with “no matter what it is is” and the latter with “ not no matter what it is,” we can say that “everything is thus a milieu, a fragile link between ‘no matter what it is’ and ‘ not no matter what it is.’” (62) And here we find Garcia’s critique of the thing-in-itself: “A thing is never defined en bloc . We can affirm that a thing is this or that, but that does not suffice. It is still necessary to state precisely that which is this thing .” (62) Stated differently, “something is not in itself : for that which is in the thing is not the thing, and that in which the thing is is not the thing.” (62) And here Garcia and I, facing the same evidence, draw opposite conclusions. For me, the fact that nothing can be identified with either its components or its concrete location means that the thing must be something in-itself distinct from both of these. Yet for Garcia, to be in-itself would mean to be identified with just one of these two extreme terms, and hence the thing can only be the difference between them. Garcia is equally suspicious of the classical tendency to view “unity” as a property of the thing, since in his eyes unity is too relational a property to belong to things. (65) While specific things are situated determinately with respect to other things, we are still speaking here about the thing no matter what it is, and this can be viewed only in terms of solitude, which all things share: a human being, a hand, or a chair or all equally things insofar as they are on their own , not insofar as they are one . (64) A thing is alone, and relates only to the one thing that is not another thing: world. In a striking parallel to my own argument for a partial revival of occasionalism, Garcia tells us that “the things communicate only by their solitude: it is because everything is equally on its own in the world that things can be together, enmeshed in one another.” (67) Alone in their solitude, things all relate to world, which serves as a mediator allowing them to become mixed up in one another. As we have seen, one reason that nothing can be in itself is because everything is in something else. For Garcia, “to be in something and to be something are equivalent.” (69) Stated more broadly, “being is thus the difference between the two aspects of each thing: that which is it, and that which it is.” (70) And even more vividly: “a thing is almost like a sack: there is that which one puts in the sack and that which remains outside the sack.” (70) But not quite like a sack, “since a thing is not a thin skin or film. Instead, a thing is comparable to a sack that is immaterial and without thickness: it is nothing other than the difference between that which is this thing and that which thing is, between content and container.” (71) Nothing can be in-itself because everything is two selves at once. For example, we cannot say that our self is defined by our consciousness: “Everything has a self because nothing is in itself. The self is not the quality of that which is related to itself (which is conscious, for example) or which thinks itself related to itself. Nonetheless, for an entity called ‘conscious’ to be related to itself, it is necessary that this very relation should be another thing than the self to which it is related.” (71) Consciousness cannot be the self, precisely because it is other than that of which it is conscious. Nothing is able to grasp itself. The self is “the function by which being and composition [ compréhension ] are mutually excluded...” (72) The self is “the point of shadow of everything that projects some light...” (72) The in-itself faces two opposite dangers: “For something to be in-itself is to be a self. Something which is a self flies out through one of its two sides... Stated differently, being in-itself is simply the possibility of a double failure.” (73) The in-itself can be termed compact : “There remains to us a means of thinking that which does not fully enter into the world, though without exiting from it. This means is what we call the compact.” (76) In a sense, the compact is the opposite of the world. For in the case of the world, everything enters it and it enters nothing; as for the compact, it enters the world (since it is something, after all) while nothing enters it. (77) The compact marks the presence of the impossible in the world. (78) It is not impossible, but possible only on the condition that it fails. (78) The time has come to speak of where a thing is located. “The sole condition of a thing is that of being in another thing than itself, and thus in another thing than something.” (78) A condition is “that which determines something, that which forms something, that in which something is.” (78) As for humans, “the condition of someone is his situation; my social condition is that which socially determines me, my place and my function...” (79) More generally, “to be conditioned is to find oneself reduced to that in which one is.” (79) Everything is conditioned, but nothing is reducible to this condition. To determine the condition of something is to determine in what it is. A thing is located in that which contradicts it, just as a statue exists in its mold, which is precisely that which it is not. Since the thing is finite and definite, its condition or form must be infinite and indefinite. That in which all things are is the world, which Garcia also terms “the whole.” (81) “To try to be in-itself is to attempt to remain outside the world. And indeed, to try to be in-itself is only a path of entry into the world.” (83) For Garcia, “the world is not the pre-existent container of the things it contains, a priori , nor the construction by the mind of a fictional ensemble of all things, a posteriori .” (85) Instead, the world is simultaneous with all things; the two always go together. The world cannot be a determinate world, such as the physical universe or mathematical space, since these are already too specific and limited. “Every determinate world, which is in fact a universe , is a ‘big thing’ [ grosse chose ]: it is a set, however vast, of composite things which itself embodies a thing.” (85) Every determinate world is really just a “big thing.” Stated differently, “it is nothing other than a balanced milieu between the things that compose it and the thing that it composes.” (85) We generally picture the world as a physical univer. (shrink)

Objects generate time; time does not generate or change objects. That is the central thesis of this book by the philosopher Graham Harman and the archaeologist Christopher Witmore, who defend radical positions in their respective fields. Against a current and pervasive conviction that reality consists of an unceasing flux-a view associated in philosophy with New Materialism-object-oriented ontology asserts that objects of all varieties are the bedrock of reality from which time emerges. And against the narrative convictions (...) of time as the course of historical events, the objects and encounters associated with archaeology push back against the very temporal delimitations which defined the field and its objects ever since its professionalization in the nineteenth century. In a study ranging from the ruins of ancient Corinth, Mycenae, and Troy to debates over time from Aristotle and al-Ash'ari through Henri Bergson and Alfred North Whitehead, the authors draw on alternative conceptions of time as retroactive, percolating, topological, cyclical, and generational, as consisting of countercurrents or of a surface tension between objects and their own qualities. Objects Untimely invites us to reconsider the modern notion of objects as inert matter serving as a receptacle for human categories"-. (shrink)

