What if gravity satisfied the Klein-Gordon equation? Both particle physics from the 1920s-30s and the 1890s Neumann-Seeliger modification of Newtonian gravity with exponential decay suggest considering a "graviton mass term" for gravity, which is _algebraic_ in the potential. Unlike Nordström's "massless" theory, massive scalar gravity is strictly special relativistic in the sense of being invariant under the Poincaré group but not the 15-parameter Bateman-Cunningham conformal group. It therefore exhibits the whole of Minkowski space-time structure, albeit only indirectly concerning volumes. (...) Massive scalar gravity is plausible in terms of relativistic field theory, while violating most interesting versions of Einstein's principles of general covariance, general relativity, equivalence, and Mach. Geometry is a poor guide to understanding massive scalar gravity: matter sees a conformally flat metric due to universal coupling, but gravity also sees the rest of the flat metric in the mass term. What is the 'true' geometry, one might wonder, in line with Poincaré's modal conventionality argument? Infinitely many theories exhibit this bimetric 'geometry,' all with the total stress-energy's trace as source; thus geometry does not explain the field equations. The irrelevance of the Ehlers-Pirani-Schild construction to a critique of conventionalism becomes evident when multi-geometry theories are contemplated. Much as Seeliger envisaged, the smooth massless limit indicates underdetermination of theories by data between massless and massive scalar gravities---indeed an unconceived alternative. At least one version easily could have been developed before General Relativity; it then would have motivated thinking of Einstein's equations along the lines of Einstein's newly re-appreciated "physical strategy" and particle physics and would have suggested a rivalry from massive spin 2 variants of General Relativity. The Putnam-Grünbaum debate on conventionality is revisited with an emphasis on the broad modal scope of conventionalist views. Massive scalar gravity thus contributes to a historically plausible rational reconstruction of much of 20th-21st century space-time philosophy in the light of particle physics. An appendix reconsiders the Malament-Weatherall-Manchak conformal restriction of conventionality and constructs the 'universal force' influencing the causal structure. Subsequent works will discuss how massive gravity could have provided a template for a more Kant-friendly space-time theory that would have blocked Moritz Schlick's supposed refutation of synthetic _a priori_ knowledge, and how Einstein's false analogy between the Neumann-Seeliger-Einstein modification of Newtonian gravity and the cosmological constant \Lambda generated lasting confusion that obscured massive gravity as a conceptual possibility. (shrink)

This chapter contains sections titled: Coordinate Systems: Euclidean Space Invariant Quantities Classical Space‐times Special Relativity Consequences of the Lorentz Transformation Lorentz Invariant Quantities.

In quantum relativistic Hamiltonian dynamics, the time evolution of interacting particles is described by the Hamiltonian with an interaction-dependent term (potential energy). Boost operators are responsible for (Lorentz) transformations of observables between different moving inertial frames of reference. Relativistic invariance requires that interaction-dependent terms (potential boosts) are present also in the boost operators and therefore Lorentz transformations depend on the interaction acting in the system. This fact is ignored in special relativity, which postulates the universality of Lorentz transformations and their (...) independence of interactions. Taking into account potential boosts in Lorentz transformations allows us to resolve the “no-interaction” paradox formulated by Currie, Jordan, and Sudarshan [Rev. Mod. Phys. 35, 350 (1963)] and to predict a number of potentially observable effects contradicting special relativity. In particular, we demonstrate that the longitudinal electric field (Coulomb potential) of a moving charge propagates instantaneously. We show that this effect as well as superluminal spreading of localized particle states is in full agreement with causality in all inertial frames of reference. Formulas relating time and position of events in interacting systems reduce to the usual Lorentz transformations only in the classical limit (ħ→0) and for weak interactions. Therefore, the concept of Minkowski space-time is just an approximation which should be avoided in rigorous theoretical constructions. (shrink)

