"Voyager ou découvrir est une aspiration majeure de l'homme. Diderot est toutefois sceptique sur l'utilité des voyages et sur la crédibilité des récits de voyageurs déjà dans ses premières oeuvres de fiction et dans les articles des premiers tomes de l'Encyclopédie. Vivre en voyage perpétuel signifie vivre en marge. De plus, l'incitation au voyage est le résultat de passions souvent nuisibles. Cette réflexion s'amplifie au fil de l'oeuvre de Diderot et surtout dans ses contributions à l'Histoire des deux Indes. (...) Le désir de voyager apparaît comme un motif néfaste pour l'humanité qui déclenche dans une certaine mesure le colonialisme. Pourtant l'enthousiasme se mêle parfois à la critique : le voyage de Diderot en Hollande et à Saint-Pétersbourg marque sa pensée politique. Ce livre tente de faire la synthèse de cette problématique dans l'oeuvre de Diderot, allant de la fiction vers le discours philosophique et politique de la dernière décennie de sa vie."--Page 4 of cover. (shrink)

Autour de Nietzsche -- Mouvement de la pensée, cheminement de l'écriture -- L'approche du monde sensible, entre intellection et présence au concret -- Enjeux existentiels, politiques et poétiques de l'écriture du voyage -- Crise et nouveaux usages do voyage philosophique.

L'Angleterre est la première destination des Français au XVIIIe siècle, mais le voyage d'Angleterre reste peu étudié. Avec ce livre, Gábor Gelléri comble un vide historiographique, au moyen d'un corpus de plus de soixante-dix sources et d'une étude chronologique s'étendant sur cent-trente ans. Il dresse la liste des implications philosophiques, politiques, religieuses, sociales et littéraires que ce voyage comporte. Contestant l'idée que Voltaire aurait 'découvert' l'Angleterre, il remet au premier plan le rôle qu'a joué la Suisse protestante comme intermédiaire dans (...) la découverte de ce pays par les Français, en analysant notamment la polémique suscitée par le récit de Béat de Muralt, qui voyagea avant Voltaire. Le voyage outre-Manche, et les récits qui en sont faits, sont cruciaux dans les interactions entre la France et l'Angleterre. L'Angleterre est l'un des miroirs dans lesquels la France se regarde. Comparant les discours aux pratiques avérées, l'auteur réévalue certaines catégories majeures, notamment l'opposition souvent mal interprétée entre anglomanie et anglophobie. Il interroge les motivations des voyageurs, à une époque où la pratique du voyage commence à se démocratiser, ce qui conduira à la naissance du tourisme. Dépassant la simple étude des discours, il met en lumière les usages du voyage, en rappelant qu'avant de devenir l'objet d'un acte d'écriture le voyage constitue une pratique sociale. Qu'il soit philosophique, anti-philosophique, scientifique, pittoresque ou de plaisance, le voyage d'Angleterre est un champ d'exploration permettant aux voyageurs de mettre à l'épreuve toutes les idées importantes du siècle et cristallisant les polémiques du temps. Gábor Gelléri démontre que ce voyage est un phénomène majeur: un laboratoire d'idées et un portrait vivant de la complexité intellectuelle et idéologique du XVIIIe siècle européen. L'ouvrage a été publié avec le soutien du Department of Modern Languages de Aberystwyth University. (shrink)

Ch. 1. Ėtnologii͡a puteshestviĭ -- ch. 2. Mifologii͡a puteshestviĭ -- ch. 3. Filosofii͡a puteshestviĭ -- ch. 4 Apostolʹstvo puteshestviĭ -- ch. 5. Velike geograficheskie otkrytii͡a -- ch. 6 Uslugi dli͡a puteshestvennikov -- ch. 7 Industrii͡a turizma -- ch. 8 Rekreat͡sii͡a.

The English language has adopted the word Tardis for something that looks simple from the outside but is much more complicated when inspected from the inside. The word comes from a BBC science fiction series, in which the Tardis is a machine for traveling in time and space, that looks like a phone booth from the outside. This paper claims that simulation models are a Tardis in a way that calls into question their transferability. The argument is developed taking Molecular (...) Modeling and Simulation as an example. There, simulation models are force fields that describe the molecular interactions and that look like simple and highly modular mathematical expressions. To make them work, they contain parameters that are adjusted to match certain data. The role of these parameters and the way they are obtained is seriously under-appreciated. It is constitutive for the model and central for its applicability and performance. Hence, the model is more than it seems so that working with adjustable parameters deeply affects the ontology of simulation models. This is particularly crucial for the transferability of the models: the information on how a model was trained is like luggage the model must carry on its voyage. (shrink)

