Future, Present, & Past:



Speculative
~~ Giving itself latitude and leisure to take any premise or inquiry to its furthest associative conclusion.
Critical~~ Ready to apply, to itself and its object, the canons of reason, evidence, style, and ethics, up to their limits.
Traditional~~ At home and at large in the ecosystem of practice and memory that radically nourishes the whole person.

Oυδεὶς άμουσος εἰσίτω

Monday, August 24, 2015

"‘Perceptual universes’ abounding all around of us" : Interview with Leon Niemoczynski, part 1


This is the second of my interview series. I am pleased to publish this interview with Leon Niemoczynski, who teaches philosophy at Moravian College and blogs at After Nature. I’ve corresponded with Niemoczynski now for several years, and it emerged that we shared an enthusiasm for several figures in American thought (some of whom will get mentioned below) whose work, we both agreed, deserves to be far better known. Eventually, he proposed that we collaborate on a short project outlining the philosophy of Justus Buchler, a figure we each regarded as both very underrated and extremely relevant to contemporary discussions on ontology. (You can read that here and here.)

Niemoczynski’s first book, Charles Sanders Peirce and a Religious Metaphysics of Nature, drew on Peirce, Heidegger, and Schelling to re-conceive environmental philosophy's relationship to the philosophy of religion in forming a new, panentheistic religious outlook that appreciates the creativity, novelty, and possibility present within the natural world. Whitehead and Hartshorne also figure large in this book, and as these names indicate, Niemoczynski is at home with both the American and contemporary Continental philosophical traditions.

Niemoczynski has authored numerous articles and recently co-edited two books, Animal Experience: Consciousness and Emotions in the Natural World (Open Humanities Press, 2014) and A Philosophy of Sacred Nature: Prospects for Ecstatic Naturalism (Lexington Books, 2014). He’s also given other interviews, so when you finish reading here you can go listen, notably at Homebrewed Christianity, and (with Animal Experience co-editor Stephanie Theodorou) on "The Philosopher's Zone." The latter interview was later nominated for a Voiceless Media Prize, which recognizes the most accurate and influential reports on animal protection and ethics that expose animal suffering and inform the public.

A note on process: This interview was conducted solely in writing; I sent a set of questions to Niemoczynski, told him “take your time,” and waited. When I got his responses back, I did a very little editing and sent the document to him for his green light. (So there is less informal back-&-forth in this interview than in my conversations with Amod Lele.)

This is Part One of the interview; Part Two can be read here.

* * *

Skholiast: It seems that your work moves between two poles: a concern for nature, and a commitment to philosophical rigor, engaging with several traditions of philosophy. Were you always drawn to philosophy, or was there a period or incident which crystallized this direction for you?

Leon Niemoczynski: Let me first thank you for the opportunity to do this interview. Knowing you has been an absolute pleasure and I very much appreciate the opportunity to answer these questions and inform others about my career and philosophical trajectory. So, thank you very, very much.

I think I was always drawn to philosophy. As I was growing up, my father would always engage my sister and myself at the dinner table with life's "ultimate questions." Why are we here? What is reality, or existence? What happens after death? Is there such a thing as the soul, is there a God? Is there intelligent life somewhere else in the universe? Does space "go on forever?" My father was always interested in the most contemporary issues involving the natural sciences, particularly cosmology and astronomy, but interestingly he was also someone who would, say, at one moment read National Geographic or Scientific American, and then Soldier of Fortune! (We grew up during the Cold War, mind you.) Besides hunting and living a rugged "backwoodsman" existence (we lived in the wooded mountains of Northeastern Pennsylvania near where I now currently live) my father was always naturally curious, and a bit eccentric. His humor is, well, weird. Better, it is "out of left field." And my sister is worse, but I got it too although I am not as bad as she. But that is a good thing, I think -- that we appreciate life's absurdities and are curious to discover something new. It is important to not be afraid to be yourself.

We all, my mother included, had an intimate connection to the land – to the forests and fields within which we lived, worked, and played. This comes back to the notion, or concept rather let's say, of "nature" in your question. The natural world, or let's say nature as in the way most people understand it (for right now), is simply the world around you, yet for me it was always a place of discovery and intense experience. Whether at a young age marveling alongside my sister at the swath of a clear cut forest for a power line in the forest, or remembering walking deep, deep into the state forest simply to make a decision regarding where I ultimately should go to college…the woods, the mountains, the trees, the animals, the plants, all have always been there as that serene, if not sacred backdrop. The natural world – especially the "secret" places within the forest where I would go to be alone and just think and marvel, those places were nearly magical. Today still, I see sights within the woods, or within deep forests that stun me and spur lines of insight. But it was not until much later that I put all of that together with a coherent philosophical view about nature; a "philosophy of nature" if you will, which today is my main area of research.

When I was about 19 years old I worked third shift, so overnight 8pm-4am, at a golf course as a "night watchman." It was cheaper to have me awake watching the place than it was to buy insurance. So there I was. I hadn't gone to college quite yet, as it was that odd year in between graduating high school and then deciding what to do with one's life. I remember just being there on that moon lit golf course being in absolute awe of the beauty around me – usually amazed by the forested mountains off in the distance and how beautifully they created a black silhouetted horizon against that somber deep, dark bluish black sky, or even just being stunned by the beautiful stillness of those quiet summer nights where one wouldn't even hear crickets chirping, the moon illuminating everything with its white light. You could, almost in Zen-like fashion, "hear" stillness. Just…quiet. Absolutely still and quiet.

I was curious about Nietzsche, and I remember I would read Nietzsche there on that golf course. It was a book by Stephen Metcalf called Hammer of the Gods. Of course I was blown away. I also purchased a book, Prophets of Extremity covering Nietzsche, but also Heidegger, Foucault, and Derrida. I did not understand a word of it, but it was my goal to try to. I literally read those books for about a year. I then began (trying to) read Heidegger. At 19! Without ever having taken a philosophy course! I read George Steiner's book on Heidegger, and I remember that the book would only make sense if each time he wrote "being" I supplanted "existence." Oh, Heidegger would turn over in his grave. But I just didn't know any better.

The philosophy bug bit me there on that golf course, obviously. I knew I had to have formal training to make sense of what I was trying to do on my own. I knew I wanted to understand the world around me. Nature became "being," or existence. My question was: What is existence? What is this, exactly? I mean, all of it. What is this? I am not sure why I am here, but what even is "here?" In Heidegger's parlance, I wanted to know, "What does it mean...to be?" Age 19, at a golf course! That is a true story.

In my first philosophy class I knew that I already was a philosopher, I just had to learn the skills to "do" (express, write, read, understand, put forward) philosophical ideas well. My father had an innate ability to do this in plain language. It was all of the same ideas, just expressed just a bit differently. But then again I always did have Nietzsche and Heidegger to complicate things!

This now turns to the first part of your question: a pole concerning nature, the subject of our inquiry; and rigor, the systematization of our engagement with or about nature through philosophical inquiry, or, the manner in which we proceed to investigate nature.

I think growing up in the wilderness gave me appreciation for the natural sciences as the interface through which one can engage the world around them. However philosophy, or better, metaphysics (and for me, philosophical naturalism) is broader in scope because it is not limited to what may be called "hard-nosed" approaches to "science" which might only study the immediate physical world, say of rocks, trees, insects, and so on. Science in its scope, thinking of Aristotle, is almost as broad as metaphysics. After all, "meta" for Aristotle meant "about, beyond." So physis was "nature," and "meta" "physis" was "about, beyond, or 'after nature'". To try to think "outside" of or "beyond" or "after" nature is still within nature, and so metaphysically nature is as far as you can go. But my view is that any sort of reductive scientism, or "bald naturalism" (thinking of McDowell), or materialisms which cannot account for the dynamics of nature will not get to the bottom of the things, they will not comprehend reality in its widest reach. What would be needed is a vital sort of materialism, a new understanding of naturalism.

The "rigor" – that other pole you mention - is established, frankly, I think, by reason. And not necessarily human reason per se, as I think reason, inference, is something truly universal for even intelligent life elsewhere in the cosmos would need to make the same sort of connections, inferences, and judgments – at least in terms of sheer causal function if those intelligences experience time in the same way that we do. Still, intelligence is something that might be universal. Awareness that what is happening is, indeed, after all, happening. That is key. And that is the basis of reason, or the function of inference which is, not just human, but actually quite inhuman, for it pervades the world. Thus, as Kant said, "One reason, one philosophy." The expressions of that one reason, of course, are infinitely diverse and amenable to the evolutionary courses of life that establishes them. Peirce saw this with his natural semiotics. Information, but also intelligence, whether biological or otherwise, pervades all of nature. Whether or not there are creatures there to express it in some way, or how living organisms express intelligence and convey information, is a different story.

It amazes me that the power of reason has a reach that extends into infinity, into the furthest reaches of space and reality as we know it. We can reason about (and mathematically describe, and logically infer) other universes that are so far away they have no empirical causal connection to us! Yet we can think about them. So I cannot underestimate the absolute power of thought. And that thought needs to be organized, clear, and comprehensible. Still further, if reason is to make claims about reality, to describe what reality is, then it ought to be grounded with the sort of rigor that can withstand critique, or better, that can withstand what future experience will make of it, much like a scientific hypothesis. So rigor, for me at least, is most available actually from the rational sciences: mathematics, logic. Because human thinking and the use of reason by human beings is part and parcel of nature – we are a part of nature – then that very process of thought, if truly isomorphic to the generative conditions of the natural world which created it should in some way be able to describe reality as if the mere one person using that process were not there. The process itself stands alone without reference to the human being observing and using it. So the rational sciences, but also logic, mathematics, is incredibly important to me in my research as I try to begin to describe nature. Which is strange because what Continental philosopher is interested in the philosophy of mathematics?

But really, Deleuze was a mathematician. So is Badiou. And Meillassoux relies heavily upon the mathematical via set theory to make his arguments. On the other side of the ocean Charles Peirce was a mathematican. As was Whitehead. So, then, again, maybe I am on to something.
Let me end this response with my favorite quote from Charles Hartshorne, as it is appropriate: "Logic is the backbone of philosophy. And nothing is quite clear logically unless it can be put mathematically. Ideally at least, a philosopher should be a mathematician and logician as well as metaphysician. Perhaps this could be said of Plato, certainly of Leibniz, Peirce, and Whitehead."

Rigor is not just for the dead, it is for the credible.


S: Your first book was on C.S. Peirce, and grew out of your doctoral dissertation. Peirce is, for many readers (including myself) a very challenging thinker – difficult to follow, and difficult to see how various aspects of his thought fit together. What was it about Peirce that you found so compelling?

L.N.: There's actually a story behind how I became interested in Peirce. Actually, there is a story here about how I even became interested in American philosophy, process philosophy, etc. generally.

While in graduate school I was very much interested in and specializing in Continental philosophy. Heidegger and Deleuze were the two figures that I was concentrating on due to the extension of Nietzsche's ideas that had impacted me so greatly. Although like most other Continentalists I had also studied and appropriated a rather long and standard list of figures anyone studying Continental philosophy would know (Hegel, Kierkegaard, Nietzsche, Husserl, Heidegger, Sartre, Merleau-Ponty, Ricouer, Foucault, Derrida, etc. etc. etc.) – and by this time I also had a strong background in the history of philosophy including German idealism, 19th-century philosophy, but also Ancient and Medieval philosophy.