An early, very preliminary edition of this book was circulated in 1962 under the title Set-theoretical Structures in Science. There are many reasons for maintaining that such structures play a role in the philosophy of science. Perhaps the best is that they provide the right setting for investigating problems of representation and invariance in any systematic part of science, past or present. Examples are easy to cite. Sophisticated analysis of the nature of representation in perception is to be found already (...) in Plato and Aristotle. One of the great intellectual triumphs of the nineteenth century was the mechanical explanation of such familiar concepts as temperature and pressure by their representation in terms of the motion of particles. A more disturbing change of viewpoint was the realization at the beginning of the twentieth century that the separate invariant properties of space and time must be replaced by the space-time invariants of Einstein's special relativity. Another example, the focus of the longest chapter in this book, is controversy extending over several centuries on the proper representation of probability. The six major positions on this question are critically examined. Topics covered in other chapters include an unusually detailed treatment of theoretical and experimental work on visual space, the two senses of invariance represented by weak and strong reversibility of causal processes, and the representation of hidden variables in quantum mechanics. The final chapter concentrates on different kinds of representations of language, concluding with some empirical results on brain-wave representations of words and sentences. (shrink)

In this paper I will present conceptions of state reduction and particle and/or system localization which render these subjects fully compatible with the general requirements of a relativistic, i.e. Lorentz invariant, quantum theory. The approach consists of a systematic generalization of the concepts of initial data assignment at definite times, initiation and completion of measurements at definite times, and dynamical evolution as time dependence, to the concepts of initial data assignment on arbitrary space-like hyperplanes, initiation and completion of measurements (...) on arbitrary space-like hyperplanes, and dynamical evolution as space-like hyperplane dependence, respectively. I also briefly discuss the superluminal propagation which emerges from the localization study and the manner in which causal anomalies are nevertheless avoided. (shrink)

Attemts to explain causal paradoxes of Quantum Mechanics (QM) have tried to solve the problems within the framework of Quantum Electrodynamics (QED). We will show, that this is impossible. The original theory of QED by Dirac (Proc Roy Soc A117:610, 1928) formulated in its preamble four preliminary requirements that the new theory should meet. The first of these requirements was that the theory must be causal. Causality is not to be derived as a consequence of the theory since it was (...) a precondition for the formulation of the theory; it has been constructed so that it be causal. Therefore, causal paradoxes logically cannot be explained within the framework of QED. To transcend this problem we should consider the following points: Dirac himself stated in his original paper (1928) that his theory was only an approximation. When he returned to improve the theory later (Proc Roy Soc A209, 1951), he noted that the new theory “involves only the ratio e / m , not e and m separately”. This is a sign that although the electromagnetic effects (whose source is e ) are magnitudes stronger than the gravitational effects (whose source is m ), the two are coupled. Already in 1919, Einstein noted that “the elementary formations which go to make up the atom” are influenced by gravitational forces. Although in that form the statement proved not to be exactly correct, the effects of gravitation on QM phenomena have been established. The conclusion is that we should seek a resolution for the causal paradoxes in the framework of the General Theory of Relativity (GTR)—in contrast to QED, which involves only the Special Theory of Relativity (STR). We show that causality is necessarily violated in GTR. This follows from the curvature of the space-time. Although those effects are very small, one cannot ignore their influence in the case of the so-called “paradox phenomena”. (shrink)

The concept of “propagation in time” of Vigier and co-workers (V et al.) implies the idea of a supertime; it is thus alien to most Minkowskian pictures and certainly to mine. From this stems much of Vet al.'s misunderstandings of my position. In steady motion of a classical fluid nobody thinks that “momentum conservation is violated,” or that “momentum is shot upstream without cause” because of the suction from the sinks! Similarly with momentum-energy in space-time and the acceptance of (...) an advanced causality. As for the CT invariance of the Feynman propagator, the causality asymmetry it entails is factlike, not lawlike. The geometrical counterpart of the symmetry between prediction and retrodiction and between retarded and advanced waves, as expressed in the alternative expressions 〈B|UA〉=〈BU|A〉=〈B|U|A〉 for a transition amplitude between a preparation |A〉 and a measurement |B〉, is CPT-invariant, not PT-invariant. These three expressions respectively illustrate the collapse, the retrocollapse, and the symmetric collapse-and-retrocollapse concepts. As for Sutherland's argument, what it “falsifies” is not my retrocausation concept but the hidden-variables assumption he has unwittingly made. (shrink)