Programming languages have developed significantly over the past century to provide complex models to think about and describe the world and processes of computation. Out of Alan Kay’s Smalltalk and a number of earlier languages, object-oriented programming has emerged as a preeminent mode of writing and organizing programs. Tracing the history of object-oriented programming from its origins in Simula and Sketchpad through Smalltalk, particularly its philosophical and technical developments, offers unique insights into philosophical questions about objects, (...) language, and our digital technologies. These early attempts to understand objects as basic elements of computation demonstrate the ways in which language, while firmly planted in the material reality of computation, must delimit objects from each other. This essay critically explores this history and explicates a theory of objects suggested by the development of object-oriented programming languages, which insists on the importance of language for representing and delimiting objects. It argues that the philosophies behind object-oriented programming are ultimately opposed to the claims of object-oriented ontology and find themselves more closely allied with philosophies that insist on the mediation of what exists through language. (shrink)

Graham Harman writes that the “basic dualism in the world lies…between things in their intimate reality and things as confronted by other things.” However, dualism implies irreconcilable difference; what Harman points to is better expressed as a dyad, where the two components imply one another and interact. This article shows that systems theory has long asserted the fundamental character of Harman’s dyad, expressing it as the union of internal structure and external function, which correspond exactly to what Levi Bryant, (...) characterizing Harman’s views, refers to as the intra-ontic and the inter-ontic, respectively. After interpreting Harman’s dyad in terms of the ontology of systems theory, the article illustrates his dyad with a variety of examples, including conceptions about truth, ethics, value, and intelligence. The structure–function dyad is a spatial conception of a system as an object. It is usefully augmented with a temporal dimension, expressed in a third component or with an additional orthogonal dyad. Adding a temporal dyad to the structure–function dyad joins the idea of an event and/or process to the idea of an object. (shrink)

Relational ontologies that postulate the primacy of relations over their relata may seem like a contrary and incompatible approach to object-oriented ontology (OOO). Therefore, this paper aims to clarify the relationship between Barad’s and Escobar’s relational ontologies and Harman’s OOO by comparing and contrasting the relative coherences between them. After outlining the central assumptions of the different accounts, I discuss the problems of relational ontologies with regard to several ethical, political, and posthumanist issues. I argue that OOO is (...) able to avoid their pitfalls without rejecting the major benefits of relational ontologies. After a critique of the pluralization of worlds within relational ontologies, I argue for the rejection of the concept of world(s) in favor of understanding space and time as emerging from polar tensions within the quadruple objects. Consequently, this highlights the potential of OOO to encounter the Anthropocene beyond scientific realism and to account for the plurality of reality without granting any hegemonic access to it. This paper, therefore, argues for a conceptualization of ontological difference without one or many worlds. (shrink)

This article investigates the analogy of the “laws of nature” through Graham Harman’s Object-Oriented Ontology (OOO) and Gilbert Simondon’s ontogenetic naturalism (ON). Both thinkers challenge the literalist interpretation of scientific knowledge by emphasizing the indirect nature of relation and the primacy of the autonomy of discrete beings over pre-established physical laws. Harman’s OOO defends this autonomy as the irreducible independence of objects from their relations, while Simondon focuses on the modulation of information in shaping the laws of nature (...) through individuation. The article argues that while science remains the best recursive triangulation between logic and empirical evidence, its grasp of an ultimate, literal Truth is constricted by an epistemological relation to autonomous realities, grounded in analogy. Consequently, the laws of nature are considered as legislated by discrete autonomies, with space and time emerging from the things themselves. The article concludes by discussing the consequences of this reframing in light of the ancient conception of díkēkosmos (cosmic justice). (shrink)

The aims of this paper are twofold: (1) to critique Graham Harman’s avowedly nonrelational object-oriented ontology from the shared relational vantage of ethics, social philosophy, and feminist new materialism; and (2) to articulate the metaphysical basis for a materialist ontology that serves at once as a posthumanist metaethic, or, as I call it, proto-ethic. The nascent movements of speculative realism and object-oriented ontology suggest some fruitful strategies for challenging the anthropocentrism of the post-Kantian philosophical landscape. They (...) do so, however, by simultaneously foreclosing the possibility of thinking with these strategies to address moral and political problems, insofar as they characterize the real as fundamentally nonrelational. I argue that Harman’s adopted noumenalism is ultimately self-undermining, and offer as an alternative a materialist account of reality as intrinsically phenomenal, where phenomenality is unpacked as the excessive, ongoing source of proto-ethical norms to which every human ethical system implicitly appeals. (shrink)

This paper discusses the repercussions of a new metaphysics—speculative/weird realism—for education and pedagogy. A historic shift is taking place in present-day continental philosophy, which involves an explicit and renewed call for realism. One of the most salient features of this development is a revitalised interest in ontological questions. As part of this overall trend towards realist and materialist ontologies in current continental thinking, the paper particularly focuses on Graham Harman’s object-oriented ontology, which claims that aesthetics is first philosophy. (...) Harman’s object-oriented philosophy is an approach to metaphysics and ontology that is enamored by the experience of the vibrant yet inscrutable autonomous reality of objects. In order to come to terms with this new approach to reality, I suggest education be conceived as the cultivation of an aesthetic attitude understood as the ability to uphold the tension between relational and non-relational aspects of objects understood in the Harmanian idiom. (shrink)