I had been accepted into several Ph.D. programs, but as a Master's student I had taken a graduate seminar on William James and being influenced by that had also applied to the Southern Illinois University of Carbondale (or "SIUC") knowing that they would have much more in the realm of American philosophy in connection to Continental philosophy, given the faculty there. William James' philosophy had truly excited me as never before, his "radical empiricism" and pluralism, and I believed he was compatible with the philosophical ideas that I had been developing so far. I remember a classmate wrote and delivered a presentation on James and Heidegger. A sort of comparison of the two and their similarities as he "introduced" Heidegger through James. I sensed that pragmatism, too, was compatible with my triad (at that time) of Nietzsche, Heidegger, and Deleuze – Deleuze who I discovered on my own during my last year of Master's degree through his little book on Nietzsche simply titled, Nietzsche and Philosophy.

I remember there in the Master's program we became aware of the St. Louis Hegelians, Bostonian Personalism, and other obscure American movements. Our favorite was hearing about the personalists Peter Bertocci and Borden Parker Bowne, as our mentor there had taken his Ph.D. from Boston University. I remember reading Bertocci's book on religion and existentialism, and trying to read Santayana, but I couldn't quite grasp him, nor did I really agree with him. Bertocci seemed the better option just for curious interest. Little did I know that that whole experience in the seminar in William James and all of the surrounding (at the time) obscure philosophers of the time would come to the fore later on at SIUC as a major interest for the Americanists-German idealists, including folks like Randy Auxier and Doug Anderson.

As it turns out I was offered the best deal/scholarship from SIUC and decided to go there, excited that they were the premier school in American rivaling only Penn State. So I knew that I'd be learning a lot more American philosophy in addition to adding to my Continental interests.
While there, I believe it was my second year, I was in a graduate seminar on Heidegger – and I'll never forget that the person with whom I was supposed to work had debated a translation I had made of Heidegger's during a class presentation that I was doing. Because of that experience I felt that when it would come to beginning my dissertation working with another scholar there might be a better fit. It just so happened that at the same time as the Heidegger seminar I was taking a seminar in the American Transcendentalists (so Emerson, Thoreau, etc. etc.) and because of that seminar I was beginning to work on some things with Hegel and Schelling, given German Idealism's very close connection to American Transcendentalist and Idealist philosophy in the 19th century.

So, given that I enjoyed the personality of the person teaching that class – Doug Anderson - I approached him about advising my dissertation. That was a major, indeed very major transition point for me.

Anderson was a Peirce specialist and former Penn State person who studied under Carl Hausmann (himself someone who worked with the connection between American philosophy and German Idealism). Anderson wasn't much into Heidegger, but because of his Peirce specialization and studying under Hausmann, he knew quite well German idealism, Hegel, Schelling, and so on. I remember reading Heidegger's book on Schelling, Schelling's Treatise on the Essence of Human Freedom, a very important book actually if you read Heidegger. And so Anderson and I could converse through our common interest of Schelling, who was important for Peirce but also important for Heidegger. Thus I began my journey deeper into the world of American philosophy.

Under Doug I began taking all courses in American philosophy, and during the next two years this became my second and equally strong specialization, alongside my former studies of Continental philosophy. Philosophical ambidexterity, so to speak.

So I began taking courses in American philosophy including process philosophy, American pragmatism, philosophical naturalism, American Transcendentalism, American Idealism, and so forth. I had also loaded up on seminars in the world of German idealism: one on Hegel's Phenomenology, one on Schelling's Freedom essay, one on Kant's first critique and third critique, and then another I think on Fichte. It was during that time – perhaps in my next to last year - that Doug introduced me to Peirce through a graduate seminar, which was on Peirce of course, but we were really focusing on Peirce's connection to Schelling and German idealism and then idealism's connection to the philosophy of religion. We had a person come – Ivo Ibri (he’s now president of the Charles S. Peirce Society) – to deliver a talk on Peirce, Schelling, and the philosophy of religion. That was the direction I was going, and those experiences only deepened my interest in the subject. Ibri's talk was monumental…we were all intensely taking notes, and at the conclusion of the talk he approached me specifically about Peirce and Schelling. I was honored but also slightly embarrassed of course. Anderson was taking photos and it was just a big occasion.

Ok, on to the next part of your question: What is it about Peirce that I find compelling, you ask? Peirce is an American genius. What he accomplished is truly amazing. He actually was developing predicate logic (propositional logic or quantificational logic in other words) prior to Frege, whose notation is typically used, and who is usually credited for developing it. Now that sort of logic had such an impact because until then philosophers were using Aristotle's syllogistic logic! So, I mean you are going from Aristotle to Peirce/Frege. That is tremendous in itself, I think at least.

Peirce was also the founder of pragmatism. Or, as he titled his own version of it, “pragmaticism” -- because pragmatism was such a compelling idea that William James picked it up immediately, and Peirce wanted to distinguish his version from James'. An entirely new chapter in American philosophy began with that; commonly today when people say "American philosophy" they really mean pragmatism. Peirce, James, Dewey – so many times American Philosophy as an area of study is just boiled down for many to those three thinkers. But Peirce was pragmatism's progenitor. Yet he also made discoveries in many other areas of philosophy, science, and logic. For example he was crucial in the development of semiotics – essentially developing semiotics as a formal science of signs. He also made astonishing discoveries in fields as diverse as chemistry, mathematics, logic, statistics, and computer science (having developed the idea that logical inferences could be carried out by switching electrical circuits, an idea that would have to wait until much later when the first computers were created). He many wrote fascinating works in the areas of ethics, aesthetics, phenomenology, philosophy of mathematics, cosmology, and religion, too. The philosopher Paul Weiss called Peirce "the most original and versatile of American philosophers and America's greatest logician." He just wrote a lot on an astounding array of topics. If I remember correctly he wrote somewhere in the neighborhood of 80,000 handwritten pages!

For me, personally, it was Peirce's biography (detailed by Joseph Brent in his fantastic Charles Sanders Peirce: A Life) that really brought me into the fold. That and the very first book introducing me to Peirce – not recommended by Anderson by the way – namely Robert S. Corrington's An Introduction to C.S. Peirce. Corrington was on the "fringes" of Peirce scholarship and his interpretation of Peirce was certainly heretical, speculative, and radical. Just my cup of tea.

I remember when I had decided to work with Doug and knew I'd be taking some courses in American philosophy that it would be wise to read some introductory secondary literature to orient myself. I was walking the stacks at SIUC's library and Corrington's book just happened to pop out among the others. It was Corrington's book on Peirce, and Corrington's way of interpreting Peirce, that really made a difference for me in "getting" Peirce from start, and that is usually where people have trouble simply because Peirce is so tough to read and comprehend if you haven't had any exposure to him.. I suggest that anyone who wants to get into Peirce read Corrington's book. Really! It is the book to read if you want to realize how Peirce can do so much. Wow, thinking back, what about my entire career would be different had I not found that book!

I came to know a Peirce that not many others know, actually. Peirce had trigeminal neuralgia, a debilitating nerve condition causing chronic pain in the face. Those who have it report feeling like they are being electrocuted or shocked, and the worst part is that it comes on out of nowhere, can last ten minutes, or an hour, and then disappears. Among nerve conditions that cause pain it is the worst one to have. And Peirce lived with that every day of his life.

The other dimension of Peirce that others are mostly unaware of was his chronic depression, even manic depressive disorder. Peirce had a "dark" or "existential" existence most certainly. He never achieved the academic success that he deserved (in his lifetime) and died broke and destitute. He was a very odd figure of course, interested in gambling and money making schemes, dressing in Parisian "high fashion," but he also was involved with a woman (Juliette Froissy) whom today we would call "gothic" or even "pop nihilist" – looking forward to Thacker's In the Dust of this Planet (avant la lettre). She dressed all in black and had an interest in the occult and all things "dark." When I visited the Peirce house, Arisbe, in Milford, Pennsylvania (my sister actually lives in Milford) I took some great photos of her all-black garb. So Peirce and Juliette were certainly very odd people, but also sincere, and warm-hearted.

Juliette, now married to Peirce, ventured into the cooperative housing project known as "Arisbe," named after the colony city-state in Miletus. They sought to continually add to the house, spending all of their money on it imagining it as a sort of philosophical island. But they put all of their money into this house and yet it was never finished. And they certainly weren't strangers to suffering, given the fact that they were broke most of the time! One more thing: the Peirce house is outright spooky. They showed us the room in which Pierce died in his bed, which is now an office for the State Park Service. Very, very creepy place. But a sort of "mecca" for the Peircean specialist.

Many people think Peirce is just some mathematician, logician, chemist, scientist, semiotician whose prose is incredibly, well, awkward, as in "clunky" – which it is – but they do not know the Peirce that I know. They know Peirce basically for two (early) essays, "The Fixation of Belief" (1877) and "How To Make Our Ideas Clear" (1878). Then they avoid Peirce, because he is mostly impenetrable in those two essays, as interesting as they are. Yet if you read his Monist papers of the 1890’s -- "The Architecture of Theories"; "The Doctrine of Necessity Explained"; "The Law of Mind"; "Man's Glassy Essence"; and "Evolutionary Love" -- you'd be hooked. That is really the "meat" of Peirce in those essays, I think at least.

In any case Peirce had made his way to teach at John Hopkins University, teaching there basically as an adjunct, and because of his romantic involvement with Juliette while he was still legally married to his first wife, although they were separated, John Hopkins thought that that was too controversial and chose not to rehire him. Yet he taught John Dewey his first logic class and created a philosophy that William James took as his own! Nevertheless, Peirce was let go from his job. This so devastated him that he decided to build his own philosophical outpost, Arisbe, and bought 2,000 acres of property in Milford. This property is now mostly owned by Gifford Pinchot, although people are able to hike on this property, as it is connected to the State Park and open to the public. Peirce eventually wound up broke, living in poverty for the rest of his days. In the winter he was unable to afford heat, and lived on hand-outs from others, including William James.

The Peirce papers are housed at Southern Illinois Carbondale, and I remember reading letters from Peirce to others complaining of his pain, of "brain fever," of sleeping in a frigid home, of arthritis, depression, chronic nerve pain (and nerve pain is indeed the worst form of pain one can have), of not having any money to pay bills and so on. He literally was writing article after article for The Monist to survive. So the bulk of his creativity came from these insane conditions. It’s just mind blowing as to what he went through.

What attracts me to Peirce's philosophy is that, as with Kant or Hegel (both of whom Peirce wrestled with for the duration of his career), I am fascinated by its technical capacity. It's the sort of philosophy that is just so technically intricate – like some sort of engine or machine or watch –that you can go back to it again and again, and each time you do you come away with something completely new. The level of subtlety and sophistication, of care and deep thought written into each concept…as if each concept has its part to play in the larger ever-developing machine is what attracts me to that sort of "systematic" and "speculative" philosophy. Just like working with one of the world's most accurate watches, with all of its minute parts and intricate interrelated details, small gears and parts, each playing a role in the larger process of the machine splitting time and seconds. And Peirce's philosophical ability is second to none. Really. He is, as James put it, America's Aristotle. Just an absolutely brilliant mind, and his philosophy evidences that. It of course is a turgid, technical style. And it takes some getting used to. Especially his vocabulary. But when creating new concepts that is warranted to a degree. Heidegger and Deleuze did the same. But the profit of working through it is enormous.