This study presents the fundamental concepts and technical details of a U-model-based control system design framework, including U-model realisation from classic model sets, control system design procedures, and simulated showcase examples. Consequently, the framework provides readers with clear understandings and practical skills for further research expansion and applications. In contrast to the classic model-based design and model-free design methodologies, this model-independent design takes two parallel formations: it designs an invariant virtual controller with a specified closed-loop transfer function in a feedback (...) control loop and it determines the real controller output by resolving the inverse of the plant U-model. It should be noted that this U-control provides a universal control system design platform for many existing linear/nonlinear and polynomial/state-space models and it complements many existing design approaches. Simulation studies are used as examples to demonstrate the analytically developed formulations and guideline for potential applications. (shrink)

Parallel lives is an ontological model of nature in which quantum mechanics and special relativity are unified in a single universe with a single space-time. Point-like objects called lives are the only fundamental objects in this space-time, and they propagate at or below c, and interact with one another only locally at point-like events in space-time, very much like classical point particles. Lives are not alive in any sense, nor do they possess consciousness or any agency to (...) make decisions—they are simply point objects which encode memory at events in space-time. The only causes and effects in the universe occur when lives meet locally, and thus the causal structure of interaction events in space-time is Lorentz invariant. Each life traces a continuous world-line through space-time, and experiences its own relative world, fully defined by the outcomes of past events along its world-line, which are encoded in its external memory. A quantum field comprises a continuum of lives throughout space-time, and familiar physical systems like particles each comprise a sub-continuum of the lives of the field. Each life carries a hidden internal memory containing a local relative wavefunction, which is a local piece of a pure universal wavefunction, but it is the relative wavefunctions in the local memories throughout space-time which are physically real in PL, and not the universal wavefunction in configuration space. Furthermore, while the universal wavefunction tracks the average behavior of the lives of a system, it fails to track their individual dynamics and trajectories. There is always a preferred separable basis, and for an irreducible physical system, each orthogonal term in this basis is a different relative world—each containing some fraction of the lives of the system. The relative wavefunctions in the lives’ internal memories govern which lives of different systems can meet during future local interactions, and thereby enforce entanglement correlations—including Bell inequality violations. These, and many other details, are explored here, but several aspects of this framework are not yet fleshed out, and work is ongoing. (shrink)

Determinism, causality, chance, free will and divine providence form a class of interlaced problems lying in three domains: philosophy, theology, and physics. Recent article by Dariusz Łukasiewicz in Roczniki Filozoficzne (no. 3, 2020) is a great example. Classical physics, that of Newton and Laplace, may lead to deism: God created the world, but then it goes like a mechanical clock. Quantum mechanics brought some “hope” for a rather naïve theology: God acts in gaps between quanta of indetermination. Obviously, any strict (...) determinism jeopardizes the existence of free will. Yes, but only if human mind follows the laws of physics and only if nothing exists outside the physical limits of space and time. We argue that human action lies in-between two worlds: “earth” and “heavens” using the language of Genesis. In that immaterial world, outside time and space constraints, there is no place for the chain of deterministic events. We discuss, in turn, that the principle of causality, a superior law even in physics, reigns also in the non-material world. Though, determinism in the material universe and causality in both worlds seem to be sufficient conditions, to eliminate “chaotic”, or probabilistic causes from human (and divine) action. (shrink)

Space, Time and Causality An Essay in Natural Philosophy.

This chapter discusses the causal requirements on perceptual success in putative cases of the perception of absence – in particular, in cases of hearing silence and seeing darkness. It is argued that the key to providing the right account of the respect in which we can perceive silence and darkness lies in providing the right account of the respect in which we can have conscious perceptual contact with intervals of time and regions of space within which objects can potentially (...) be perceived. In this account, a significant explanatory role is assigned to comparatively invariant structural features of our conscious experience of regions of space and intervals of time. The chapter discusses how the explanatory role assigned to these structural features affects our view of the causal requirements on perceptual success. (shrink)