Voyages et exils au cinéma, rencontres de l'altérité s'intéresse aux phénomènes d'hybridation entre cultures tels qu'ils se traduisent à l'écran, sans restriction géographique (cinémas américain, italien, africain, libanais, indien, taïwanais, japonais etc.). Si le voyage et l'exil des cinéastes sont sources de transferts culturels et esthétiques, le thème du voyage et de l'exil représenté au cinéma questionne la notion d'altérité en proposant une vision diversifiée de la rencontre entre autochtones et nouveaux arrivants. Dans un monde globalisé, mais qui continue (...) de s'interroger à la fois sur la mixité culturelle et le sens de la nation, le cinéma reflète ainsi les cultures plurielles dans leur richesse et leur vivacité, mais aussi les replis communautaires, les phénomènes d'imprégnation et bien entendu de domination culturelle. La caméra se désigne alors comme acteur, témoin et exégète de ces processus qui, s'ils ont une longue histoire et se développent tout au long du XXe siècle, culminent dans notre temps présent. (shrink)

Théophile Gautier, French romanticist writer, visits Russia twice in 1858/61. His Voyage en Russie (1866) is not just a travelogue, but rather an intrinsically philosophical text about travelling, about the perception of the own and the other, suggesting “(self)alienation”, “bracketing” of the world and one’s own experience as a means of aesthetic pleasure and intellectual penetration; a reflection on the “gift of the visible”; on the mutual in- and superscriptions of reality, imagination and art – in one word: a “phenomenological” (...) experiment avant la lettre. This paper proposes a reading of Voyage en Russie through the prism of Merleau-Ponty’s phenomenology of perception, in particular of vision. (shrink)

This chapter discusses several possible reasons why works by women philosophers have traveled significantly less than those written by men, although women’s contributions go back to the start of European history of philosophy. Differentiating between geographic, linguistic, historic and philosophical travels, Tove Pettersen claims that gender is particularly significant with regard to historical and philosophical traveling. As the case of women philosophers clearly demonstrate, gender hampers the circulation of certain texts and inhibit transhistorical exchange of knowledge and ideas. ****** (...) Che chapitre examine plusieurs raisons possibles pour expliquer pourquoi les œuvres de femmes philosophes ont “voyage” beaucoup moins que celle des hommes, bien que la contribution des femmes remonte au début de l´histoire européenne de la philosophie. Distinguant entre plusieurs façons de voyager – géographique, linguistique, historique et philosophique –, Tove Pettersen soutient que le “genre” est un facteur particulièrement significative par rapport au voyage historique et philosophique- Comme le démontre clairement le cas des femmes philosophes, leur genre nuit á la circulation de certains textes ainsi qu’à l’échange transnational du savoir et des idées. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coleridge’s Intellectual Intuition, the Vision of God, and the Walled Garden of “Kubla Khan”Douglas HedleyIn his seminal work of 1917 Das Heilige Rudolph Otto quotes a number of passages as instances of the “Numinose.” Alongside those quotations from more conventional mystics, Plotinus, and Augustine, Otto refers to Coleridge’s “savage place” in Kubla Khan. 1 It is also pertinent that, when trying to define Romanticism, C. S. Lewis appeals to (...) the longing for the “unnameable something” fired by “morning cobwebs in late summer” or the “opening lines of Kubla Khan.” 2 Perhaps it is a mere coincidence that two of the most penetrating and influential scholars of religion in the twentieth century should appeal to Coleridge and his poem “Kubla Khan.” I wish to suggest reasons why the link between the imagery of “Kubla Khan” and a mystical experience of transcendence is not merely fortuitous. Indeed the connection between Coleridge’s mature writing and the imagery of the poem shows that we have good reason for seeing him as consciously writing, both as a poet and as a philosopher, within a visionary mystical tradition. I propose that it is no accident that Coleridge’s most visionary poem draws upon the central Christian image of paradise: the walled garden.This is an attempt not to interpret “Kubla Khan” but rather to suggest Coleridge’s place in the history of ideas as a Christian poet and philosopher. He is best described as an essentially speculative and mystical philosopher-theologian. 3 [End Page 115] By “speculative” I mean a theology inspired by those Church Fathers who emphasize the “vision” of God as an intellectual contemplation (speculari) of the transcendent Absolute, the prius of all being. The scholastics, the medieval German mystics, the Cambridge Platonists, and some of the German Idealists have all been influenced by such a speculative impulse. 4 Hegel uses the term “speculative” for his Dialectic. 5A philosophical or “speculative” approach to theology has invoked hostility from Tertullian onwards. Coleridge’s philosophy of religion often excited the fear of the new pantheistic German theology. John Henry Newman castigated Coleridge’s speculation as more heathen than Christian. Yet the speculative movement in theology spawned both a radical and a conservative wing, and we have to judge Coleridge’s thought in the light of the more conservative branch of nineteenth-century Idealism. D. F. Strauss jettisoned the transcendent “yonder” of traditional theology in favor of his philosophical or “scientific” approach to Christianity. Coleridge, however, could not adhere to theology of immanence; he wished to present a theology of an adamantly transcendent character.The walled garden is an eminently appropriate image of transcendence and was used as such by the fifteenth-century Christian Platonist Nicholas of Cusa, who is one of the links between Patristic theology and German Idealism. I shall draw upon his book The Vision of God as a paradigm of the sort of speculative mysticism which informs Coleridge’s metaphysics and much of his poetry. 6 Reflection upon an exotic poetic image may help us to clarify one of Coleridge’s philosophical tenets; the walled garden can be seen to symbolize that transcendent numinous reality, which the soul inchoately and barely consciously seeks and strives for.Coleridge’s “Mysticism” and the Imagery of “Kubla Khan”Richard Holmes claims that the “Kubla Khan” provides evidence of a transition in Coleridge’s interests and presents this switch from “classical and religious mythology” to the “drama of self-knowledge... the growth of consciousness and civilisation” as a key to Coleridge’s poetry. Holmes writes: [End Page 116][H]is instinct that the modern Epic subject must now centre on “the mind of man,” through “travels, voyages and histories,” shows a shift of poetic focus characteristic of the new Romantic age. The Epic could no longer draw on classical or religious mythology for the framework of its action. It must become contemporary with the world of scientific, anthropological, and psychological exploration: it must centre in some way on the drama of self-knowledge, on the growth of consciousness and civilisation. 7Coleridge would not have seen a conflict between the drama of self-consciousness and classical and religious mythology. In “Kubla... (shrink)