So why does hardly anyone read Peirce, then? Simply put: Peirce suffers what Hegel or Heidegger or Deleuze suffers – the fact that their language is so off-putting that one just gives up. The problem is that there are no Peirce specialists who would want to represent him to a Continental audience, and no Continental interpreters who would want to (in an interesting or relevant way) re-introduce him to an American audience. And thus the fact that Peirce's ontology is in many respects very much like Schelling's or Deleuze's or Whitehead's, who are enjoying a rekindling of interest, is lost. Perhaps it fits with Peirce's life: even today he is subjected to such adverse conditions in the popularization of his thought. His philosophy continues to tell the tale that "not much in life comes easy." That life or nature can be devouring and monstrous and full of misfortune and suffering.


S: In your book you venture a reading of Peirce that treats his category of Firstness as a kind of pure possibility. One can see why this reading appeals in the contemporary climate; modes of possibility and virtuality are privileged more and more in the wake of Deleuze. One sees this especially in the ontology of Meillassoux, for whom the possible is an unboundable realm of transfinite scope. And yet, I feel a concern when I try to think along with you in this book, that you in effect “deify” possibility. This is problematic because, after all, while Possibility is perhaps the most protean of ontological categories, it is difficult to argue that it is, per se, personal. The question then arises to what degree you are propounding a theism (which I take it is part of your larger project). Do you grant this objection, and do you think it warrants a response?

L.N.: True, I had found out during my dissertation research phase that Peirce actually accounted for over sixteen forms of possibility. Sixteen! So, while Peirce had what, following Deleuze or Meillassoux, an account of "the virtual" (which is different from "the possible"), he included that under the title of "possibility" while wanting to keep the distinction, which he shouldn't have done. He also distinguished possibility, a form of it at least as he included it in that list of sixteen, from the potential and the virtual, which are more like ontological powers in the Aristotelian tradition. His theory of infinitesimals is very close to what Deleuze had in mind with his "lines of flight." Interestingly both Peirce and Deleuze had worked with the infinitesimal calculus and came up with nearly identical ontologies to explain it. Hardly anyone recognizes this.

In terms of "deifying" possibility really what these figures are pointing to, Peirce, Deleuze, but also Whitehead and Meillassoux, myself following them to some degree, is the concrescence of the virtual into this world – a sort of modal phasing of what is not (but yet what can be) to what actually is. What's interesting is that Meillassoux, as you point out, treats the virtual as a realm of potential, power, and creativity – a sort of transcendental ground of becoming, and without it there is nothing.

I once wrote a paper about this that I presented in Toronto, on Meillassoux's process philosophy, how he relates to Peirce, Schelling, and Whitehead. I think that the theistic element of Meillassoux comes from attributing to that ground, that motor for becoming in the form of contingency, a certain form of integrity given its absolute and necessary function that no other name other than "deity" or "divine life" or "divine process," "God" if that is what we mean by that, would suffice to describe its importance and power. After all, it is even to such a ground that Meillassoux suggests we ought to turn in order to expect a deity "as a person" to appear to right the injustices of the past and usher in a new World of Justice. So, given this ontology, a very unique theology may be supplied. One that looks nothing like what has been produced before, although a few were on to it: Peirce, Whitehead, Hartshorne, Schelling, and perhaps in very limited ways Deleuze. Caputo remarks that it looks like a theophany in Deleuze, an immanence that contains within it transcendence. But insofar as this virtual realm of creativity and becoming may take on a theological significance, it suggests that Meillassoux, Deleuze, Schelling are indeed on the same page. It is a very interesting idea which I think has credibility and I would like to incorporate it into my own theological position.

The question, of course, as you point out, and this is what I am struggling with now as I develop such a theology that recognizes all of this, is that how do you go from an impersonal, creative virtual "ground," Abgrund, "abyss" as it were, to a personal God. That is quite a difficult maneuver. Now, I wrote an article "Speculative Naturalism: A Bleak Theology in Light of the Tragic" that picks up on that, especially in light of the problem of evil. But one clue in trying to answer that, I think, is Schelling's obscure and dark "Freedom" essay, where the abyss is found right within the heart of God, and as such enables God to suffer and understand human sufferings. So that necessary realm of contingency is what Schelling identifies as a sort of counterfactual abyss of freedom found within the core of the divine life. A very intriguing idea which enables God, as Whitehead says, to be "fellow sufferer who understands."


S: You have dealt less with Peirce in writing since this work. While it is not unusual for a thinker to move on from the themes of their first book, I wonder: Is this a conscious move? And if so, does it signal a change in interests or is it simply a desire to make sure you don’t get boxed in to a narrow specialization?

L.N.: That's right. I've indeed moved away from Peirce since dissertation-to-book days and have gone on to do different things.
I'm not sure whether or not it was a self conscious move – I knew that my Peirce interests were grounded in Continental thought, and other than Heidegger (it was Peirce's connection to Heidegger, mainly through their understanding of possibility and transcendence, a connection that I learned about by reading David Jeremiah Higgins' Possibility in Peirce and Heidegger: A Propaedeutic for Synthesis) I saw that Peirce is strongly connected to Schelling. And at the time during dissertation research phase, and moving from a Nietzsche-Heidegger-Deleuze axis to a Peirce-Heidegger-Schelling axis, I certainly came to see that "nature" as a concept was going to be a big part of things. And you can see how given my own biography that would really shape where I was going for, well, even until now. It was all three's process understanding of nature - and do check out what's out there on Heidegger and process philosophy, some very good material, especially Heidegger and Whitehead: A Phenomenological Examination into the Intelligibility of Experience by Ron L. Cooper, a very good book – that during dissertation phase had a great impact upon me. I was developing my own "nature ontology" as it were, or say "process ontology of nature." And with a process ontology of nature I was off to the races basically to discover, as I would find out, a philosopher by the name of Alfred North Whitehead.

I remember that my very last year at Carbondale I was finishing up Peirce and Schelling nature things and came upon Whitehead really by accident. I hadn't taken a seminar exclusively on Whitehead, although he was frequently mentioned, but I can never emphasize enough how important Whitehead was my own development. So much so that the year after I graduated I spent the entire year reading Process and Reality. And then the next year I went on to read everything by Whitehead that I could find, and much of what his student, Charles Hartshorne, had to say as well. Both Whitehead and Hartshorne fit neatly into what is usually called the Peirce-Whitehead-Hartshorne axis, which about a year or two after completing my Ph.D. I took as my own. And of course they are each significantly connected to Schelling's process philosophy, which makes sense. They have their ties to Heidegger, to Deleuze certainly. And so for two years right at the cusp of graduation and then after I came to see the world of process philosophy through the eyes of Peirce-Whitehead-Hartshorne. This does not come out in my dissertation at all explicitly, but reading it you can see them there dimly. Again, it wasn't until after a year two that I graduated that I took that axis as my own, having mastered the latter two figures of that triad.

After that and just until recently – I'd say up until just last year – I had been reading, studying, and incorporating into my own system Deleuze's process ontology. A sort of tetrad if you will. John Caputo has some rather excellent seminars on Deleuze's Difference and Repetition that I took several summers listening to. Very good stuff there. But, it, too, fits with my nature-process ontology. I think Deleuze was probably just as important, if not even more important, than say Heidegger for 20th century metaphysics. Heidegger's philosophy bottoms out as it either becomes too bare for Naturphilosophie, or else is too anthropocentric; whereas Deleuze's metaphysics is quite rich. Although Deleuze has a tough time fitting with my theological interests, there is some work out there on Deleuze and theology: Christopher Ben Simpson Deleuze and Theology; Theology After Deleuze by Kristien Justart; and the edited anthology by Mary Bryden, Deleuze and Religion. Those are good places to start.

These days, rather than simply figures as Continentalists often study – so focusing in on Deleuze or Schelling for example, "nature" has become a general and main area of research for me that has enabled me to take on more encompassing conceptual arrays and – let's say – new philosophical "locations" of study – such as environmental philosophy, as it has a connection to a "philosophy of nature." Or animal ethics, a connection to a "philosophy of nature." Or philosophical ecology, again – connected to a "philosophy of nature." So going on to concentrate in the philosophy of nature has proved broad enough to open up a lot of doors. In terms of a research profile that has been very helpful and is directly connected to my most intense interests of concern.

So to your question, I think the stars aligned during that dissertation phase as I was pushed into the world of "nature" as a "nature philosophy" – philosophically specifically from a process perspective. Of course these days I realize that my whole project, or "brand" if you will, is "nature." It's good because when folks ask what I do in philosophy I usually respond "philosophy of nature," and they immediately have a sense for what I am talking about.


S: You co-edited a book (with Stephanie Theodorou) on the emotional lives of animals, and the ethical implications of the scientific work which establishes the plausibility of this claim. I want to explore with you aloud some part of the response I had to this work. On the one hand, I felt myself fundamentally in emphatic agreement; Of course animals have experience, and of course this experience is not simply of pleasure or pain – not simply about, say, being hungry or satiated, afraid or calm; it extends to animal analogues of eagerness and affection; of excitement and play; or of dejection, grief, anger. Anyone who has had a pet dog or cat or guinea pig, or watched birds or squirrels in their yard, ought to be able to testify to this. That various animal scientists could point to clinical, neurological, and field evidence to this effect was simply a great confirmation.

And yet, this confirmation also occasioned for me a strong reaction of what I think I can accurately describe as indignation. What is this “Science,” I wanted to ask, that deigns now to “confirm” the experience of every 10-year-old with a golden retriever? I don’t claim that this reaction of mine is very sophisticated, or even defensible; it was a reaction, which I then had to think through. But the emotion of indignation is made all the more keen when I reflect upon the very bad track record which western science has had with animals – not only its countenancing of horrors like vivisection, but its readiness for centuries to describe animals in terms diametrically opposed to those exemplified in your book. So my question is twofold: First, do you think it is important that science testify to us concerning the experience of animals, and if so, why? And secondly – though this may venture a bit afield from your primary concerns: Is this apparent sea-change in science a mark of something inherent to science itself, or is it simply a matter of a different deployment of research strategies, “neutral” in themselves, for a research programs now configured so as to ask after human similarities with [other] animals rather than our differences from them?

L.N.: I think your reaction is justified. Science today, regarding animal experience, is in a quandary in that science simply works by hypothesis and empirical observation. Philosophically we need to widen conceptual boundaries that would animate these scientific hypotheses and open their generative and dynamic processes. I think we are beginning to see such a move in contemporary philosophical cosmology, where physicists, for example, are theorizing about multiple universes or worlds and so forth, the actual creation of universes – a topic long discussed by philosophers in ancient Greece.

My own philosophical position is that if science can integrate a broadened understanding of animal experience, especially animal emotions, then there would be more concrete evidence that we might use to justify the notion that we ought to interact differently with nonhuman animal species. But I also think that this applies to other nonhuman forms of life than just say, cats or dogs and so forth as you mention in your question. The science behind all of this has actually convinced me change my mind about fish as well, and also to have a healthy respect for the vegetative life we harvest. For example it is now beginning to be established that crabs feel pain, as do fish, even without a neo-cortex. Fish can feel stress, and have also been observed exhibiting forms of "personality" through preference. And this is fish we are talking about! How long neglected in animal ethics! But just the very notion that a living form can feel pain and is aware of it, wants to avoid it, such as a crab, has really changed my mind about animal ethics, about how I live my life. That changed my mind about eating those forms of life, any form of life, really, after much research. But of course, the question arises -- an extreme philosophical question -- if panpsychism is true, then what is not living?