The scientific realist wants to read the metaphysical picture of reality through our best fundamental physical theories. The traditional way of doing so is in terms of objects, properties, and laws of nature. For instance, there are families of fundamental particles individuated by their properties of mass and charge, which determine how they move around. One could call this view an object-oriented metaphysics grounded on properties. In this paper, I wish to present an alternative view that one (...) can dub a thin object oriented metaphysics grounded on structure: there are fundamental entities with no fundamental properties other than the one(s) needed to specify their nature. I argue that my view has several advantages over the received one. In particular, I compare my proposal to the traditional view in the quantum domain and I argue that my view provides a better fit for both approaches to quantum metaphysics, namely the primitive ontology programme and wave-function realism. (shrink)

This book connects recent developments in speculative realism, new materialism, and eco-phenomenology to articulate an approach to wonder that escapes the connected traps of anthropocentrism and correlationism. Brian Onishi argues that wonder has explanatory power for the constitution of the world and the organization of meaning. To do this, he appeals to both fiction (speculative and Weird fiction in particular) and quantum physics. More specifically, he argues that the focus of Weird fiction on impossible experiences and a feeling of something (...) just beyond the limits of one’s grasp dramatizes the speculative reach beyond the limits of our understanding. But more than a tool for knowledge acquisition, wonder is an organizing property of objects. Like the collapse of superposition in quantum physics, reality is constituted when objects reveal themselves to other objects and thereby organize themselves into complex objects. Since no relation is exhaustive, the capacity to wonder remains at a material level, and the possibility of reorganization is ever present. Ultimately, Onishi argues for a speculative eco-phenomenology with wonder as an engine for a Weird environmental ethics. (shrink)

The spring, summer, and fall 2006 editions of Critical Inquiry hosted a heated exchange between Ernesto Laclau and Slavoj Žižek regarding the proper definition of the Lacanian Real. Žižek claims "the Real is the inexorable abstract spectral logic of capital that determines what goes on in social reality". In response, Laclau states that Žižek's "spectral logic of capital" is a gross distortion of Lacanian theory: "The Real is not a specifiable object endowed with laws of movement on its (...) own but, on the contrary, something that only exists and shows itself through its disruptive effects within the Symbolic". Laclau's formulation of the Real, however, forecloses the possibility of... (shrink)

Molecular models are typical topics of chemical research depending on the technical standards of observation, computation, and representation. Mathematically, molecular structures have been represented by means of graph theory, topology, differential equations, and numerical procedures. With the increasing capabilities of computer networks, computational models and computer-assisted visualization become an essential part of chemical research. Object-oriented programming languages create a virtual reality of chemical structures opening new avenues of exploration and collaboration in chemistry. From an epistemic point of (...) view, virtual reality is a new computer-assisted tool of human imagination and recognition. (shrink)

This paper argues that 'duality' accounts of time, as exemplified by Henri Bergson's, Edmund Husserl's, and John McTaggart's ideas, parallel the decomposition of temporal experience in depressive psychosis into objective and subjective dimensions of time. The paper also proposes to comprehend the full-fledged depressive temporal delusion, in which the subjective flow of time comes to a standstill, via the idea of a double orientation to reality characteristic of schizophrenic delusions. In the depressive temporal delusion a person claims that time (...) is not moving while simultaneously her cognitive orientation in temporal surroundings remains largely unaffected, hence the double orientation. The juxtaposition of temporal experience in depression with the temporal disorientation in dementia enables us to situate the depressive delusion regarding the flow of time in the middle of a proposed scale of the disintegration of normal temporal experience. (shrink)

What should philosophical theology look like after the critique of Onto-theology, after Phenomenology, and in the age of Speculative Realism? What does Kabbalah have to say to Philosophy? Since Kant and especially since Husserl, philosophy has only permitted itself to speak about how one relates to God in terms of the intentionality of consciousness and not of how God is in himself. This meant that one could only ever speak to God as an addressed and yearned-for holy Thou, but not (...) to God as infinite creator of all. In this book-length essay, the author argues that reality itself is made up of the Holy Name of God. Drawing upon the set-theoretical ontology of Alain Badiou, the computational theory of Stephen Wolfram, the physics of Frank Tipler, the psychoanalytical theory of Jacques Lacan, and the genius of Georg Cantor, the author works to demonstrate that the universe is a computer processing the divine Name and that all existence is made of information (the bit). As a result of this ontic pan-computationalism, it is shown that the future resurrection of the dead can take place and how it may in fact occur. Along the way, the book also offers compelling critiques of several significant theories of reality, including the phenomenological theologies of Emmanuel Levinas and Jean-Luc Marion, Process Theology, and Object-Oriented Ontology. Reality in the Name of God explores how the concepts of Jewish mysticism can be articulated and deployed as philosophical theses within current metaphysical debates. It provides a new and dynamic Structural Realist ontology of information. Ultimately, the book aims to deal a death blow to the restriction of philosophy and theology in relation to elaborations of a how a believer relates to a God outside the mind and to return thought to a direct encounter with the divine nature of reality itself and its creator"--Website of the publisher, October 19, 2020. (shrink)

Exploration of INTERSUBJECTIVITY is continued. Different kinds of if are differentiated and signs for its presence and effects are shown. The difference between it, subjectivity and objectivity are explored. Intersubjectivity is crucial and universal for general everyday discourse in all cultures, sub-cultures, institutions, communities and socio-cultural practices such as religion, sport, etc or the so-called Manifest Image. It is essential for specialized areas, for example religion, sport and disciplines such as the humanities, arts, sciences, philosophy and all institutions. It is (...) a necessity for both cultural, social, interpersonal as well as intra-personal existence, emotions, attitudes, values and norms. But, it is not limited to human existence, life-worlds, realities and worlds, but also required for animals and all organisms. Object Oriented Ontology would emphasize that is it not merely something anthropocentric and restricted to human existence and consciousness (and anthropocentric interpretations of and projections on other objects, non-human creatures and all organisms, as well as all objects.. In the case of the latter one would probably replace the notion of intersubjectivity with terms such as energy and other ways of action and interaction for example intra- and inter-atoms.) In the Appendix is included work related to the above by others such as Sellars, Brandom (and his two images, Manifest and Scientific), Davidson, Dennett, Habermas, Nagel, etc. (shrink)

Although a large number of theories justify the presence of games in school, all of them converge in two of the educational functions described by Biesta, socialization and qualification. In contra...