This work, incorporating previously unpublished interviews and articles, retraces the quest of Henry Corbin into the imaginal realm of the unseen self, the domains of angels and numinous beings. A study of religious philosophy, exploration of visionary faith, these pages offer a superb meditation of the great themes of Perso-Islamic mysticism—the Sufi theory of knowledge, the voyage within the soul, le rituel de la coupe—and an illuminating glimpse into the philosophic universes of Sohravardi, Ibn Arabi, and Molla Sarda Shirazi.

During the long eighteenth century, boundaries between theology and natural philosophy, between imaginary and factual travel narratives, between fiction and social commentary, were far more fluid than they are today. To explore these relationships, this paper links Mary Shelley’s Frankenstein—a book often hailed as the first science fiction novel—to two earlier works which are now less well known: Edmond Halley’s article about terrestrial magnetism, in which he suggested that God had created inhabited illuminated cavities inside the earth; and a satirical (...) fantasy voyage written by the Danish author Ludvig Holberg, but published anonymously as Niels Klim’s journey to the underground and immediately translated into many languages. Attention is focussed on how the ambiguous presentation of these and other texts blurs any straightforward classification of genres. The aim of examining these writers together is not to search for direct mappings from one project to another, but instead to introduce Holberg’s unfamiliar yet important book and also to cast new light on Frankenstein, one of England’s most famous works of literature.Keywords: Edmond halley; Ludvig holberg; Frankenstein; Plurality of worlds; Science fiction; Magnetism. (shrink)

The cinema of Theo Angelopoulos is celebrated as challenging the status quo. From the political films of the 1970s through to the more existential works of his later career, Vrasidis Karalis argues for a coherent and nuanced philosophy underpinning Angelopoulos' work. The political force of his films, including the classic The Travelling Players, gave way to more essayistic works exploring identity, love, loss, memory and, ultimately, mortality. This development of sensibilities is charted along with the key cultural moments informing Angelopoulos' (...) shifting thinking. From Voyage to Cythera until his last film, The Dust of Time, Angelopoulos' problematic heroes in search of meaning and purpose engaged with the thinking of Plato, Mark, Heidegger, Arendt and Luckacs, both implicitly and explicitly. Theo Angelopoulos also explores the rich visual language and 'ocular poetics' of Angelopopulos' oeuvre and his mastery of communicating profundity through the everyday. Karalis argues for a reading of his work that embraces contradiction and celebrates the unsettling questions at the heart of his work. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Definition in the genre of travel writing has a special status: the discovery of otherness leads to a new relationship between language and the world. In this genre, written by lexicologists who are often amateurs, the definition of an absent reality evolves between analogy, approximation and invention.

The idea that episodic memory is a form of mental time travel has played an important role in the development of memory research in the last couple decades. Despite its growing importance in psychology, philosophers have only begun to develop an interest in philosophical questions pertaining to the relationship between memory and mental time travel. Thus, this paper proposes a more systematic discussion of the relationship between memory and mental time travel from the point of view of philosophy. I start (...) by discussing some of the motivations to take memory to be a form of mental time travel. I call the resulting view of memory the mental time travel view. I then proceed to consider important philosophical questions pertaining to memory and develop them in the context of the mental time travel view. I conclude by suggesting that the intersection of the philosophy of memory and research on mental time travel not only provides new perspectives to think about traditional philosophical questions, but also new questions that have not been explored before. (shrink)