To be honest, like you, I did have an initial reaction. It certainly was an existential reaction. I happened to stumble across a video online, like anyone else, and was absolutely horrified by what I saw. My first thought was, "Ok, a pig is as intelligent as a dog." And many choose not to eat dogs knowing how intelligent they are, that they are pets or companions (and I now do believe animals can have "friends," and as companions to humans can be "friends" with humans. Even to many today this is an outrageous idea, that animals can have friends, but I believe it to be true).

A thinking, feeling creature, who is a subject of a life with its own feelings, intentions, emotions, pleasurable and painful experiences, and desires, is what you are eating. I couldn't consume a cat, knowing what I do about them, so therefore pork (and meat in general, knowing what I do about cow intelligence) and just all meat became out of the question for me. Only then did I do the research into the scientific corroboration of some of these claims come under review.

But I think we need it. We need some way to empirically justify and secure these claims that fit with our moral intuitions about other species of life. The weird part is that in my studies, which spans the science behind it, but also much of the philosophy – not so much philosophy of mind per se, that is my colleagues area of interest, Stephanie Theodorou – I was more interested first in the history of animal treatment as seen through the eyes of philosophers, so things like Descartes saying that animals are nothing other than robotic automaton, or basically the history of the Medieval human-animal ontological separation pace Aquinas and his treatment of animals, and how that spawned a hierarchical ontology with humans at the top. And this sort of understanding, that humans are separate from other animals, dominate to them, that animals are not aware and are simply there for our use and consumption, dominated religious understandings of animals for quite some time. At Catholic institutions where I've taught – and I've taught for Catholic institutions my entire career until now – that is the understanding. Humans are closer to God than the other creatures or animals.

Secondly, perhaps because of my encounters in Catholic institutions, I became interested in the spiritual element involved. So for example if we might say animals are "persons," can we say they, then, religiously speaking, that they have "souls" or some form of soul? In what sense is there an immaterial organization and intelligence animating that material form? What exactly is "mind" understood as intelligence, understood as that unifying force within a life form that animates it? Soul? Can we say that that self-moving feature of living forms – call it intelligence for now – is to be found, say, in insects, then, too? What about plants? Generally any living thing? After all, from the emotional part of the soul, the appetitive part, is to be found in bees or wasps that become "angry." Or ants who work to save others in the colony. Or rats who feel empathy and free other rats from cages, and so on. So the "animals and religion" question crept in as well.

Of course animals and theology may seem to be an odd combination. However with Pope Francis' recent comments relating to Pope Paul VI's declaration that "Heaven is open to all creatures," books like Trent Drougherty’s The Problem of Animal Pain: A Theodicy for All Creatures Great and Small, and the anthology Divinanimality: Animal Theory, Creaturely Theology (edited by Stephen D. Moore) seem all the more relevant.
Practically when it comes to forms of life, regardless of species, I try to be vigilant. I've recently even started thinking about plants too. Plant communication, plant intelligence, even whether or not plants can "feel," whether some form of "pain" that humans cannot perceive, perhaps only speculatively imagine, seems important to consider. Michael Marder, a philosopher who has done quite abit of work in the field of plants and philosophy, especially drawing phenomenology into the mix, has researched everything from "plant whispering" to the effects of music on plants, to plant communication, to plant intelligence. Marder's book is called Plant Thinking: A Philosophy of Vegetal Life. I'd also recommend David Skrbina's Panpsychism in the West and David Clarke's Panpsychism and the Religious Attitude when it comes to considering what within nature may possess mind or intelligence or "soul" (anima). These are books which really open your eyes as to what we might mean by soul or intelligence and what forms of life might have that throughout the natural world. I'd recommend a radio program, The Philosopher's Zone, where Marder is interviewed (as was I on animal emotions some time later). I believe there is also a philosopher on there who discusses the little noticed world of insects – that was a fascinating program to listen to.

I think it is very interesting to look not only at "animals," but also plants and insects regarding the ethical implications of human conduct upon nonhuman forms of life, plant and insect life. Just the other day I watched an insect fall into a small puddle of water that had accumulated on the table before me on our back deck. It had somehow fallen onto its back and was struggling to turn over. It was about a quarter of an inch large, so not very large, but from its perspective it may as well have fallen into a lake and was drowning. Its wings had been glued to the surface tension of the water and it was caught on its back unable to escape. At that moment I knew that that form of life, from its perspective was struggle to stay alive. It wanted to escape. It's desire was just as real as mine. Same thing. It was suffering against a cosmic force, much like we do. I actually think I felt empathy for this living thing, feeling into its feeling of being trapped and trying with all of its might – a life or death consequence – to escape. I slowly took the bookmark that I was using in my book and just ever so gently broke the surface tension of the water under this so small insect's wings, and flipped it over. It drunkenly staggered out of the puddle having been set back on its legs and sat there for a minute, and then began grooming itself – obviously somehow "drying" itself. It then stretched out its wings, widely. It crawled around some and then delicately flew off. That was something, a little form of centered experience, trying to survive as we try to survive. A living creature trying to avoid suffering like we try to avoid suffering. And so, while I had an appreciation for being mindful of not killing insects, I ever more so strongly now am mindful of them if I happen to encounter them.

We often forget the innumerable number of little "perceptual universes" abounding all around of us. But we need to be mindful of them, as each has some value to contribute to the world that is being created by all creatures or life.

Friday, July 31, 2015

Ringing the changes


There is a Kabbalistic tradition of permuting the letters of the name of God. The practice looks a bit like mixing-and-matching Hebrew scrabble tiles from the outside, but to the Kabbalist, it is prayer and meditation. This meditation, arising at intersection between the aleatory and the intentional, is not just a sort of literomancy; it is a spiritual contemplation of the font from which both chance and purpose spring.

Diogenes Laertius reports of Plato's composition:
Euphorion and Panaitios relate that the beginning of the Republic was found revised and re-written several times.
This is a tradition also given by several others, notably Dionysius of Halicarnassus:
Plato did not cease, when eighty years old, to comb and curl his dialogues and reshape them in every way. Surely every scholar is acquainted with the stories of Plato's passion for taking pains, especially that of the tablet which they say was found after his death, with the beginning of the Republic ("I went down yesterday to the Piraeus together with Glaucon the son of Ariston") arranged in elaborately varying orders.
(On Literary Composition)
Why Plato would have kept permutating those eight Greek words is of course open to question, but it's notable that in this case the elements to be rearranged are not letters but words. In this connection, I will mention my own recent meditations on a small piece of Latin text. It's a Roman legal maxim cited, or possibly coined, by Cicero:
Exceptio probat regulam,
which is familiar to English speakers as "The exception proves the rule." This is as close to a three-word summary of the relation, and permeable boundary, between ontology and epistemology, as I can imagine. If you think on it while bearing in mind Badiou on the Event, for instance, it begins to take on a strong resonance. The phrase is moderately famous for having a kind of inherent ambiguity. "Prove," in English, gives the phrase at least three possible meanings:

1. The exception demonstrates [the existence of] the rule.

This is the sense in which it is used by Cicero, whose full maxim is actually Exceptio probat regulam in casibus non exceptis, "The exception proves [that] the rule [exists] in cases not excepted."

2. The exception tests [the validity of] the rule.

This sense, which turns on a semi-archaic use of the word "prove," is sometimes mistake for the "real" meaning of the maxim. But there is also a third sense:

3. The exception turns out to be the rule.

This is what happened, for instance, when Einsteinian "anomalies" subsumed the Euclidean-Newtonian mechanics as a special case.

In a certain way, then, what happens with this third sense of the maxim is that the rule proves the exception; regula probat exceptionem. And once one sees this possibility, it dawns upon one that these three little words could unfold in six ways, with a number of senses per order:

Exceptio probat regulam

Regula probat exceptionem

Probatio regit exceptionem

Exceptio regit probationem

Probatio excipit regulam

Regula excipit probationem

I should mention that, when I double-checked with a classicist friend that any of these were admissible, he admonished me that, technically, yes, they all worked grammatically, but they all sounded like "vulgar Latin." (In a "whole sentence of educated Roman speech," he remarked, "the verb would probably be itching to go at the end, in third place.") Moreover, he warned, "the idea of fiddling around and permuting the words by using cognate forms belongs more to a medieval cloister than to an ancient court-room." Doubtless so, and I will stipulate that Cicero or the anonymous jurist he may be quoting would likely not have dreamed of my little fantasia of ringing the changes here. Nonetheless, meditate for a while on these, ask yourselves in what sense(s) any of them may hold, and the exercise begins to open up not just the various fields of philosophy as traditionally construed -- metaphysics, ethics, politics, epistemology, and so on -- but especially the tricky, transitional spaces between them. From Confucius to Kripke ("rule"), from Lucretius to Schmitt ("exception"), from Euclid to Plantinga ("proof"), philosophy has been itself this ringing-of-changes. Reducing it to a set of permutations does not, of itself, yield automatic insight, but one starts to wonder to what extent the questions really do come down to where one starts.

Monday, June 22, 2015

Clumsy language sacred ravishing


Three days ago I learned that my friend Sundin Richards, poète maudit, was dead by his own hand.

Poète maudit. How he'd roll his eyes if he read that. His life was not a quotation. But he was fulfilling a tradition after all.

He came upon the scene in his late teens, shockingly ambitious, anomalously gifted, scandalouly good-looking, walking a teetering line between bravery and bravado which he followed to the end. The first night I met him I infuriated him by mockingly citing a remark from Rimbaud about systematically deranging the senses. We became good friends, often arguing, reading poetry, drinking until early in the morning. But I did not have his predilections and stamina for alcohol, let alone "harder stuff," and I was no street fighter. I stayed out of his way when he was in his rage and his cups. In later years, when we lived in different cities, he would call me up and talk about having read Moby Dick yet again, or argue the health and optimism, spring and all, of Doc Williams against my dour Eliot and the cruelty of April. He thought I was wrong about all kinds of things. "Do you really believe in God?" he'd say, and I'd ask, sometimes only with a raised eyebrow, Do you really not? I don't think I convinced him of much. Not explicitly. It didn't matter. Those kind of arguments you get only with the ones who love you. They're how the love happens.

He taught me how to understand modern and postmodern poetry in the absence of rhyme. "The line," he would insist to me over and over, "is the original punctuation." He said this to me until I got it, and it made me understand how all punctuation, all notation, flowed from an originary music. His poems are tracings of the fissure between inner and outer -- the hidden and the expressed. Not that there was anything hermetic about his poems. The ins and outs here are just the ordinary ones: spirit and labor, the breath and the hand. The neumes (from pneuma), which comprise the West's first musical notation (another sort of punctuation), are graphic indications of hand motions. In his own work the lineation is crucial. Read The Hurricane Lamp with attention to breath. Slowly, and more than once.

For these past three days I have been thinking of a story Sundin often repeated: an anecdote about John Berryman, one leg already over the rail of the Washington Avenue bridge in Minneapolis, turning to give a small wave to the passing traffic, before he took his last step into the air. Today, unexpectedly, I found this post about Berryman's last poem, and it made me wonder, how much of our art is a long, slowed-down, wave from a precipice? A gesture of greeting as we are already going?