African literature has played a major role in changing and shaping perceptions about African people and their way of life for the longest time. Unlike western cultures that are associated with advanced forms of writing, African literature is oral in nature, meaning it has to be recited and even performed. Although Africa has an old tribal culture, African philosophy is a new and strange idea among us. Although the problem of “universality” of African philosophy actually refers to the question of (...) whether Africa has heckling of philosophy in the Western sense, obviously, the philosophy bred by Africa’s native culture must be acknowledged. Therefore, the human–computer interaction-oriented method is proposed to appreciate African literature and African philosophy. To begin with, a physical object of tablet-aid is designed, and a depth camera is used to track the user’s hand and tablet-aid and then map them to the virtual scene, respectively. Then, a tactile redirection method is proposed to meet the user’s requirement of tactile consistency in head-mounted display virtual reality environment. Finally, electroencephalogram emotion recognition, based on multiscale convolution kernel convolutional neural networks, is proposed to appreciate the reflection of African philosophy in African literature. The experimental results show that the proposed method has a strong immersion and a good interactive experience in navigation, selection, and manipulation. The proposed HCI method is not only easy to use, but also improves the interaction efficiency and accuracy during appreciation. In addition, the simulation of EEG emotion recognition reveals that the accuracy of emotion classification in 33-channel is 90.63%, almost close to the accuracy of the whole channel, and the proposed algorithm outperforms three baselines with respect to classification accuracy. (shrink)

This essay develops a theory of representation that confirms realism - an objective dependent on establishing that reality is autonomous of representation. I argue that the autonomy of reality is not incompatible with epistemic access and that an adequate account of representation is capable of satisfying both criteria. Pursuit of this argument brings the work of C. S. Peirce and Roy Bhaskar together. Peirce's doctrine of semiotics is essentially a realist theory of representation and is thus relevant to (...) the project of critical realism. However, critical realism is also required to finesse Peirce's intricate over-theorising. Although a complete treatment remains absent from Bhaskar's writings, his philosophy, I discovered, incorporates an implicit theory of representation. Peirce can be employed to extract this theory and amplify it. The only way the problem of representation can be addressed adequately is to locate it in a realist framework. This, however, is contingent on re-conceiving representation as a process rather than an object. Such a ‘perspectival switch’ reconfirms the intentional structure of representation but also suggests that it be considered, in teleological terms, as an activity oriented to a representation-transcendent object. Representation finally emerges as an investigative process with the aim to make being accessible in its autonomy. (shrink)

This book provides the reader with an analysis of backward causation. The notion of backward causation faces many different paradoxes that threaten to make the notion inconsistent or incoherent. The book denies that these pose a real threat. It developed a theory of causation according to which the orientation of causation is not dependent on the direction of time. In this process it takes issues with David Lewis' contrafactual analysis of causation, and denies that the direction of time is determined (...) by irreversible processes . Likewise the book argues that the conceptual possibility of backward causation requires that the future is just as real as the past and present. Finally the book considers what the physical processes may look like if backward causation not only a a conceptual possibility but also a physical possibility. The conclusion is that no normal matter can possibly participate in backward causal processes. Instead objects moving backwards in time seem to posses negative mass and energy, a kind of objects that would be different from both ordinary objects and hypothetical tachyons. (shrink)

The philosopher Graham Harman argues that contemporary debates about the nature of reality as such, and about the nature of objects in particular, can be meaningfully applied to social theory and practice. With Immaterialism, he has recently provided a case-based demonstration of how this could happen. But social theorists have compelling reasons to oppose object-oriented social theory’s 15 principles. Fidelity to Harman’s aesthetic foundationalism, and his particular use of serial endosymbiosis theory as a mechanism of social change, (...) constrain the very practices which it is supposed to enable. However, social theory stands to benefit from object-oriented philosophy through what we call posthuman relationism – characterised as a commitment to the reality of the nonhuman, but not divorced from the human. The emphasis in object-oriented social theory on how objects withdraw from cognitive or affective capture and representation needs to be tempered by an equal focus on how objects appeal. (shrink)

The philosopher Graham Harman argues that contemporary debates about the nature of reality as such, and about the nature of objects in particular, can be meaningfully applied to social theory and practice. With Immaterialism, he has recently provided a case-based demonstration of how this could happen. But social theorists have compelling reasons to oppose object-oriented social theory’s 15 principles. Fidelity to Harman’s aesthetic foundationalism, and his particular use of serial endosymbiosis theory as a mechanism of social change, (...) constrain the very practices which it is supposed to enable. However, social theory stands to benefit from object-oriented philosophy through what we call posthuman relationism – characterised as a commitment to the reality of the nonhuman, but not divorced from the human. The emphasis in object-oriented social theory on how objects withdraw from cognitive or affective capture and representation needs to be tempered by an equal focus on how objects appeal. (shrink)