Philosophical reflections on journeys and crossings, homes and habitats, have appeared in all major East Asian and Western philosophies. Landscape and travelling first emerged as a key issue in ancient Chinese philosophy, quickly becoming a core concern of Daoism and Confucianism. Yet despite the eminence of such reflections, Landscape and Travelling East and West: A Philosophical Journey is the first academic study to explore these philosophical themes in detail. Individual case studies from esteemed experts consider how philosophical thought about places (...) and journeys have inspired and shaped major intellectual and cultural traditions; how such notions concretely manifested themselves in Chinese art, particularly in the genres of landscape painting and garden architecture. The studies present a philosophical dialogue between Confucianism and Daoism on issues of social space and belonging and include discussion on travel and landscape in Buddhism as well as Japanese and Tibetan contexts. Approaching the topic from an inter-cultural perspectives, particularly East Asian philosophies, and using these to enrich contemporary reflections on space, the environment, and traversing, this unique collection adds an important voice to present philosophical, political, and cultural discourses. (shrink)

The article focuses on past epidemics and previous confinements, looking for the art of journeying through immobility. It rekindles the plague that ravaged the city of Turin in the 1630s, as well as Xavier de Maistre who, confined in the military citadel in 1790, wrote the Voyage autour de ma chambre, perhaps the first example of modern ‘anodeporics’, a neologism to designate immobility travelogues. The essay then explores other pandemics and subsequent attempts at imitating De Maistre. First, it concentrates on (...) Wilkie Collins, the author of the 1852 short story “A Terribly Strange Bed”, who remained stranded with his father William, the painter, at the frontier of the Kingdom of Piedmont because of the cholera that broke out there in 1836. Second, it bears on Almeida Garrett, who resisted the siege of typhus-struck Oporto in 1832-3 and, ten years later, penned another classic of ‘anodeporics’, Viagens na minha terra, also inspired by De Maistre. After consideration, from the perspective of semiotics, of what is needed to “journeying throughout immobility”, the essay ends with a study of the most famous anodeporic tale in world literature, also containing ironic quotes by De Maistre: Jorge Luis Borges’ El Aleph, named after a fictional device for mystical travel confined in a basement of 1940s Buenos Aires. The conclusion of this semiotic exploration through pandemics, lockdowns, and immobility travelogues is simple: in case of forced immobility, the practice of exploring space through time can be replaced by the alternative practice of exploring time through space. (shrink)

Les Assyriens, au début du iie millénaire av. J.-C., organisent, depuis Aššur (site actuellement en Irak), des échanges commerciaux avec l’Asie Mineure où certains d’entre eux s’installent et contractent parfois un second mariage avec une autochtone. Femmes et filles de marchands restent seules pendant de longues périodes dans leur maison à Aššur, partent fonder un foyer à Kaniš (en Anatolie centrale), ou suivent leurs maris dans toutes leurs pérégrinations en Asie Mineure. Les nombreuses archives cunéiformes – correspondance privée et documents (...) juridiques – découvertes dans le quartier commerçant de Kaniš illustrent les différents voyages accomplis par les femmes avec ou sans leurs époux. (shrink)

Knowledge Lost revisits Paul Hazard's history of the crisis of European consciousness, Reinhardt Kosseleck's reign of criticism and Jonathan Israel's history of radical philosophies. But it does not start from a conceptual, doctrinal or religious approach to scholarly dissidence in Europe during the reign of Louis XIV. It aims to provide a material history of the intellectual techniques used by these marginal scholars to establish their criticisms. The article emphasises two ways of decentring the perspective: the study of weak knowledge (...) instead of the strong knowledge of absolutist culture; and the insistence on mobility and the culture of travel that placed these scholars at a distance from central power. (shrink)