My feelings about him were conflicted. Like he was. When he was drunk, he was first irascible, then belligerent, then incoherent. It hurt to talk with him when he was like that. Towards the end, he knew he had alienated many people who loved him. If I always set aside at least a day to see him when I visited Salt Lake, this was also in the knowledge that I'd be flying away again. And yet I loved those afternoons, pulling books off the shelf and saying, Have you listened to this one lately? I can still hear him reading Tennyson, Stevens, Blake, Pound. I will never forget him reading "Saint Judas" by James Wright. For all his extraordinary experimentation, Sundin was extremely sensitive to the plain old music and feeling for which one turns to poetry, and knew -- first-hand -- that these were sometimes in direct proportion to each other. When he read aloud, the attention he gave others' words was precise and reverent.

He would concede, if you caught him unguarded, that he'd poured a great deal of pain through words. But there was always a residue, and he would not have wanted it otherwise. I'll say of Richards what he said of our friend the poet Glenn Parker --
He knew that the singing was no mend for the wounding, and that this was a good thing.
I had discussed with him the possibility of doing an interview for this blog. He'd agreed, but we hadn't started on the exchange yet. I have inevitably subjected my last phone conversation with him -- two weeks ago -- to the fruitless forensics of memory for the slightest whisper of suicide. Pointless, obvious. It was everywhere and nowhere in his work. I can't help this fumbling over all those words, even though I know he'd not have wanted it. I turn back to his poetry, and I find his inscription to me on the title page of his book:
What the heart wants is often perfected by the hand.
My post's title comes from his poem "Dirty Stories." That line is one of the finest and most succinct definitions I know of what our projects of poetry and philosophy share. I can't really summon the resources of eloquence, and I don't want to. I'm leaving so much out. I commend him to the objective of all our argument, beyond all objects, beyond all my arguing and all his objections. Now he's given me the last word, and I'm giving it back to him. I'm going to end with the poem's final phrase; it's what I have of and for him now, for now (and what else is there?):
Everything bends to
the purposeless
prayer.

Wednesday, June 17, 2015

The Deconstructor in the Darkness

In this post I have some apparently strong words, at least in passing, for a few writers, some of whom I know occasionally read here and/or have been kind enough to post a comment in days of yore. I esteem their intellectual force, their erudition, and their passion. I hope they will correct me, on- or off-blog, if I have mis-characterized them or their positions.*

I wrote last time about the human recoil from the world, a tendency to find the world anything from mildly irritating (but inherently so) to utterly unacceptable. I took the initial impetus from Houllebecq's article on H.P. Lovecraft, where Houllebecq describes Lovecraft's art (and his own, and indeed all art) as arising from a fundamental dissatisfaction with the world. Thomas Ligotti, Lovecraft's clear successor as master of horror (and a better stylist), has turned this dissatisfaction into a whole (s)creed; for Ligotti -- not just for his characters, but for Ligotti himself -- existence is a hateful thing. Before anyone gets all clever and thinks "Well, Tom, why doncha just kill yourself then, huh?" -- though of course no one reading here would say such a thing -- I'm going venture that this question comes just a bit too quick off the tongue. Reasonable or not, there's more than a hint of something defensive (and changing-the-subject) about it. And those like Ligotti, who have already decided that human beings just can't bear to confront their real status as accidents in an accidental universe, can smell that defensiveness the way a shark smells blood. So we'll go a different way here, and ask after this intense animus that loathes, as Ligotti says, "everything that exists."

This cosmic pessimism has been informing an ever-broadening trend in philosophy of late, a trend that takes its cue from Cioran and Battaile. As soon as I cite both of these names, I realize that I must qualify things: there is no party line here, and not even any consistent stance; "hatred of the world" is mixed up cheek-by-jowl with a certain style of Nietzschean "affirmation." Nonetheless, I'm going to try to assert that there is a recognizable (albeit minority) common esprit in what one could loosely (and no doubt contestedly) call a school. It began to come into its own with the work of the no-longer-neglected cult figure Nick Land, whose first book was The Thirst for Annihilation: Georges Bataille and Virulent Nihilism, and whose collected essays bears a title, Fanged Noumena, that perfectly sums up this subgenre of critique + horror. In the last decade, this subgenre has shown signs of coming dangerously close to being almost mainstream. Eugene Thacker's Horror of Philosophy trilogy -- re. which see this interview (pdf) with Thacker -- even had a little 15-minute session in the sun when he got some free publicity from an unlikely menage of Glenn Beck, NPR's Radiolab, HBO's True Detective and JayZ's wardrobe designer. (JayZ was filmed wearing a t-shirt that had Thacker's title for volume 1 -- In the Dust of this Planet -- on it in great big letters that pretty much replicates the book's front cover; not long thereafter, a similar shirt was worn on True Detective. Already, in an interview at the Wall Street Journal's website, True Detective director Nic Pizzolato had fessed up: he based the apparent nihilism of one of his characters on several books, including Thacker's In the Dust... and Ligotti's Conspiracy Against the Human Race. Radiolab thought the whole nexus of things was weird, which it sort of was, and worth doing an entire show on, which is open to question (but, for those of you tracking The Conspiracy, it just so happens that Thacker and Radiolab host Jad Abumrad are brothers-in-law.... On the other hand, Thacker says he'd never heard of JayZ.) Anyway, speaking of conspiracy, Uncle Glenn's team got hold of it, and Beck did a spot about how Eugene Thacker works at the New School, where some other people used to work who used, in the first half of the 20th century, to advocate eugenics.... After a sort of "think about it, people" pause and a meaningful gaze into the camera, Beck went on to advocate for Vince Vaughan's t-shirts instead. That's philosophy in TV and radio, folks.) A bemused Thacker remarked that doubtless more people had his title than had read his book. Like I said, almost mainstream. Which is to say, almost passé.

This fate had already befallen the last crop of nihilisms, the carnival of deconstruction. I want to argue for (if not unassailably establish) a clear descent of spirit from deconstruction to this more recent philosopho-horror, despite the latter's tending to arise amidst fellow-travelers of speculative realism, who present a stance opposed to the linguistic turn of which deconstruction was supposedly the nth degree. Deconstruction likewise passed from cutting-edge to what-did-you-expect, and likewise did so via mass entertainment. Slowly and inexorably, nudge by meta-wink, American TV in the '90s became rotten with hipness; nothing was taken quite seriously; just "seriously enough" to keep the money a-spending --a sly "heh, get it?" hanging in the background like a billboard. "But wait," I hear someone say -- "what? -- why blame deconstruction for that? And anyway, Derrida isn't a nihilist... is he...? I mean he's all about the free play of the signifier...." Like most questions about deconstruction, this one has to be answered, Yes and No. On a certain exoteric level, I think it is quite defensible to hold that Derrida was more or less what Rorty thought: a liberal ironist. But where Rorty just shrugged off the corrosive effect ironism had on liberalism, Derrida -- more the philosopher -- was clear (yes, clear) that there was no way of theoretically heading off irony at the pass. In a great deal of ostensibly "deconstrutive" work by a generation of grad students and teachers, this ironism turned into an end in itself. If these days it's more frequent to object to Derrida as a stylist than as a philosopher, it's only partly because the latest academics think his questions are beside the point; it's mainly that they simply and without much ado stipulate his basic positions, and regard a basic mastery of "deconstructive" moves as just part of the academic toolbox. If someone does argue with Derrida, it's usually a straw-derrida who "argues" that "everything is language," or some such. But the take-downs of Plato, the cavalier regard of the tradition as something to bend to your own agenda, the clever drive to trip up Aristotle or Rousseau or Kant -- that's here to stay. (I know, I know -- "basic positions," indeed! The reductionism of it! But I'm not going to write a six-paragraph sidebar of intro-to-deconstruction.) I learned a great deal from reading Derrida and I honestly count myself among those who can read him for pleasure; but I think there is no question but that some of the allure of deconstruction was its apparent licensing of a free-for-all which spun off some downright awful work. Whether it was any more awful than work produced under any other fashion is disputable. But the close affinity between deconstruction and hyper-ironism is not. Deconstruction was a fixation upon the mise-en-abyme, a vertigo of criticism; and part of its thrill was its apparent capacity to undercut any and all received stories. It was, in short, not "conservative" in the sense Amod Lele uses the term.

What is often overlooked about Derrida’s work, especially his early work, is that it was also scary. A lot of his imitators merely enjoyed playing with nihilism, as if they had defused it, though of course the frisson (if any) of their texts depend upon there being a real danger, and edge, to them. To be sure, this cannot all be laid at Derrida's door. It was the inevitable conclusion of the trend which Lionel Trilling had observed about his students in his 1961 essay "On the Teaching of Modern Literature":
I asked them to look into the Abyss, and, both dutifully and gladly, they have looked into the Abyss, and the Abyss has greeted them with the grave courtesy of all objects of serious study, saying: “Interesting, am I not? And exciting, if you consider how deep I am and what dread beasts lie at my bottom. Have it well in mind that a knowledge of me contributes materially to your being whole, or well-rounded, men.”
It was wanting to eat this cake and have it too that gave rise, in the generation after Trilling, to the aforementioned bad faith of hip hyperironism, as it pooled and shallowed-out from Ivy League to Madison Ave. Hundreds of glib instructors teaching the latest deconstructive tricks did further this, mostly unknowingly I'd bet; they were generally liberals who didn't think things through. Derrida himself knew better, and his Abyss is actually frightening, if you read him with an eye unjaded by overfamiliarity. Here is the conclusion of his famous essay "Plato's Pharmacy" on the Phaedrus, in Dissemination. Even thus excerpted, it's a long quote, but I have my reasons for offering it at length:
Plato mutters as he transcribes the play of formulas. In the enclosed space of the pharmacy, the reverberations of the monologue are immeasurably amplified. The walled-in voice strikes against the rafters, the words come apart, bits and pieces of sentences are separated, disarticulated parts begin to circulate through the corridors, become fixed for a round or two, translate each other, become rejoined, bounce off each other, contradict each other, make trouble, tell on each other, come back like answers, organize their exchanges, protect each other, institute an internal commerce, take themselves for a dialogue. Full of meaning. A whole story·. An entire history. All of philosophy.
"
he ekhe touton logon . . . the sound of these arguments rings so loudly in my head that I cannot hear the other side."
In this stammering buzz of voices, as some philological sequence or other floats by, one can sort of make this out, but it is hard to hear: logos beds itself... pharmakon means coup... "so that pharmakon will have meant: that which pertains to an attack of demoniac possession, or is used as a curative against such an attack" ... an armed enforcement of order... a shot fired... a planned overthrow... but to no avail... like cutting through water.... and a stroke of fate... Theuth who invented writing... the calendar... dice...
kubeia... the calendar trick... the unexpected theatrical effect... the writing trick... the dice-throw... two in one blow... kolaphos ... gluph... colpus . . . coup . . . glyph . . scalpel... scalp... khrusos... chrysolite ... chrysology...
Plato gags his ears the better to hear-himself-speak, the better to see, the better to analyze.
He listens, means to distinguish, between two repetitions.
...
One ought to distinguish, between two repetitions.
-- But they repeat each other, still; they substitute for each other .
-- Nonsense: they don't replace each other, since they are added ...
-- Precisely ...
One still has to take note of this. And to finish that Second Letter: "...Consider these facts and take care lest you sometime come to repent of having now unwisely published your views. It is a very great safeguard to learn by heart instead of writing...
to me graphein all'ekmanthanein.... It is impossible for what is written not to be disclosed. That is the reason why I have never written anything about these things... oud'estin sungramma Platonos ouden oud'estai, and why there is not and will not be any written work of Plato's own. What are now called his... Sokratous min kalou kai neou gegonotos... are the work of a Socrates embellished and modernized. Farewell and believe.Read this letter now at once many times and burn it ...
-- I hope this one won't get lost. Quick, a duplicate... graphite... carbon... reread this letter... burn it.
il y a la cendre. And now, to distinguish, between two repetitions....
The night passes. In the morning, knocks are heard at the door. They seem to be coming from outside, this time....
Two knocks... four...
-- But maybe it's just a residue, a dream , a bit of dream left over, an echo of the night... that other theater, those knocks from outside....