The problem of the relation and difference between things and objects is one of the most decisive issues for the conception of the real. These words are usually used interchangeably – and not only in their everyday usage. There are some contemporary philosophical positions that consider almost “everything” as an object; on the other hand, there are proponents of a strict separation of objects and things. How did it happen that the concept of thing (res) and object (obiectum) (...) not only began to theoretically “compete” with each other but also sometimes came to represent differently conceived realities, and even occasionally came to represent an identical conception of reality? This article, on the one hand, discusses the philosophical strategies that reveal the difference between objects and things and enable such a conception of reality which takes into account the Kantian distinction between Realität and Wirklichkeit. On the other, it reconstructs Giorgio Agamben’s project of modal ontology. Agamben’s take on the question What is real? is oriented toward the modus of being and could be traced back to the recognition of the difference between objects and things as well as the “restoration of the life of things themselves.”. (shrink)

Today, in a post-pandemic space, all types of art, comprehending, due to their figurative specificity, certain spheres of objective reality, already as a result of this, circumstances have their own, only inherent laws. Using the inexhaustible possibilities of the plasticity of the human body, choreography has refined and developed expressive dance movements for many centuries. As a result of this complex process, a system of choreographic movements arose, that is, a special artistic and expressive speech of plastics, constitutes the (...) creative material of dance imagery. Choreographic art includes various types of arts: music, choreography itself, drama, painting. Each of them, changing in accordance with the requirements of this type of art, becomes a necessary component of choreographic figurative thinking. Each type of art is achieved thanks to its own figurative specificity, patterns and certain pictorial and expressive means. Choreographic activity dictates its own laws of reflection of reality, is based not on the correspondence of life and artistic material, but on the degree of devotion to the metaphorical reflection of life. A comprehensive study of social constituting dance art in today's post-pandemic space is a complex and versatile task, it mainly involves the study of all its components. Moreover, each of them should be considered not in isolation, but in the general system of their internal connections - in the aspect of their rhythmic and metric, that is, motor organization. (shrink)

Though there are many analogies between time and space, there appear to be three commonplace yet deeply perplexing features of time that reveal it to be quite unlike space. These can be called ‘orientation’, ‘flow’ and ‘presence’. By orientation I mean that there is a direction to time, a temporal order between events which is not merely a reflection of how they are observed (what McTaggart 1908/1968 labelled the B-series time). Assertions that objects stand in spatial relations, such as to (...) the left of, or above, or to the north of explicitly depend upon the position from which they are asserted or upon arbitrary, conventionally established spatial frameworks. There is nothing intrinsic about them; the objects involved are, so to speak, indifferent to them. Temporal relations are not like that – times are not just arranged along, as it were, a line but are successive along that imaginary line. Whether one event is before or after another is not (altogether) dependent upon how, or from where, they are viewed. Nature appears to respect temporal orientation, as enshrined in the laws of thermodynamics, though it remains a deep mystery exactly how the temporally symmetric basic laws of physics ground strongly asymmetric temporal processes (see Sklar 1993). (shrink)

The ontological abyss that separates real objects from sensual objects is one of the central principles of Object-Oriented Ontology (OOO), which has its most explicit and profuse modulation in Timothy Morton’s notion of rift. This article argues that, despite succeeding in explaining the radical difference that inhabits every object, Morton’s rift fails to explain the object’s unification, rendering the overall theory inconsistent. An alternative approach that accounts simultaneously for disjunction and conjunction between essences and appearances can (...) be found in Eugenio Trías’s philosophy of the limit, a term widely ignored in OOO despite its deeply non-relational conception of the reality of things. The article further argues that the reinterpretation of Trías’s twofold liminal approach in light of OOO successfully addresses the inconsistencies found in Morton’s rift, paving the way for a theory of limits within Harman’s ontological framework. (shrink)

A core presumption of object oriented ontology and other speculative realisms is that there is a world independent of the mind that can be successfully inquired and should take center stage in our reflections again. A profound case for this realist presumption is found in Meillassoux’s After Finitude. He aims to secure our access to reality as it is in itself by refuting correlationism according to which we cannot escape reality as it is thought by us. (...) He presents three arguments: ancestrality, facticity and mathematization. On the first argument correlationism fails because it cannot render scientific statements about an universe anterior to us meaningful. I address the worry that he might not take this to be a real argument against correlationism and argue that it in any case fails. On the second argument correlationism is flawed since it remains committed to absolute possibilities. I argue that this argument is untenable as well. On his third argument correlationism fails because science reveals a mathematically describable reality indifferent to our existence. I argue that the almost perfect mathematization of nature can actually be cashed out as an argument for correlationism. I conclude by proposing an alternative way of showing that mathematics is the language of the absolute understood as a radical contingent hyperchaos. (shrink)