This book examines issues related to the concepts of space, time and causality in the context of modern physics and ancient Indian traditions. It looks at the similarity and convergence of these concepts of modern physics with those discussed in ancient Indian wisdom. The volume brings the methodologies of empiricism and introspection together to highlight the synergy between these two strands. It discusses wide-ranging themes including the quantum vacuum as ultimate reality, quantum entanglement and metaphysics of relations, identity and (...) individuality, and dark energy and anti-matter as discussed in physics and in Indian philosophical schools like Vedanta, Yoga, Buddhist, Kashmiri Shaivism and Jaina Philosophy. First of its kind, this book will be an essential read for scholars and researches of philosophy, Indian philosophy, philosophy of science, theoretical physics and social science. (shrink)

This paper is concerned with the causally symmetric version of the familiar de Broglie–Bohm interpretation, this version allowing the spacelike nonlocality and the configuration space ontology of the original model to be avoided via the addition of retrocausality. Two different features of this alternative formulation are considered here. With regard to probabilities, it is shown that the model provides a derivation of the Born rule identical to that in Bohm’s original formulation. This derivation holds just as well for a (...) many-particle, entangled state as for a single particle. With regard to “certainties”, the description of a particle’s spin is examined within the model and it is seen that a statistical description is no longer necessary once final boundary conditions are specified in addition to the usual initial state, with the particle then possessing a definite value for every spin component at intermediate times. These values are consistent with being the components of a single, underlying spin vector. The case of a two-particle entangled spin state is also examined and it is found that, due to the retrocausal aspect, each particle possesses its own definite spin during the entanglement, independent of the other particle. In formulating this picture, it is demonstrated how such a realistic model can preserve Lorentz invariance in the face of Bell’s theorem and avoid the need for a preferred reference frame. (shrink)

THE VOLUME CONTAINS PAPERS BY J L MACKIE, JON DORLING, ELIE ZAHAR, LAWRENCE SKLAR, RICHARD Swinburne, Richard A HEALEY, W H NEWTON-SMITH, NANCY CARTWRIGHT, JEREMY BUTTERFIELD, MICHAEL REDHEAD AND PETER GIBBONS. THEY CONCERN THE IMPLICATIONS FOR OUR UNDERSTANDING OF SPACE, TIME AND CAUSATION OF THE DEVELOPMENTS OF MODERN PHYSICS AND ESPECIALLY OF RELATIVITY THEORY AND QUANTUM THEORY.

In this paper we study the emergence of Minkowski space–time from a discrete causal network representing a classical information flow. Differently from previous approaches, we require the network to be topologically homogeneous, so that the metric is derived from pure event-counting. Emergence from events has an operational motivation in requiring that every physical quantity—including space–time—be defined through precise measurement procedures. Topological homogeneity is a requirement for having space–time metric emergent from the pure topology of causal connections, whereas (...) physically homogeneity corresponds to the universality of the physical law. We analyze in detail the case of 1+1 dimensions. If we consider the causal connections as an exchange of classical information, we can establish coordinate systems via an Einsteinian protocol, and this leads to a digital version of the Lorentz transformations. In a computational analogy, the foliation construction can be regarded as the synchronization with a global clock of the calls to independent subroutines in a parallel distributed computation. Thus the Lorentz time-dilation emerges as an increased density of leaves within a single tic-tac of a clock, whereas space-contraction results from the corresponding decrease of density of events per leaf. The operational procedure of building up the coordinate system introduces an in-principle indistinguishability between neighboring events, resulting in a network that is coarse-grained, the thickness of the event being a function of the observer's clock. The illustrated simple classical construction can be extended to space dimension greater than one, with the price of anisotropy of the maximal speed, due to the Weyl-tiling problem. This issue is cured if the causal network is quantum, as e.g. in a quantum cellular automaton, and isotropy is recovered by quantum coherence via superposition of causal paths. We thus argue that in a causal network description of space–time, the quantum nature of the network is crucial. (shrink)

Scale invariance is considered in the context of gravitational theories where the action, in the first order formalism, is of the form S=∫ L 1 Φ d 4 x+∫ L 2 $\sqrt{-g}$ d 4 x where the volume element Φ d 4 x is independent of the metric. For global scale invariance, a “dilaton” φ has to be introduced, with non-trivial potentials V(φ)=f 1 eαφ in L 1 and U(φ)=f 2 e 2αφ in L 2 . This leads to non-trivial (...) mass generation and a potential for φ which is interesting for inflation. Interpolating models for natural transition from inflation to a slowly accelerated universe at late times appear naturally. This is also achieved for “Quintessential models,” which are scale invariant but formulated with the use of volume element Φ d 4 x alone. For closed strings and branes (including the supersymmetric cases), the modified measure formulation is possible and does not require the introduction of a particular scale (the string or brane tension) from the begining but rather these appear as integration constants. (shrink)