Now read that back to back with Lovecraft:
And then I heard the other voice. To this hour I shudder retrospectively when I think of how it struck me, prepared though I was by Akeley's accounts. Those to whom I have since described the record profess to find nothing but cheap imposture or madness in it; but could they have the accursed thing itself, or read the bulk of Akeley's correspondence, (especially that terrible and encyclopaedic second letter), I know they would think differently. It is, after all, a tremendous pity that I did not disobey Akeley and play the record for others - a tremendous pity, too, that all of his letters were lost. To me, with my first-hand impression of the actual sounds, and with my knowledge of the background and surrounding circumstances, the voice was a monstrous thing. It swiftly followed the human voice in ritualistic response, but in my imagination it was a morbid echo winging its way across unimaginable abysses from unimaginable outer hells. It is more than two years now since I last ran off that blasphemous waxen cylinder; but at this moment, and at all other moments, I can still hear that feeble, fiendish buzzing as it reached me for the first time.

"Ia! Shub-Niggurath! The Black Goat of the Woods with a Thousand Young!"

But though the voice is always in my ears, I have not even yet been able to analyse it well enough for a graphic description. It was like the drone of some loathsome, gigantic insect ponderously shaped into the articulate speech of an alien species, and I am perfectly certain that the organs producing it can have no resemblance to the vocal organs of man, or indeed to those of any of the mammalia. There were singularities in timbre, range, and overtones which placed this phenomenon wholly outside the sphere of humanity and earth-life. Its sudden advent that first time almost stunned me, and I heard the rest of the record through in a sort of abstracted daze. When the longer passage of buzzing came, there was a sharp intensification of that feeling of blasphemous infinity....

("The Whisperer in the Darkness")
I want to linger for just a moment on this last phrase of Lovecraft's. If you remember your Badiou, or even your Descartes, you can guess why "infinity" would be relevant here. Badiou is explicit in desiring to "secularize" the notion of infinity, to strip it of the numinous aura theology has always found there. (Speaking theologically, he's right of course. There is nothing "holy" about infinity per se, and we're indebted to Badiou for reminding us of this. Like everything else, infinity is a symbol, and we didn't need Lovecraft to point out that it is at best an ambiguous one; already Pascal had famously expressed his terror at "the silence of those infinite spaces.") But a laicized infinity is one thing; a blasphemous infinity another -- in fact, the opposite. If I may do a little Structuralism 101 here, something can only be blasphemous -- the word "blasphemy" only has meaning -- if it is granted that there's such a thing as worthy worship, adoration, love. Lovecraft here is trading off the sense that something in the horrible sound feels like an affront to the Holy; and although of course Lovecraft doesn't believe there is such a category, his attempt to drive home the extreme horror occasioned by hearing the recording relies on this -- is, so to speak, living off the capital accumulated in an earlier, and expressly religious, culture. You can't blaspheme anything except the Holy. If "the idea of the Holy" has no traction for you, well, then the most you can do in that direction is offend people -- usually people you regard as small-minded, as lying to themselves, already. Which, let's face it, may give you a short-lived rush of power, but is pretty low-hanging fruit, and you're fooling yourself if you make it anything like an index of artistic integrity or philosophical radicalism. I'll return to this question of the blasphemous at the end.

To be sure, it is itself a kind of deconstructive move to counterpose these passages from Derrida and Lovecraft, with their buzzing voices, their intimations of "outside...", even their references to a "second letter", which, despite seeming like a bit of a stretch, is surely fair game by the anarchic "rules" of deconstruction. In the mid-90's in many English departments, one could have make a whole term paper just out of the sentence, "though the voice is always in my ears, I have not even yet been able to analyse it well enough for a graphic description." (Just think about what Derrida did with Nietzsche's umbrella...). There are many such passages in Lovecraft, which I'll omit for the sake of keeping this manageably readable, but it's important to underline that for Lovecraft's fiction, the "beyond" or "far away" from which comes the horror is also very close, all too close. One might say that there is no hors-texte:
"What do we know," he had said, "of the world and the universe about us? Our means of receiving impressions are absurdly few, and our notions of surrounding objects infinitely narrow. We see things only as we are constructed to see them, and can gain no idea of their absolute nature. With five feeble senses we pretend to comprehend the boundlessly complex cosmos, yet other beings with wider, stronger, or different range of senses might not only see very differently the things we see, but might see and study whole worlds of matter, energy, and life which lie close at hand yet can never be detected with the senses we have. I have always believed that such strange, inaccessible worlds exist at our very elbows, and now I believe I have found a way to break down the barriers."
("From Beyond")
This last passage, with its arch promethean tone about overcoming human beings' narrow perception-mechanisms, is important for the way it shows the dovetailing of a certain scientism with horror. It is in this arena that deconstruction's scary tone has recently resurfaced. Indeed, I am pleased to note that this experiment of mine (I copied it out of an old notebook) has been validated by Thacker:
I would argue that this makes philosophy interesting. Particularly if one "mis-reads" philosophy in this way. If we were to adopt a method, it might be this: read works of philosophy as if they were works of horror.... something interesting happens when one takes philosophy not as a heroic feat of explaining everything, but as the confrontation with this thought that undermines thought, this philosophy of futility.Certainly there is a bit of tongue-in-cheek in this method of reading philosophy as if it were horror; and, like all methods, it is not to be taken too seriously. But the focus in the sections that follow will be on those moments when philosophy reveals the thought that undermines it as philosophy, when the philosopher confronts this thought that cannot be thought.
That's from volume 2 of Thacker's trilogy, Starry Speculative Corpse. (Excerpt here.) Thacker doesn't identify what he's doing as deconstruction, but his self-description of his method as "mis-reading," complete with scare-quotes, is lifted out of deconstruction's play-book, and he has the good faith to acknowledge that there's something like a joke to it; like a commercial from 1996, it's not to be taken too seriously.... And yet, the joke is very ambiguous. I do not think he can concede that, as David Chapman contends, nihilism is silly.

Note, especially, the point at the end: that the "unthinkable" is part and parcel of horror. Now Thacker is well aware that philosophy, and more particularly, theology, has repeatedly opened up upon a kind of unthinkable, and yet that it has not always ended in horror (or some desperate warding-off thereof). But he seems to take it as read that science has today cut off recourse to the theological. You can't read Thacker (or any number of others*) without sensing the overlap between horror and scientism, though perhaps you do need to read a little more than the t-shirt; and perhaps, too, Thacker would't put it like that. (Besides Ray Brassier, other names that occur to me here are Nicola Masciandaro, Ben Woodward, and of course Reza Negarestani, whose Cyclonopedia opens with a scene that wears its Lovecraftianism on its sleeve, and whose The Mortiloquist features and foregrounds a thematics of torture and biological corruption that would give Poe or Sade or Clive Barker something to think about. More recently, Leon Niemoczynski has begun to articulate what he calls a "bleak theology," in what I consider a different but related register.)

I am now deep into Thacker's trilogy and have also read After Life and much of his work with Alexander Galloway, The Exploit: a theory of networks (pdf here). You can look to the links above, or listen to this lecture, for a representative introduction to this set of themes in Thacker's work; or read a different one; see too this or this from Craig Hickman for some introduction if you aren't familiar. In the Dust of this Planet begins (and means to begin) where Lovecraft's narrators usually end -- sure enough, with "that which cannot be thought:"
The world is increasingly unthinkable.... to confront this idea is to confront an absolute limit to our ability to adequately understand the world at all -- an idea that has been a central motif of the horror genre for some time.
But we might start even before page one, with the Table of Contents:
Preface ~ Clouds of Unknowing
I Three Quæstio on Demonology
II Six Lectio on Occult Philosophy
III Nine Disputatio on the Horror of Theology
"The Subharmonic Murmur of Black Tentacular Voids"
The three numbered chapters, the three-six-nine of the sections, and the little Latin teasers all give whiffs of a medieval tradition, as though Thacker's book were a kind of grimoire. He draws freely but selectively from Pseudo-Dionysus, Eriguena, the Beguines, the Carmelites. (My guess is that much of his readership doesn't know this tradition -- over a thousand years of it -- very deeply. If they are relying on Thacker for their introduction, this is a bit like relying on Derrida for your introduction to Plato.) (In volume 2, he turns to the Zen-inflected Kyoto school. Here there are some precedents, for Buddhism and horror are not strangers to each other.) He has mined this theology for whatever is relevant to his argument, and of course there's plenty, for this is where one finds the great works of negative theology, the impossible articulation of what Ps.Dionysius called the divine darkness.

You can see how a phrase like that would appeal, and appeal it has. In the past ten years or so, this "Dark" has been a proliferating meme. Dark Materialism, Dark Pantheism, Dark Ecology, Dark Enlightenment (this one, somewhat different in nuance, is Nick Land's neoreactionary way of conflating the Enlightenment project with the dark ages). The main point in common which I am considering here is the way "Dark" signals the limits of thinking in a way that carries an emotional resonance of allure and dread. A primary philosophical precedent for this is in the aforementioned Christian tradition of negative theology -- the awareness that any discourse about God, Who is wholly and unequivocally beyond any of our categories, can only proceed by negation and tend towards paradox. Thacker's work, like a good deal of this recent trend of "dark" a/theology, tries to show -- or rather, to take as stipulated -- that the overwhelming-of-thought in Ligotti or Lovecraft is more or less the same as in Ruysbroek, Eckhardt, The Cloud of Unknowing, and so on. One can make some headway with this strategy, for after all, as St Gregory of Nyssa writes,
one who is going to associate intimately with God must go beyond all that is visible and—lifting up his own mind, as to a mountaintop, to the invisible and incomprehensible—believe that the divine is there where the understanding does not reach.
(Life of Moses)
Nonetheless, I have not discovered (though I would like to -- please tell me if I am missing it) in any of this recent "Dark" trend any work that really wants anything to do with the possibility of actually meeting the living God; I suspect the authors would be frankly amused at the very notion, or perhaps, a little horrified. Great Cthulhu is downright cuddly compared to the "FIRE" Pascal wrote of, for instance. All these "dark" a/theologies draw extensively upon negative theology for tropes of liminality, unspeakability, radical disjuncture that somehow remains radical presence; all are very interested in the swamping of our capacities. But they drain this tradition, either systematically or through advised negligence, of anything that would actually have to do with creation, redemption, and above all, with love. "Infinity" is appropriated, here as in deconstruction, as a feature of mise-en-abyme, and becomes not the occasion for philosophy to glimpse the wider context of its attempts at articulation, but instead as a kind of brute feature.