Object-oriented ontology (OOO) is a philosophy that asks us to step outside the human-centric view of the world to recognize that objects have realities of their own. Although we cannot directly access a thing-in-itself, we can still come to know something about it through an indirect access that Graham Harman suggests is provided by aesthetics, specifically the metaphor. In the metaphor, we step into the place of the object-in-itself (that withdraws) and experience a taste of its (...) class='Hi'>reality. This main purpose of this article is to show that the visual arts—specifically Haim Steinbach’s art works—offer a different way to know objects. Steinbach “arranges” found objects on shelves; this emphasis on “arrangement” raises questions about the nature of the space between objects. I argue that it is this space between objects (rather than the indirect contact with objects) that grants us some access to the thing-in-itself. By relating the spaces between objects to silence, I show that it is in these spaces that objects speak. In other words, the theatricality of the metaphor Harman privileges for understanding the object only exists in a silence that emerges from the spaces between objects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 26-32 [Access article in PDF] A Sense of Reality In the current highly information-oriented society, electronic media have entered into our daily lives ever so naturally, even unnoticeably, yet their great influence on us is beyond measure. In addition to the many ways that information surrounds us in our everyday lives, we are also exposed to information from outer space (...) via television; computer networks; the surveillance satellite, Landsat; and the weather satellite, Himawari. The means ofunderstanding the "world" no longer come through our own bodies or through immediate involvement with phenomena. Instead, our experience via technologies of information is now mainly indirect. The changes in the [End Page 26] structure of experience have effectuated diverse influences on people, raising problems both within individuals and in society.This essay was written as an introduction to the exhibition "A Sense of Reality," held at the Utsunomiya Museum of Art in the summer of 1999. The purpose of this exhibition was to question the new relationship betweenmedia art and today's society, and the relationship between electronic media and human beings.For this exhibition, based on "sense" and "language," our objective was to examine the transformation of our bodily sensations and the state of "the self," including the changing relations between the two and in the present computerized society. The exhibition has been constructed to have the viewers interact directly with the exhibited works. The works by four artists and two groups cover a wide range of expression, from an installation using a video projector, to digital prints of a virtual space using a computer. Body Absorbed into Media "Lovers," a collaboration by Teiji Furuhashi and Artlab, was first exhibited in 1994 at Hillside Plaza in Tokyo, and has since traveled to various countries. This work can be seen as a work depicting the present state of "information" and "body" with the strongest determination, while also superbly revealing the present-day problems in relation to these. When the viewers entered the virtual space constructed by the electronic media, their living bodies were projected as images. Through intertwining and assimilating sensations both through and about the body, the feeling of merging into an imaginary world at some point creates a sense of bodily unification.This world, originated as a vessel for the "mother of electronics," thatblessed us with "eternal love," was the last device created by Teiji Furuhashi, who had a premonition of his own death. Except for the floor, which was made of white linoleum, the dark space was covered with a black cloth, ten meters in length and width, and six meters in height. A tower-shaped object was installed in the center of the floor. On the tower were video and slide projectors with sensors, which continuously showed the images of nine women and men on the walls and ceiling. The viewers encountered the life-size images that appeared from nowhere, and were compelled to interact with these images. The incidents that took place inside the dark, rectangular space enabled the viewers to actualize various encounters and partings with the images of naked bodies.Though the viewers felt as if they were dreaming or hallucinating, they had an uncanny sensation that the memory of this experience would become manifest deep inside their bodies. "Lovers" was an extraordinary interactive work that fully utilized electronic media, but was uncommon in that the technology was hardly noticeable. This work signified the future state of "the body and media," or "the body absorbed into media." The [End Page 27] work also urged us to recreate a humanistic relationship with the electronic media. Neutral Mind-Body Today, we are surrounded by a variety of electronic media, most of which are beyond the world of art. Many have already become essential devices in our daily lives. The widespread proliferation of electronic media such as video products, CDs, mobile phones, and devices which use information from satellites, have brought about convenient changes in our living environment and in communication. Real-time information, bi-directional information, and other electronic networks circle the globe.Electronic media have... (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and significance (...) of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

La lectura de obras literarias constituye una herramienta para contribuir al desarrollo cognoscitivo, valorativo y empático del estudiante, así como a la aprehensión y transformación de la realidad. Por lo que el objetivo consistió en valorar la importancia de los talleres de apreciación literaria como contribución a la praxis humana en la Educación Médica mediante el criterio de especialistas. Reading literary works is a tool to contribute to students' cognitive, assessable and empathetic development as well as to capture and transform (...) reality. Therefore, the objective is to assess the importance of literary appreciation as a contribution to human praxis in the educational context of a medical university. (shrink)

The thesis identifies two strands in Rorty’s philosophy. One is an orientation towards practice in opposition to the traditional philosophical emphasis on theoretical knowledge. The other is Rorty’s anti-representationalist conception of knowledge. Rorty argues that these strands are mutually supporting, while the author argues they are incompatible. The nominal aim of Rorty’s anti-representationalism is to overcome many traditional dualisms of theoretical philosophy, such as subject and object, mind and world, and theory and practice. The thesis argues that anti-representationalism does (...) not and cannot achieve this aim, since what is required to overcome these dualisms is the recognition of the practical basis of knowledge, with which anti-representationalism is incompatible. The author agrees with much of Rorty’s critique of foundationalist epistemology, but argues in opposition to Rorty that anti-representationalism does not follow necessarily from this critique. Where Rorty locates the error of traditional epistemology in the very notion that knowledge and language can represent the world, the author argues that this idea is benign. The fundamental problem is the desire to anchor our conceptual scheme to an external structure independently of human practice — but this idea can be rejected without abandoning the notion of representation. The thesis also looks to explain why Rorty takes anti-representationalism to follow naturally from a rejection of foundationalism. The motivation is located in Rorty’s fundamental metaphysical orientation, which is naturalistic. Anti-representationalism is the product of the wish to promote a naturalistic worldview without succumbing to scientism. In this way Rorty hopes to unite the manifest and scientific images of man. The author argues that this cannot be done from within a naturalistic metaphysics. (shrink)

This essay explores ‘responsibility’ within moral theory and around the question of God’s relation to the world and to acting and suffering human beings. Advancing reflection beyond the outlooks of twentieth-century theologians, the inquiry outlines a multidimensional position that interweaves different rationalities crucial to orienting responsible life. Actions and relations are responsible which respect and enhance the integrity of life. Responsibility is thereby not in itself the object or norm of the ethics but the form of moral existence. This (...) account enables current thought to weave together previous arguments in Christian ethics in a way productive for our global times. (shrink)