The representational dynamics of the brain is a subsymbolic process, and it has to be conceived as an "agent-free" type of dynamical self-organization. However, in generating a coherent internal world-model, the brain decomposes target space in a certain way. In doing so, it defines an "ontology": to have an ontology is to interpret a world. In this paper we argue that the brain, viewed as a representational system aimed at interpreting the world, possesses an ontology too. It decomposes target (...) space in a way that exhibits certain invariances, which in turn are functionally significant. A challenge for empirical research is to determine which are the functional regularities guiding this decomposition process. What are the explicit and implicit assumptions about the structure of reality, which at the same time shape the causal profile of the brain's motor output and the representational deep structure of the conscious mind arising from it (its "phenomenal output")? How do they constrain high-level phenomena like conscious experience, the emergence of a first-person perspective, or social cognition? By reviewing a series of neuroscientific results, we focus on the contribution the motor system makes to this process. As it turns out, the motor system constructs goals, actions, and intending selves as basic constituents of the world it interprets. It does so by assigning a single, unified causal role to them. Empirical evidence now clearly shows how the brain actually codes movements and action goals in terms of multimodal representations of organism-object relations. Under a representationalist analysis, this process can be interpreted as an internal representation of the intentionality relation itself. We try to show how such a more complex form of representational content, once it is in place, can later function as the building block for social cognition and a for more complex, consciously experienced representation of the first-person perspective as well. The motor system may therefore play a decisive role in understanding how the functional ontology of the human brain could be gradually extended into the subjective and social domains. (shrink)

This paper proposes a cognitive linguistic explanation of the unusual narrative construal of time as moving backwards. It shows that backwards time in narrative involves setting up an alternative space in which a second narrative is constructed simultaneously, resulting in a viewpoint hierarchy which postulates four viewpoints on each discourse statement. The paper draws together research on conceptual metaphor, mental spaces theory and viewpoint multiplicity, bringing it to bear on discourse fragments. The majority of these are taken from Martin (...) Amis’s Time’s Arrow (Amis, Martin. 2003 [1991]. Time’s Arrow. London: Vintage.) (a logically consistent and linguistically revealing text), but the discussion is contextualised with further examples. It is argued that the causal construal implied by narrative is not limited by our phenomenological experience, as other studies (e.g., Evans, Vyvyan. 2013. Language and time: A cognitive linguistics approach. Cambridge: Cambridge University Press.) might suggest, but is instead prompted by conceptual re-interpretation of deictic markers in the discourse. The analysis focuses on causal construal, negation (especially causal catachresis), and alternativity. It shows how linguistic features at the sentential level generate top-down reorganization of both episodic structure and discourse meaning, and how this relies on multiplicity of viewpoint and a conceptual “zooming out” prompting the perception of irony. (shrink)

To have an ontology is to interpret a world. In this paper we argue that the brain, viewed as a representational system aimed at interpreting our world, possesses an ontology too. It creates primitives and makes existence assumptions. It decomposes target space in a way that exhibits a certain invariance, which in turn is functionally significant. We will investigate which are the functional regularities guiding this decomposition process, by answering to the following questions: What are the explicit and implicit (...) assumptions about the structure of reality, which at the same time shape the causal profile of the brain's motor output and its representational deep structure, in particular of the conscious mind arising from it (its ''phenomenal output'')? How do they constrain high-level phenomena like conscious experience, the emergence of a first-person perspective, or social cognition? By reviewing a series of neuroscientific results and integrating them with a wider philosophical perspective, we will emphasize the contribution the motor system makes to this process. As it will be shown, the motor system constructs goals, actions, and intending selves as basic constituents of the world it interprets. It does so by assigning a single, unified causal role to them. Empirical evidence demonstrates that the brain models movements and action goals in terms of multimodal representations of organism-object-relations. Under a representationalist analysis, this process can be conceived of as an internal, dynamic representation of the intentionality-relation itself. We will show how such a complex form of representational content, once it is in place, can later function as a functional building block for social cognition and for a more complex, consciously experienced representation of the first-person perspective as well. (shrink)