This is the academic-philosophical equivalent of the false sublime, what Brandon at Siris recently called, in an excellent post, the fake-awesome. In entertainment, this fakeness centers upon various spectacle that aims to be impressive and usually just feels flat. Brandon gives three characteristics of the false sublime. He points out that because
the sublime, or genuinely awe-inspiring, is by its nature overwhelming. Precisely what makes it sublime is that it in some sense exceeds our capacity to take it in,,
therefore
The fake-awesome tends toward incoherence.
This first aspect means that false sublimity confuses, and in practice it generates what Harry Frankfurt calls Bullshit. I've blogged a good bit about this before. If you remember back to the '90s, you'll recall that deconstruction was on the Most Wanted List for bullshitting by the defenders of Reason and Truth, and not always on trumped-up charges. Nonetheless, deconstruction's moves got predictable, and of course there was a counter-attack which used (not always prudently) deconstruction as a new way of drawing a Kantian "limit" to reason alone which would again "make room for faith;" to use deconstruction as a new vocabulary and occasion for the "return to religion." (Levinas was especially important here, though not always deeply understood.)

Against this, Badiou, Meillassoux, and Brassier -- to name only three -- made various strong rejoinders. Each seems to be arguing for a thinkable absolute, and so apparently is articulating a set of arguments that would seem to be opposed to the "unthinkable" of horror; and yet their thought has repeatedly been appropriated (and Brassier has expressly abetted this himself) in this nexus of "Dark" metaphysics, materialism, etc. The reason for this is that the "absolute" in every case winds up being precisely chaos, the aleatory unreason to which reason devolves when it decides to dispense with itself. In his third volume, Tentacles Longer than Night, Thacker unpacks this in the context of Poe's "The Black Cat:"
the narrator continues, if I can’t explain it then there must be someone else who can. In lieu of this, he can only hope that someone else (doubtless we, the "dear readers") will come along and provide an explanation, some explanation, any explanation.
What cannot be accepted is that something happened for no reason. But this event is not just an everyday event. It has the character of being out-of-place, of not fitting into our everyday or even scientific modes of explaining the world. It threatens the order of things produced by we human beings, living human lives in a human world largely (we presume) of our own making. That something, that event, might threaten this order of things,
and that it would happen for no reason -- this is, for the narrator of "The Black Cat," the real horror. It is a thought that cannot be accepted, without either abandoning reason and descending into the abyss of madness or making the leap of faith into religion and mysticism. It is as if, before Poe’s story has even begun, the horror tale itself is in a state of crisis.
(excerpt here.)
I would suggest that the "crisis" in question is one that arises precisely because the "leap of faith" has been ruled out in advance. Kierkegaard, with whom everyone associates the phrase, asked:
When people nowadays -- as is in fact variously announced -- will not stop at love, where is it that they are going? To worldly wisdom, petty calculation, to paltriness and misery?
(Fear and Trembling, "Prolegomena.")
To which the answer is, pretty much: Yep.

A different variant of this denial of sufficient reason, associated with Žižek and Badiou (and later with Meillassoux) associates the upheaval of the without-reason with a special category, what Heidegger called Ereignis, "Event." Badiou assimilates this to a Deleuzo-Mallarmean throw of dice. One of the most perceptive and articulate young philosophers I know of, Pete Wolfendale, a man who is staunchly aligned against any back-door "return to religion," nonetheless pegged this a couple of years ago as an attempt to keep, as it were, the prerogative of divine freedom without any divine. In the excerpt I'm going to give, Wolfendale traces a genealogy of this, which I am not going to unpack here, but I leave it in because his concluding account of the inversion of Leibnit's theodicy is so damn brilliant. Speaking of
the dominant axis of indeterminism in contemporary continental thought,
Wolfendale goes on to note how
[t]he combination of this vulgar Kantianism, or neo-Leibnizianism about Freedom with a resistance to theism (be it derived from the Heideggerian rejection of onto-theology or the Lacanian rejection of the big Other) demands a strong form of metaphysical indeterminism, in which nature is always ‘fractured’, ‘incomplete’ or simply subject to the whims of a ‘hyperchaos’. This is because the natural order is supposedly insufficient to account for the alternative causal order of Freedom (the Lacanian symbolic, the Badiouian Subject/Event, Fichtean facticity, etc.), meaning that there must be points at which something other pokes through into nature. Yet this supplement can’t be conceived as itself governed by sufficient reason without collapsing into some kind of positive theology. This is the point at which the neo-Leibnizians part ways with Leibniz. However, the effect of foreclosing the supplement to sufficient reason constitutes a turn to negative theology, albeit a more extreme form of it than the traditional judaic variety (even that of Levinas, for instance). We might call this a negative deism. Whereas Leibniz’s God freely chooses the best of all possible worlds, because his essence contains infinite goodness, the deviant Leibnizian non-God of the negative deist has no essence to speak of. It is the equivalent of Lovecraft’s Azathoth – a non-sentient, absolutely indifferent, writhing hyperchaos.
In short, incoherence has for this metaphysics become an ontological principle. Wolfendale opines that this indeterminism is actually politically dangerous, and his diagnosis is worth attending to, but I'm not going to follow it here because as is so often the case with his posts, I can't do it justice without making it more or less the whole occasion of a very careful point-by-point treatment. What I do want to underscore though is that, although I disagree with Wolfendale about the issue of theism, I strongly concur that those who want to take this tack are more or less cheating, trying to have things both ways; an aversion to theism is strongly and almost Freudianly joined with a deep draw to the moves of theology. It's hard not to see this as the latest chapter of the secularization Carl Schmitt posited in the famous opening of Political Theology's chapter three.

Returning to Brandon's post on the pseudo-sublime, the next characteristic he mentions is almost a kind of defense against the horrifying implications of the aleatory -- a warding-off of the spectre of Azathoth:
the most basic experience of sublimity seems to be when we experience something capable of terrifying us but under conditions in which we can be exhilarated rather than fully terrified. At least, historically that is one of the most common kinds of experience associated with it. If you are going to fake experience of the sublime or truly awesome, one has to manufacture something analogous to this.
This means that
The fake-awesome tends toward violence.
One could argue that "violence" is a relative term, but if we say destruction, we are very close to the unacknowledged cosmological idols of our time. In fact even in Meillassoux's (barely) more hopeful aleatory cosmology, creation is infinitesimally rare; destruction is the order of the day. Why destruction? Because under the aleatory non-regime there are far, far more -- infinite orders of magnitude more -- ways for things to fall apart than for things to "fit together" in an order. (Meillassoux might want to object here that with transfinite magnitudes, this is not the case. I am unpersuaded.) Moreover, the great sign under which Brassier's Nihil Unbound is written -- the sign of extinction -- is a special case of destruction, the destruction of mind. Some philosophy in this register -- David Benatar's Better Never To Have Been, for instance -- will valorize extinction to the point of commending it as a species-wide programme. Benatar does not promote mass suicide; he advocates what one might call radically negative population growth, by voluntary and if possible completely unanimous non-procreation. Violence? Yes, indeed, his absolutely sincere "voluntary" notwithstanding. I might go on (and might cite Wolfendale again) to argue that philosophy of this stripe will and indeed must wind up valorizing upheavals politically, which equates, in practice, to more pedestrian meanings of "violence." I'm not sure about this, however, and although I can come up with some obvious instances, I'm pretty sure these could be matched by counter-examples, so I won't press the point.

Of course, in the context of pop entertainment about which Brandon was originally writing, examples abound, and you hardly need to think about it to rack up a score or so, big or small, from movies and television. This is also true for Brandon's third characteristic:
The sublime is something so great that in comparison to it we are small; but also so great that even our capacity to recognize its greatness is a mark of our own greatness. The pseudo-awesome cannot capture the latter part; but it can do a lot to imitate the vastness of the sublime and awe-inspiring. Thus the fake-awesome has a tendency to try for experiences that are bigger and bigger and bigger, even if it comes at the expense of valuable small things,
which means that, in sum:
The fake-awesome tends to involve big spectacle trumping all other features of a story.
And if you press this far enough, you will get "spectacle" that by its very being-experienced swamps and undoes the beholder. The blasphemous horrors that drives Lovecraft's narrators mad.

The sublime is Pascal's infinite silences, the enormity of the physical universe which can crush a human being; but it is also, crucially, the human being, the thinking reed, who knows the universe as the universe does not know the human. The pseudo-sublime of the "horror of philosophy" trades upon severing this connection. The sublime does indeed leave us, in a sense, emptied and incapacitated; take this as an end in itself and you get all the Nameless Horrors of Lovecraft and Ligotti. This -- Pascal's terrifying infinite spaces, without the rest of Pascal -- is of course a cosmic indifference; but in order for it to work as horror, it is also, by a kind of sleight-of-argument, an indifference which is indistinguishable from malevolence. This Lovecraftian pseudo-sublime is the fun-house inversion of a theological version of the problem of evil, which we can compress into a parallel formula, according to which God is a benevolence apparently indistinguishable from indifference. (It's important to note too that whether one aspires to follow the Tao, cultivate the apatheia of the saints, or striving after the Eightfold Path, one is aspiring to a sort of indifference oneself.)

This question of indistinguishability is at issue, but perhaps not pressed far enough, in the famous "parable of the invisible gardener" which John Wisdom (who deserves to be known for more than this little story) used to illustrate an argument concerning the relevance of empiricism to theism. Two travelers return to find their garden mostly wasting away but a few plants surprisingly robust. "It must be there is a gardener who tends these," says one. But no neighbor has seen such a gardener, rejoins the other. "Perhaps he comes at night," the first replies. "But there are no footprints." And so it goes, back and forth. Anthony Flew stretched this story to turn it into a parody of incorrigibility, but in fact Wisdom was not primarily making this critique; he he was showing that the same empirical experience was amenable to various interpretations:
Each learns all the other learns about the garden. Consequently, when after all this, one says "I still believe a gardener comes" while the other says "I don’t," their different words now reflect no difference as to what they have found in the garden, or would find in the garden if they looked further.... One says, "A gardener comes unseen and unheard; he is manifested only in his works with which we are all familiar. The other says, "There is no gardener." And with this difference in what they say about the gardener goes a difference in how they feel toward the garden, in spite of the fact that neither expects anything of it which the other does not expect.
The point here is that a benevolence apparently indistinguishable from indifference is distinguishable -- in its effects on how one feels -- from an indifference indistinguishable from malevolence. (A further question is whether either one of these is a coherently conceivable concept.)

The ontological exaltation of the aleatory leads us to a weird mutation -- the opposite of the Kantian aesthetic principle of "purposive purposelessness." In the blind Oops-universe, humanity and indeed all sentience is a purposeless purposiveness. Kant's aesthetic is remembered in part for the way he deploys the difference between the Sublime and the Beautiful; and I suspect that one reason why the false sublime Brandon so skillfully describes is now so ascendant, is that we have too drastically separated these. As though anything that pleased also flattered, as though beauty was by definition ideology. (It seems worth underscoring Addison's account of the sublime as "agreeable horror." My sense is that in this fixation on all things Dark, there is some conflictedness about the "agreeable" here -- a strong motive to foreground the disagreeable as much as possible, all the while trying to forget that, after all, it is motivated to do this.) It may seem a small thing, but Dostoevsky did not say that sublimity will save the world.

I mentioned Benatar's anti-natalist book Better Never To Have Been (also cited, by the way, in the interview with Pizzolatto about True Detective), the title of which comes from the mocking advice Silenus gave to King Midas' question of what was the best thing for man. "Never to be born," the satyr told the appalled king. And, for good measure, "And next best, to die. Soon." I've written many times about this melancholy conclusion, and I maintain that those (like Ligotti) who believe philosophy is intentionally holding this notion at bay are right. Where I part company with them is to hold that the Socratic prescription of an examined life is truly a cure intended in good faith. "Examination" is not just a high-sounding name for its opposite (denial) or a subterfuge for distracting yourself with "bad reasons for what we all believe on instinct." The disagreement about this is, again, the cleavage plane between two apparent indiscernibles which are in fact the occasion for a decision. Is the universe an indifference indistinguishable from malevolence, or is it a benevolence indistinguishable from indifference?