The aim of this article is to map the relationship between the main words that comprise the Homeric lexicon of roads, journeys, paths and travel. The central task is to explore the relationship between the words hodos and keleuthos; along the way, the article will also address other terms that appear less frequently, such as atarp(it)os and poros. The article first teases out a difference in sense between keleuthos in the singular and in the plural. The discussion of keleuthos provides (...) a key distinction, namely between ‘object-concepts’ and ‘activity-concepts’, that proves valuable in discussing different senses of the word hodos. Rather than differentiating the words keleuthos and hodos as others have suggested, however, this distinction should be used to differentiate domains of meaning within each word. The result will be what might be conceived of as a four-part grid, with the two words hodos and keleuthos split into two distinct parts along the ‘activity-concept’/‘object-concept’ axis. Finally, concepts drawn from discussions of verbal aspect and philosophy of action are deployed heuristically to develop further the analysis of this semantic field. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 99 the movement of the Dutch to France. Only in the second half of the century, as DutchFrench relations deteriorated, and Protestantism was actively persecuted, did Dutch students turn away from France. Professor Dibon reveals the kinds of untapped source materials that exist for tracing these student voyages, for assessing the intellectual conditions in France, and for tracing the course of ideas. Items found ill funeral (...) orations, guide books, letters, unpublished student travel diaries, various Album amicorum that students carried with them, university records, applications of students for funds, etc., provide the basis for Professor Dibon's sketch of where Dutch students went, how they were received in Paris and elsewhere, whom they met, what universities they attended, and how long they spent at various stages of their tours. Professor Dibon clearly shows that there is a rich mine of information to be found through careful, painstaking research in these many manuscripts or rare printed sources. The picture he presents of the travels of Gronovius' brother-in-law, Samuel Ten Nuyl, later professor of history and eloquence at the University of Nijmegen, indicates the valuable materials that can be unearthed from such labors. Ten Nuyl was in and around Paris from 1659-1661. Letters of Introduction from Gronovius, Heinsius, and Van Schooten led to his being accepted in the highest Protestant and Catholic intellectual circles, got him into the Royal Library (t), and into the circles of Pierre-Daniel Huet, Mfinage, DailI~, Guy Patin, Chapelain, and many others. A study of these Dutch voyagers throws much light on the milieu at certain university centers, such as Caen and Orleans, on the possible exchanges and interchanges of ideas, and on the careers of some of the major figures in the Dutch universities. Professor Dibon has performed a most valuable service in this superbly written and documented study in pointing to an area of research that can aid us greatly in understanding the actual intellectual currents and cross-currents of the seventeenth century. His concluding paragraph (pp. 34-35) sums up what we can learn from such data. Ainsi nous pouvons esp6rer voir naitre de la convergence de multiples d6tails recueillis dans les journaux, dans les albums amicorum, les registres universitaires et autres documents d'archives une ~tude d'ensemble du Voyage en France des ~tudiants n6erlandais au XVIIe sidle. Une telle ~tude, fond~e sur une connaissance, qui serait ~t ~largir et h preciser, des milieux universitaires et des cercles ~rudits de la France du XVIIe sidle, nourrie de la substance de rant de correspondances en grande partie in6dites, constituerait h coup stir le chapitre le plus attachant d'une histoire des relations culturelles franco-nberlandaises. Elle ne manquerait pas par surcrolt de faire apparaitre en pleine lumi~re ce fait trop souvent m6connu que les relations culturelles en ce temps restaient, en d~pit des conflits politiques ou des rivalit& ~conomiques, au sein m~me des pol~miques religieuses, des &hanges de personne ~t personne. I1 faut se bien convaincre que c'est dans une tr6s large mesure /~ partir de tels 6changes,--. (shrink)

The first and more important section of this article lists all the known treatises in Arabic on Fine Technology – water-clocks, automata, pumps, trick vessels, fountains, etc. The ideas, techniques and components in these treatises are of great importance in the history of machine technology. For each treatise information is given on the provenance of MSS, editions in Arabic and translations, paraphrases or commentaries in modern European languages. In addition to treatises by Arabic writers, similar information is also given on (...) Greek mechanical treatises if these have survived only in Arabic versions. The second section deals with utilitarian machines such as mills and water-raising machines. The various sources of information about these machines is discussed, including Arabic works on geography and travel, iconography and archaeology. La première section de cet article et la plus importante énumère tous les traités connus en arabe portant sur la technologie d'agrément – horloges à eau, automates, pompes, ‘vases merveilleux’, fontaines, etc. Les idées, les techniques et les mécanismes que l'on rencontre dans ces traités sont d'une grande importance pour l'histoire de la technologie. Pour chacun de ces traités, des renseignements sont donnés concernant la localisation des manuscrits, les éditions en arabe et les traductions, paraphrases et commentaires existant en langues européennes. On trouvera en outre des renseignements similaires sur les traités de mécanique grecs qui n'ont survécu que dans des versions arabes. La seconde section traite des machines utilitaires telles que les moulins et les machines à élever l'eau. Les diverses sources d'information concernant ce type de machines sont discutées, y compris les livres de géographie et de voyages, l'iconographie et l'archeologie. (shrink)

This book continues the exploration of themes either neglected or devalued by others working in the field of philosophy and culture. The authors in this volume consider the domain of travel from the broadest and most diverse of philosophical perspectives, covering everyday topics ranging from commuting and vacation travel to immigration and forced relocation. Our time in transit, our being in transit, and our time at rest, whether by choice or edict, has always been at issue, always been at play, (...) for our species. The essays collected here explore the possibilities of the material impact of being able to move or stay put, as well as being forced to go or prevented from leaving. (shrink)

Voyages and crises of philosophy refer to philosophical knowledge of truth, in contrast to skepticism and relativism. They encompass the rational foundation of philosophy and the application of a critical method to central contents. Realist phenomenology plays a key role in the seventh voyage by providing an objective foundation to a priori knowledge. It shows also that essential necessity possesses a supreme form of intelligibility. Cognition is reached via insight and deduction. Three kinds of essences explain the difference between (...) empirical and a priori sciences, while the "impoverishment of a priori" is transcended through necessary essences. Rethinking Edmund Husserl's method allows access to real existence, where objective values replace axiological nihilism. Rigorous philosophy is thus compatible with divinely revealed truth about the mysteries of God and man. (shrink)