Schelling’s Principle of Art returns us to an ancient epic sensibility, laying the foundations for reversing the unrealistic ‘modern mythology’ arguably at the core of humanity’s ecological/existential crisis. This contribution examines how, by detailing his systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (Principle). Hence Schelling’s ‘affirming principles’ determine boundary conditions for his ‘mythological categories’, revealing why their generalities inform (...) a ‘scientific sequence’ for explaining the features of the Formative and Verbal arts (ie., all artforms, ‘for all time’). Examining specific examples shows how Schelling resolves key difficulties (appearance/reality, form/non-form, intentionality, and purpose) for assessing art’s higher meaning-value directionality; why phenomenology is key to understanding it; and how we arrived at the problematic modern ‘epic’ reversal of ancient universalising focusing our attention on ‘efficient’ over ‘final’ causes in art-making/admiring. Explaining practical application of the Principle-in-action expands on why Schelling’s ‘dialectical aesthetics’ presents a hitherto unrecognised radical advance on Kant’s. My conclusion summarises what shifts in attendance to the art object Schelling’s system demands, and why his Philosophy of Art offers a suitable framework for collectively re-worlding the world. (shrink)

Recent developments in Continental philosophy have included the emergence of a school of “speculative realism,” which rejects the human-centered orientation that has long dominated Continental thought. Proponents of speculative realism differ on several issues, but many agree on the need for an object-oriented ontology. Some speculative realists identify realism with materialism, while others accord equal reality to objects that are non-material, even fictional. Several thinkers retain a focus on difference, a well-established theme in Continental thought. This paper (...) looks at speculative realism from the perspective of systems theory. Many of the tenets of speculative realism have long been features of systems metaphysics and are expressed clearly in a systems framework. However, some views of some speculative realists differ substantially from systems theoretic ideas. (shrink)

What is the ultimate nature of reality? This paper defends an answer in terms of informational realism (IR). It does so in three stages. First, it is shown that, within the debate about structural realism (SR), epistemic (ESR) and ontic (OSR) structural realism are reconcilable by using the methodology of the levels of abstractions. It follows that OSR is defensible from a structuralist-friendly position. Second, it is argued that OSR is also plausible, because not all related objects are logically (...) prior to all relational structures. The relation of difference is at least as fundamental as (because constitutive of) any relata. Third, it is suggested that an ontology of structural objects for OSR can reasonably be developed in terms of informational objects, and that Object Oriented Programming provides a flexible and powerful methodology with which to clarify and make precise the concept of “informational object”. The outcome is informational realism, the view that the world is the totality of informational objects dynamically interacting with each other.. (shrink)

BackgroundAttention deficit hyperactivity disorder is clinically diagnosed; however, quantitative analysis to statistically analyze the symptom severity of children with ADHD via the measurement of head movement is still in progress. Studies focusing on the cues that may influence the attention of children with ADHD in classroom settings, where children spend a considerable amount of time, are relatively scarce. Virtual reality allows real-life simulation of classroom environments and thus provides an opportunity to test a range of theories in a naturalistic (...) and controlled manner. The objective of this study was to investigate the correlation between participants’ head movements and their reports of inattention and hyperactivity, and to investigate how their head movements are affected by different social cues of different sensory modalities.MethodsThirty-seven children and adolescents with and without ADHD were recruited for this study. All participants were assessed for diagnoses, clinical symptoms, and self-reported symptoms. A virtual reality-continuous performance test was conducted under four conditions: control, no-cue, visual cue, and visual/audio cue. A quantitativecomparison of the participants’ head movements was conducted in three dimensions using a head-mounted display in a VR classroom environment. Task-irrelevant head movements were analyzed separately, considering the dimension of movement needed to perform the VR-CPT.ResultsThe magnitude of head movement, especially task-irrelevant head movement, significantly correlated with the current standard of clinical assessment in the ADHD group. Regarding the four conditions, head movement showed changes according to the complexity of social cues in both the ADHD and healthy control groups.ConclusionChildren and adolescents with ADHD showed decreasing task-irrelevant movements in the presence of social stimuli toward the intended orientation. As a proof-of-concept study, this study preliminarily identifies the potential of VR as a tool to understand and investigate the classroom behavior of children with ADHD in a controlled, systematic manner. (shrink)

This book gives an account of work that I have done over a period of decades that sets out to solve two fundamental problems of philosophy: the mind-body problem and the problem of induction. Remarkably, these revolutionary contributions to philosophy turn out to have dramatic implications for a wide range of issues outside philosophy itself, most notably for the capacity of humanity to resolve current grave global problems and make progress towards a better, wiser world. A key element of the (...) proposed solution to the first problem is that physics is about only a highly specialized aspect of all that there is – the causally efficacious aspect. Once this is understood, it ceases to be a mystery that natural science says nothing about the experiential aspect of reality, the colours we perceive, the inner experiences we are aware of. That natural science is silent about the experiential aspect of reality is no reason whatsoever to hold that the experiential does not objectively exist. A key element of the proposed solution to the second problem is that physics, in persistently accepting unified theories only, thereby makes a substantial metaphysical assumption about the universe: it is such that a unified pattern of physical law runs through all phenomena. We need a new conception, and kind, of physics that acknowledges, and actively seeks to improve, metaphysical presuppositions inherent in the methods of physics. The problematic aims and methods of physics need to be improved as physics proceeds. These are the ideas that have fruitful implications, I set out to show, for a wide range of issues: for philosophy itself, for physics, for natural science more generally, for the social sciences, for education, for the academic enterprise as a whole and, most important of all, for the capacity of humanity to learn how to solve the grave global problems that menace our future, and thus make progress to a better, wiser world. It is not just science that has problematic aims; in life too our aims, whether personal, social or institutional, are all too often profoundly problematic, and in urgent need of improvement. We need a new kind of academic enterprise which helps humanity put aims-and-methods improving meta-methods into practice in personal and social life, so that we may come to do better at achieving what is of value in life, and make progress towards a saner, wiser world. This body of work of mine has met with critical acclaim. Despite that, astonishingly, it has been ignored by mainstream philosophy. In the book I discuss the recent work of over 100 philosophers on the mind-body problem and the metaphysics of science, and show that my earlier, highly relevant work on these issues is universally ignored, the quality of subsequent work suffering as a result. My hope, in publishing this book, is that my fellow philosophers will come to appreciate the intellectual value of my proposed solutions to the mind-body problem and the problem of induction, and will, as a result, join with me in attempting to convince our fellow academics that we need to bring about an intellectual/institutional revolution in academic inquiry so that it takes up its proper task of helping humanity learn how to solve problems of living, including global problems, and make progress towards as good, as wise and enlightened a world as possible. (shrink)