A classic analytic approach to biological phenomena seeks to refine definitions until classes are sufficiently homogenous to support prediction and explanation, but this approach founders on cases where a single process produces objects with similar forms but heterogeneous behaviors. I introduce object spaces as a tool to tackle this challenging diversity of biological objects in terms of causal processes with well-defined formal properties. Object spaces have three primary components: (1) a combinatorial biological process such as protein synthesis that generates objects (...) with parts that are modular, independent, and organized according to an invariant syntax; (2) a notion of “distance” that relates the objects according to rules of change over time as found in nature or useful for algorithms; (3) mapping functions defined on the space that map its objects to other spaces or apply an evaluative criterion to measure an important quality, such as parsimony or biochemical function. Once defined, an object space can be used to represent and simulate the dynamics of phenomena on multiple scales; it can also be used as a tool for predicting higher-order properties of the objects, including stitching together series of causal processes. Object spaces are the basis for a strategy of theorizing, discovery, and analysis in biology: as heuristic idealizations of biology, they help us transform inchoate, intractable problems into articulated, well-structured ones. Developing an object space is a research strategy with a long, successful history under many other names, and it offers a unifying but not overreaching approach to biological theory. (shrink)

As Lucas explains in the preface, his book is based on the lectures he gave to first-year students reading Physics and Philosophy or Mathematics and Philosophy at Oxford. It emerges as a self-contained, well-argued, and lucid introduction to the philosophy of science. Lucas leads the reader on a path that avoids the dangers of both extreme rationalism and radical empiricism. For him the principles of natural philosophy are more complex and less coherent than either the deductive rationalism of Plato or (...) the radical empiricism of modern times suggests. (shrink)

Quite often the compatibility of the EPR correlations with the relativity theory has been questioned; it has been stated that “the first in time of two correlated measurements instantaneously collapses the other subsystem”; it has been suggested that a causal asymmetry is built into the Feynman propagator. However, the EPR transition amplitude, as derived from the S matrix, is Lorentz andCPT invariant; the correlation formula is symmetric in the two measurements irrespective of their time ordering, so that the link of (...) the correlations is the Feynman zigzag, and that causality isCPT invariant at the microlevel; finally, although the Feynman propagator has theP andCT symmetries, no causal asymmetry follows from that. As for Stapp's views concerning “process” and “becoming,” and his Whiteheadean concept of an advancing front, I object that they belong to “factlike macrophysics,” and are refuted at the microlevel by the EPR phenomenology, which displays direct Fokker-like space-time connections. The reason for this is a radical one. The very blending of a space-time picture and of a probability calculus is a paradox. The only adequate paradigm is one denying objectivity to space-time—but this, of course, is also required by the complementary of the x and the k pictures, which only “look” compatible at the macrolevel. Therefore, the classical “objectivity” must yield in favor of “intersubjectivity.” Only the macroscopic preparing and measuring devices have “factlike” objectivity; the “transition” of the “quantal system” takes place beyond both thex and thek 4-spaces. Then, the intrinsic symmetries between retarded and advanced waves, and statistical prediction and retrodiction, entails that the future has no less (but no more) existence than the past. It is the future that is significant in “creative process,” the “elementary” forms of which should be termed “precognition” or “psychokinesis”—respectively symmetric to the factlike taboos that “we can neither know into the future nor act into the past.” It is gratifying that Robert Jahn, at the Engineering School of Princeton University, is conducting (after others) conclusive experiments demonstrating “low level psychokinesis”—a phenomenon implied by the very symmetry of the negentropy-information transition. So, what pierces the veil of “maya” is the (rare) occurrence of “paranormal phenomena.” The essential severance between “act” and “potentia” is not a spacelike advancing front, but the “out of” and the “into” factlike space-time. Finally, I do not feel that an adequate understanding of the EPR phenomenology requires going beyond the present status of relativistic quantum mechanics. Rather, I believe that the potentialities of this formalism have not yet been fully exploited. (shrink)

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