This article examines preventive constraints on suspected terrorists that can lead to restrictions on liberty similar to imprisonment and disrespect the target’s autonomy. In particular, it focuses on two examples: travel bans and asset freezes. It seeks to develop guidelines for setting appropriate limits on their future use. Preventive constraints do not generate legal protections as constraints in response to conduct do. In addition, these constraints are often seen as a permissible alternative to imprisonment. Still, preventive de facto detentions, or (...) what I term “exprisonments”, imperil the free and autonomous life of the targeted person. With the recognition that such constraints can infringe on one’s ability to lead a free and autonomous life, this article argues that some of these constraints require similar protections as their counterparts that put persons under lock and key. (shrink)

English summary: Often considered as an orientation and navigation tool, maps are intended to reassure us as we navigate on the earth. But what would happen if we were travelling with maps which disorient us? There certainly is no shortage of maps, but they are not all equally reliable! Some merely reproduce reality, while others, to the contrary, invent it. In addition to external maps used by geographers-geodesists-land surveyors, there are internal maps used by cosmographers-painters-writers and, indeed, all those whose (...) lines fire the imagination, as did Michaux, who said, I want my lines to be the very phrasing of life. The maps which will concern us here are precisely those which resist the tyranny of analogy to plunge us into the mad depths of these uncertain outlines. Such memory-bereft maps leave tracks and yet refuse to follow any sort of path. In doing so, they drag us off into improbable and unknown geographies. This journey is taken by means of a dialogue woven between Michaux's poetic works and Merleau-Ponty's philosophical writings. It also provides an opportunity to clarify Maurice Blanchot's theory expressing the main theme of the following words: Thus were they walking, immobile within the movement. These unfamiliar maps afford us an occasion to advance immobile within the movement, as if to tell us that the fixation points drawn by spatial geometry consist first and foremost of the fictional points invented by geometry. French description: SOUVENT ENVISAGEE comme un instrument d'orientation et de navigation, la carte sert a nous rassurer dans notre lecture du territoire. Mais qu'adviendrait-il si l'on voyageait avec des cartes qui nous desorientaient? Les cartes sont nombreuses certes, mais elles n'ont pas toutes les memes vertus! Certaines se contentent de reproduire simplement la realite, d'autres au contraire l'inventent. Parallelement aux cartes d'exterieur des geographes-geometres-arpenteurs, il existe des cartes d'interieur des cosmographes-peintres-ecrivains, tous ceux en fait qui font rever les lignes a la maniere de Michaux qui affirmait: Je veux que mes traces soient le phrase meme de la vie. Les cartes qui retiendront notre attention ici sont justement celles qui luttent contre la tyrannie de l'analogie pour nous plonger dans les profondeurs folles de ces contours incertains. Ces cartes sans memoire effectuent des traces et se refusent a suivre toute espece de parcours. Elles nous entrainent ainsi vers des geographies improbables et inconnues. Ce voyage se fera a partir d'un dialogue tisse entre les oeuvres poetiques de Michaux et les ecrits philosophiques de Merleau-Ponty. Il sera aussi l'occasion d'eclairer la formule de Maurice Blanchot, fil conducteur des propos qui vont suivre: Ils marchaient ainsi, immobiles a l'interieur du mouvement. Les cartes inconnues nous offrent l'occasion de marcher immobile a l'interieur du mouvement comme pour nous dire que les points de fixation que la geometrie spatiale dessine sont d'abord des points de fiction que la geometrie invente. Alain Milon est professeur de philosophie a l'universite de Paris Ouest Nanterre La Defense. (shrink)

The Copernican Revolution had meant for modern Europe surer navigation, bolder voyages and wilder discoveries. With the declaration of independence of America in 1781 and the publication of The Critique of Pure Reason by Immanuel Kant in the same year, the age of Enlightenment defined itself as an age of coming of age and of daring to know. This essay tries to draw out the peculiar enlightenment ethos of a youth against youth through Kant’s depiction of the voyage of (...) human reason in the First Critique. It will do so by examining the four-fold sense of objects, the island of truth surrounded by illusion, amphibolic insularity, the mirror of schema and the “No Further!” of the Pillars of Hercules. Interrogating the dual sense of “limit” as both infinitizing, transgressively de-territorializing and yet at the same time self-delimiting, self-critiquingly re-territorializing, this essay argues for a hermeneutic vantage point to comprehend Kant as the unwilling mariner who by way of the transcendental as-if attempted to gain a certain spectatorship, a particular possibility of seeing - at a shore already and increasingly lost to the European and global humanity of centuries to come. (shrink)

In this paper I argue that the concept of pilgrimage provides a unifying trope for the otherwise seemingly unfocused travel accounts of Bashō’s Narrow Road to the Interior and Alexander von Humboldt and Aimé Bonpland’s Voyage aux régions equinoxiales du Nouveau Continent. I begin with a brief description of debates regarding the notion of pilgrimage. After that I show how pilgrimage as trope may be applied to the texts of these authors. This is followed by an application of the classical (...) stages of pilgrimage to particular phases of Bashō’s and Humboldt’s recounted experiences. I conclude that pilgrimage offers an illuminating new way to understand the travel accounts of these two writers. (shrink)