The present paper argues that Merleau-Ponty’s notion of Flesh/reversibility intellectually is significantly flawed, and leads phenomenology into something of a dead end. This is shown through the following strategy. First Merleau-Ponty’s account of originary perception and his critique of the reflective attitude are expounded. They are shown to culminate in rejection of the subject-object relation as an ontological fundamental in favour of a ‘hyper-reflective method’. A critique of Merleau-Ponty’s position is then offered. It argues that originary perception is not (...) logically prior to reflective thought, and that Merleau-Ponty fails to do justice to the scope of the subject-object relation. Specifically, he overlooks the way in which the relation is the basis of our practical perceptual orientation. It is then shown how this relation actually pervades Merleau-Ponty’s own all-important ‘hyper-reflective’ alternative – the notion of ‘Flesh’. Possible counter-arguments are considered and refuted. The.. (shrink)

Several simulation projects in the area of production and logistics indicated that, although we have sophisticated input and output devices for computer supported modelling, physical models still play an important role for cognition and communication. We therefore introduce the concept of a Graspable User Interface that aims at combining two model worlds, the one inside the computer and a corresponding physical one in the outside world. Sensored user hands will couple physical objects of the real world with virtual objects, thus (...) allowing fairly unrestricted manipulation and expression. In this way modelling with real physical objects can create an abstract virtual model. Some applications of this concept are presented. A further perspective for a new action oriented communication and learning with artifacts is envisioned. (shrink)

The article aims to explore the ways in which scholars from Poland and Ukraine engage with Graham Harman’s philosophical work1. The introductory part briefly describes Harman’s ontology and demonstrates the link connecting Harman with Polish and Ukrainian intellectual environments. Harman’s object-oriented ontology (OOO) states that objects are the fundamental building blocks of reality and cannot be reduced either to what they are made of or to what they do, that is, either to their constituents or to their (...) effects. The connection with Poland and Ukraine goes back to the theory of objects suggested by the Polish philosopher Kazimierz Twardowski, whom Harman names among the predecessors of his ontology and who influenced both Polish and Ukrainian intellectual milieus. The next part of the article examines the history of the reception, identifying its key events and publications. The reception in Poland proves to be much more substantial than in Ukraine. A common tendency is determined: a conflation of Harman’s OOO and speculative realism by mistakenly ascribing the features of the former to the latter (broader concept), which suggests that speculative realism is being received through the lens of Harman’s project. The next part establishes the key discursive points that are used to map Harman’s ideas within the contemporary philosophical landscape. They can be summarised by the terms antianthropocentrism and antireductionism. The final part analyses the strategies for applying Harman’s theory showing that it can become the lens for interpretation and direct our attention to nonhumans and the hidden, inexplicable dimension of things or provide an ontological grounding for semi-literary and literary discourses. The methodology of this application, though, needs further development and clarification. Overall, in Poland, two of Harman’s books and two articles have been translated, and at least two books, one Ph.D. dissertation, and around two dozen articles discuss or apply his ideas. Apart from philosophy, his OOO is used for discussing literature, video games, films, humanities in general, education, management processes, antique studies, and ecocriticism. In Ukraine, one of Harman’s articles has been translated, and around ten articles and one collective monography engage with his philosophical project. Some of the Ukrainian works also apply Harman’s OOO in contexts that are not strictly philosophical, namely, in literary criticism, urban studies, film studies, and humanities in general. This paper can be of use to researchers studying OOO and its reception in different countries. In addition, it can help Ukrainian and Polish scholars who want to discuss or use OOO to familiarize themselves with the previous reception in their countries, thus facilitating domestic philosophical interaction. (shrink)

In his recent Immaterialism, Graham Harman develops a theory of social objects based on his object-oriented ontology. Whereas some of the more mainstream theories in the humanities would dissolve such objects into their material constituents or their various effects on others, object-oriented social theory theorizes them as inert, resilient entities with a private reality that exceeds their components and actions. Harman’s theory focuses on what social entities are qua objects, and consequently says little about their (...) specificity as social objects. A more complete social theory would also outline how human existence is to be understood in relation to a social world comprised of discrete and inert entities, as opposed to, for example, far more continuous material fields or networks of associations. We argue that an unexpected yet solid candidate for such an extension of object-oriented social theory already exists in Jean-Paul Sartre’s theory of practico-inert being and group formation. We first outline Harman’s and Sartre’s respective ontologies of social objects, and then discuss how their many complementarities make the latter a suitable extension of the former. (shrink)