In no possible world does a time traveler succeed in killing herearlier self before she ever enters a time machine. So if many,many time travelers went back in time trying to kill theirunprotected former selves, the time travelers would fail inmany strange, coincidental ways, slipping on bananapeels, killing the wrong victim, and so on. Such cases producedoubts about time travel. How could ``coincidences'' beguaranteed to happen? And wouldn't the certainty of coincidentalfailure imply that time travelers are not free to killtheir (...) earlier selves? But if so, what would inhibit theirfreedom? Despite initial appearances, these and other doubtsmay be answered: the possibility of time travel survives yetanother challenge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hamann and the Philosophy of David Hume CHARLES W. SWAIN There have been many and various interpretations of Hume's philosophy; no one, so far as I know, has ever viewed him as a romantic. On the other hand, Johann Georg Hamann, "the wizard of the North," has gained his modicum of notoriety mainly through his influence on German romanticism, plus the fact that Kierkegaard mentions him approvingly, and even (...) quotes him in the Philosophical Fragments. Hume has been regarded as a sceptic, an empiricist, a naturalist and a positivist; Hamann is usually regarded as an irrationalist and proto-existentialist. 1 These two thinkers were certainly very different; yet Hamann had a profound appreciation for the philsophy of Hume. I want to suggest in this paper that a study of the use to which Hamann put Hume's philosophy may raise some difficulties for the prevailing view of Hamann's thought, and may also open up a somewhat different perspective on Hume's thought. Hamann found himself in rebellion against the spirit of his age. He saw in Hume an ally in his struggle against the over-confident rationalism of the Enlightenment. As an apologist, Hamann set himself the task of "smoking out the stylish spirit of the century by means of doubt." e He set about this task in a series of strange apologetic works, written in a deliberately mystifying, sometimes shocking style. His anti-rationalism made him a hero to the later romantics, and a mystery to his friends and readersmamong them his fellow citizen, Immanuel Kant. Beginning as a university student, Hamann had become a disciple of the Enlightenment, seeking his place in the brave new world of the early eighteenth century. He tried a career as a tutor, along with many a young man seeking an independent and comfortable life. Eventually he accepted a vaguely defined position with the mercantile firm of Berens in Riga, operated by the family of his college friend Johann Cristoph Berens. Hamann undertook a "secret mission" for the Berens firm which brought him to London in 1758 where, lonely and disheartened, he underwent a personal crisis which changed the direction of his life and resulted in his career as a man of letters and an apologist for Christianity against the Enlightenment. Having been a devotee for over a decade, Hamann felt that he knew the spirit of the Enlightenment. His opposition, however, baffling it may have appeared to his contemporaries, was not intended as obscurantism. He had his 1Hamann has been much more in vogue on the continent than in the English-speaking world. According to Martin Sells, Theologische Aspekte zur gegenw~irtigen Hamann-deutung (GSttingen: Vandenhoek und Ruprecht, 1957),p. 105,der Magus has been claimed as a spiritual ancestor by virtually every European intellectual movement of the last 150 yearst Philologische Einf~illeund Zwei]el, Iqadler iii, 41. [343] 344 HISTORY OF PHILOSOPHY "reasons," and a study of his use of Hume's philosophy will help to clarify this aspect of his thought. Hamann's acquaintance with the philosophy of Hume dates from his university days, where he was probably introduced to the world of English letters by his fondly remembered teacher, Heinrich Rappolt. Rappolt was a Wolffian, but not at all interested in the attempt to reconcile Wolffianism with pietistic Christianity --in contrast to his more renowned colleague, Martin Knutzen, Kant's teacher. Rappolt had traveled and studied in England, and apparently delighted in opening these new intellectual vistas to his students, s Hamann thus became familiar with Hume's political and economic writings, as well as his philosophical works. Already in 1756, during his Holmeister period, he had worked through an edition of Hume's works which contained various economic and political essays as well as the First Enquiry. 4 Hume's works were among the books which he bought (but perhaps never read) during his stay in London. In 1759, when he published his first apologetic work, Socratische Denku~rdigkeiten, he was (in his own words) "full of Hume." 5 He cites Hume throughout his literary career, and acknowledges his intellectual debt to Hume both publicly and privately. One of his last undertakings was a translation... (shrink)

An assessment and reevaluation of nihilism’s ascendency over metaphysics. Challenging the idea that nihilism has supplanted metaphysics, Vittorio Possenti finds in this philosophical turn the grounds for a mature renewal of metaphysics. Possenti takes the reader on a “third voyage” that goes beyond the “second voyage” indicated by Plato in the Phaedo. He traces the ascendancy of nihilism in philosophy, offering critical examinations of Nietzsche, Gentile, Heidegger, Habermas, Husserl, Gadamer, Ricoeur, and Vattimo. With penetrating accounts of philosophical movements such as (...) hermeneutics and logical empiricism, rich with both historical and theoretical insights, Possenti provides a compelling defense of the power of human reason to apprehend the most obvious but also the most profound aspect of things: that they exist. By exploring the ubiquity of nihilism and probing its philosophical roots, Possenti clears the way for a fresh reformulation of metaphysics. (shrink)

Time travel has been a staple of science fiction. With the advent of general relativity it has been entertained by serious physicists. But, especially in the philosophy literature, there have been arguments that time travel is inherently paradoxical. The most famous paradox is the grandfather paradox: you travel back in time and kill your grandfather, thereby preventing your own existence. To avoid inconsistency some circumstance will have to occur which makes you fail in this attempt to kill your grandfather. Doesn't (...) this require some implausible constraint on otherwise unrelated circumstances? We examine such worries in the context of modern physics. (shrink)

This article seeks to bring small talk about cinema – the type of conversation that can begin with the question “Have you seen any good movies lately?” – into the analytical ambit of cinema and media studies. In order to do so, I argue that such conversation is relevant to the philosophical project of Stanley Cavell. Throughout his attempts to wed film analysis and philosophical reflection, including his seminal studies of Hollywood genres, Cavell has remained committed to the idea that (...) philosophy is not a search for objective absolutes or momentous conclusions. This is a characteristic inconclusiveness that small talk shares. While small talk is often derided as unimportant on account of this very inconclusiveness, the work of Cavell provides a propitious framework for appreciating small talk's underacknowledged philosophical stakes and for reconsidering assumptions about the relative value of communicative practices. In order to better illustrate this relation between small talk and philosophy, this art... (shrink)

Les princesses participaient pleinement à la mobilité qui caractérisait le mode de vie et l'habitus de la haute noblesse à l'époque moderne. La plupart du temps délaissés par les études sur le voyage ou considérés comme de simples “ affaires de famille ” dépourvues de toute importance sociale ou politique, les voyages de princesses revêtaient, au contraire, un caractère hautement politique. Dans la haute noblesse, les femmes qui visitaient des cours différentes, jouaient un rôle clé pour les relations extérieures (...) d'une maison au même titre que les voyageurs hommes. La fonction politique du voyage allait souvent de pair avec de nombreux transferts culturels, destinés à augmenter le prestige et le rang d'une cour. Les voyages de princesses laissaient ainsi des marques durables sur la vie de cour et, au-delà, sur la société de leur pays d'origine. (shrink)

Suppose that you travel back in time to talk to your younger self in order to tell her that she should have done some things in her life differently. Of course, you will not be able to make this plan work, we know that from the many versions of `the grandfather paradox' that populate the philosophical literature about time travel. What will be my centre of interest in this paper is the conversation between you and... you - i.e. the older (...) you that travelled back in time and the younger you, when you first meet. As we shall see, given this situation, endurantists will have to endorse a strange consequence of their view: you will turn out to be a universal while your properties will turn out to be particulars. (shrink)

This book is an attempt to read the totality of Camus s oeuvre as a voyage, in which Camus approaches the fundamental questions of human existence: What is the meaning of life? Can ultimate values be grounded without metaphysical presuppositions? Can the pain of the other penetrate the thick shield of human narcissism and self-interest? Solipsism and solidarity are among the destinations Camus reaches in the course of this journey. This book is a new reading of one of the towering (...) humanists of the twentieth century, and sheds new light on his spiritual world.". (shrink)

Locke had a lifelong love of travel literature. He was also a proponent of the construction of natural histories. Many commentators have noted that there is a close link between these two interests. They suggest that data gleaned from travel literature was used in the construction of natural histories. This paper uses Locke’s reading of François Pyrard’s Voyage to argue that the relationship between the two genres was closer than has been realized. Specifically, it is argued that Pyrard’s discussion of (...) the coconut displays characteristic features of a natural history. It pays careful attention to first-hand experience. It emphasizes empirical observation and eschews theory and speculation. It focuses on the practical utility of the coconut. And it records a number of specific measurements. These features allowed Locke to read this portion of a piece of travel literature as a piece of natural history. This allows us to recognize that the genres of natural history and travel literature were not distinct for early modern thinkers. They overlapped in significant ways. (shrink)

Travel provides countless opportunities for wonder. The breadth of human experience enabled by traversing new territory includes curiosity, excitement, and surprise. However, achieving this breadth may well be better left unfulfilled. Gulliver’s interactions with the King of Brobdingnag in Book II of Gulliver’s Travels (1726) raise interesting questions regarding travel and its effects on the traveller. This essay argues that Gulliver’s Travels draws upon Locke’s insights into travel as an endeavour with the potential to be didactic, ultimately presenting (...) a case against the universal benefit of embarking on a voyage. Swift’s text offers little hope for the existence of the type of traveller who would be improved rather than corrupted by the experience, which suggests that wonders of travel ought to be avoided. This generates a counter-Enlightenment riposte to liberal assumptions concerning the possibility and likelihood of individual edification through pursuing the wonders of travel. (shrink)