One of the ways -- probably the privileged way -- that these visions differ, is how they plays out in the question of prayer.

This is not a crazy out-of-left-field application. The question of prayer is as old as philosophy. From Plato on, it has been asked, what sense it can possibly make to pray. (It is at issue in significant portions of the Laws, a dialogue which is almost a litmus-test for "kinds of philosophers" -- far, far too many sneer at the Laws as a work of Plato's ostensibly conservative, curmudgeonly dotage.) Does it make sense to speak to -- to petition, thank, praise -- an apparently indifferent Divine, a "presence," if that's what God "is," which philosophy cannot but construe, a la negative theology, as absence? And -- if so -- how? What sort of sense? In my opinion, the most extensive and deepest meditation that prayer has occasioned in modern philosophy is the introduction to Book III of Rosenzweig's Star of Redemption, "On the Possibility of Entreating the Kingdom." Getting into Rosenzweig's book will make this post officially Too Long ("too late," you are saying under your breath), so I'm going to leave off; but I want to underline the way the recent crop of the "dark" philosophies that flower in the chilly hothouse of horrorology and hauntology all -- or almost all (Masciandaro may be the exception) -- absent themselves from this question. They want to make use -- sometimes with considerable apparent erudition -- of the metaphysics of mysticism, of magic and demonology, but seem to me (though I'd love to be corrected) to be universally allergic to the question of prayer, without which none of the tradition of negative theology matters, for that tradition is one not of discourse, but of practice. Ps. Dionysius, Eckhardt, St Teresa of Avila, aren't spinning theories. They're speaking of experience.

When it comes down to it, though, it isn't a question of the "plot" or the argument of any of these "dark" works. Thacker's account is different from Land's, which is different from Masciandaro's, and so on. But the general esprit is unmistakable: this is philosophy that doesn't just believe that the world is empty of meaning, or even that this emptiness is horrible, but that takes a certain bleak delight in this emptiness; and moreover sees its countenancing of this horror as evidence of its strength, even if a strength-in-abjection. Well, who can blame people for taking what cold comfort they can? Bertrand Russell made the stance of quiet desperation in the face of an indifferent universe into a sort of noble ethical imperative. The more recent stance of horror-philosophy or vice-versa is what is left when all ethics has been digested into aesthetics, and aesthetics into its opposite. It can still appropriate the tags of previous contexts, but what it can offer is at most a sort of attempt at blasphemy. You get this loud and clear with Land. More often, it's just a fake sublime -- magic circles and paraphernalia, gibberish ("Ia! Shub Niggurath!") and violence, overwhelming emotions and the "unthinkable" -- but no devotion, humility, or indeed even address. But any theology, even an atheology, divorced from prayer is simply not real. What I say about God is of no interest, not even to me, except insofar as it effects what I do. The place where doing and saying intersect is the performative, and prayer is performative theology par excellence. This means, to return to an earlier point, that blasphemy -- also a performative, after all -- can be a kind of para- or inverse prayer, albeit always parasitic on prayer itself. To be sure, as C.S. Lewis wrote,
All prayers always, taken at their word, blaspheme
Lewis' point is that of negative theology: every literal statement about God is a lie. And if there were only the literal, that would be the end of it. Lewis' faith is that there is more, and not just "more" but something else: the poem concludes with a petition to God to translate "our halting metaphor" into the "great unbroken speech."

And with this metaphor of translation, there is a question of (non-)identity of (in)discernibles. What are the "terms" of this imagined speech? What would it mean for it to be "unbroken" (say, into particular "words")? And by what "translation" can blasphemy be sanctified? We could well deem this yet another occasion for deconstruction, construing every prayer as dangerously supplemented with an admixture of blasphemy. But in order to do this, we'd have to grant that there is such a thing as prayer.


* One thinker who has worked on Lovecraft and who I have left out of account here is Graham Harman. While I strongly agree with Harman's claim (in "On the horror of Phenomenology: Lovecraft and Husserl") that "nothing resembles science fiction more than philosophy does," this is at least in part because I concur in principle with Derrida that the line between philosophy and literature "in general" is far from clear. Harman's specific considerations and appropriations of Lovecraft seem to me idiosyncratic, at least in the context of these other thinkers (Thacker, Brassier, Land, etc). It would be more interesting and pertinent here to consider Harman's own metaphysics as a species of, or as an alternative to, horror, for it can certainly be argued (and has been) that the "withdrawal" Harman posits of every real object whatsoever, is a modulation of another theme from negative theology. This is an argument Harman rejects:
The response of object-oriented philosophy is that this claim sets up a false alternative between two extremes: direct propositional access to the world on one side and ignorant silence on the other. But these are really no different from the two false alternatives of Meno's paradox, both of which Socrates opposed with philosophia, a love of wisdom without direct access to wisdom.
I have some sympathy with this rejoinder of Harman's, though I do not take "negative theology" as a slur and believe it is more continuous with philosophy than his critics want it to be. But as readers are well aware, this post is long enough.

Tuesday, June 9, 2015

"...a little fed up..."


A while ago I re-encountered a citation from Michel Houellebecq's book on H.P. Lovecraft, tellingly subtitled Against the World, Against Life. I've read only portions of this work, so I may not be being fair to Houellebecq, whose other works I have not found to my taste; the only novel I have finished (it was very elegantly written and structured and left me feeling empty) was Lanzarote). The citation from the Lovecraft book is:
Those who love life do not read. Nor do they go to the movies, actually. No matter what might be said, access to the artistic universe is more or less entirely the preserve of those who are a little fed up with the world.
(Excerpt here.)
My reaction to this as I thought about it was complicated and went in stages. Initially I sighed a kind of exasperated eye-rolling "whatever." It is difficult for me to summon up patience (or even belief) when people tell me that "loving life" is somehow, I don't know, a little bit beneath them or something. Moreover, it is somehow grotesque that a novelist should assert that love of art and love of life are, at bottom, incompatible. If a novelist cannot be expected to realize without having to think about it that famously-inventive human nature will be ready to supply you with an endless series of examples of "inconsistencies" no matter how surprising, then I don't know who can. There is, moreover, something both naive and staggeringly condescending in this disparagement, a condescension I find even in Milan Kundera, a novelist I love and who helped shape my worldview, but whose blind spots are painful to me. Kundera describes kitsch in more than one place as an attitude of fundamental "agreement with Being," and between the lines it is hard not to read an aggrieved impatience, as if with something pitiably lacking in experience. This is not just the sad head-shaking of a mild curmudgeon, but the twitch of one who suspects every ontology of harboring an ideology. (Kitsch is the "denial of shit," Kundera explains in what is still his masterpiece, The Unbearable Lightness of Being. John Berger took him to task for this, in an essay called, appropriately, "A Load of Shit." Far be it from me to dream of adjudicating between two such giants. I would just point out that Kundera's stance obviously finds the "unacceptable" in the realm of aesthetics, which is not so much an answer as an avoidance of the problem.)

Well, I had got about this far in my reaction when I noticed a kind of twitch of my own. Something was out of place. And as I sat with it, it came into focus: Who am I kidding? Me, an unqualified "affirmer of life"? Ha! I am a little, and more than a little, "fed up" with the world. I have moods in which I can summon a "critique of existence" that would make a Manichean blanch and teach anti-natalists a thing or two. The universe is indeed endlessly plentiful, "full of a number of things," things like the inventiveness of police interrogators, serial killers, and psychopathic parents; of mold spores that consume spiders from within, and wasps who lay eggs in living caterpillars, to say nothing of the more mundanely red-in-tooth-&-claw nature. There are sailors trapped in sunken, slowly imploding submarines; there are children who awaken to a rocket exploding their house, their parents or siblings or themselves shredded into pieces. There are suicides and lifetimes of regret, there are brilliant minds dwindling into the twilight of demetia, there are car accidents and and fatal undiagnosed birth defects, tsunamis and earthquakes. And there are "lesser" sufferings: failed love affairs, disappointments and betrayals, misunderstandings and victimizations arising out of a thousand different tangled motives and half-motives and lazinesses and bad luck. To all of this I remain deeply and entrenchedly unreconciled. I am unreconciled, indeed, to a universe that has so much as a skinned knee in it. I would say incorrigibly unreconciled, if I did not believe (or remember that I believe) that "for God all things are possible."

I spend a great deal of time with children whose disappointments and concerns can look laughable from my going-on-50 years, and I remember all too keenly the anxiety or fear or pain I felt over matters that seemed like the end of the world. The fact that they pass into triviality does not negate the angst of the child who has lost a toy, or the awkward teen with her face breaking out, or the kid so afraid of being punished that he tells a lie. Part of me is walking away from Omelas well before anyone has been tortured in a broom closet. An evil need not be irrevocable to be unacceptable, because the band-aid and mother's kiss that makes the skinned knee "OK" is not different in kind from the imagined reconciliation of all things that Ivan Karamazov so politely declines to welcome. In these moods, I call Ivan a wuss. In these moods I am what Arjuna was called: Bibhatsu ("he-who feels repugnance," Calasso translates). Don't talk to me about "Nay-saying." Look the fucking monster in the eye.

And yet. There is a snag. The problem of evil is deep, very, very deep, deeper by far than any suspect who think it is a knock-down argument against the existence of God (or a good God, anyway). And this is because to feel the problem as a problem (as opposed to a kind of existential neuropathy) entails an answering awareness of what could be the case instead. Think about the problem of evil very long and if you are honest it will land you smack in the middle of what Amod Lele calls, with admirable symmetry, the problem of Good. (That "think about it" is crucial.) Notwithstanding all my repugnance, there is yet a gulf fixed between me and Thomas Ligotti's verdict:
In a state of anhedonia, everything is revealed in its true purposelessness and inanity. ...[A]nhedonia...is an eminently rational state.... Emotion gives an illusory focus and meaning to our lives. When the feeling is gone, so is that sense. This sense is a motivator yet it also fools you into thinking that something is important when it’s not in the least .... I couldn't possibly write something that would reflect the true depths of my aversion to everything that exists.... humans can’t handle unpleasant realities and what those realities are. But we’re predisposed not to think about those things in a way that will affect how we live, or to think about them at all in most cases.
Now here is some repugnance one can sink one's teeth into. Ligotti isn't merely saying that life is pointless, but that everyone who denies this -- and that means pretty much everybody tout court -- is simply mired in a kind of laughable self-deception. Laughable, or enviable, but Ligotti says it with a snarl that turns envy into resentment and resentment into disdain. One can feel a legitimate pity for Ligotti's awful situation, since anhedonia is obviously by definition a Hell-state; one can feel a kind of admiration for him, too, as he has turned his affliction into an occasion for deeply unsettling horror fiction, and has honed his craft until he's one of the finest writers in the genre, and, by some standards, beyond it. But both the admiration and the pity may well miss the point -- may be evasions of the point. After all, one can ask: Is the reason for the chasm between me and Ligotti simply that I am not anhedonic? That my brain is one way and his another? And doesn't this slip aside of the question of who is right?

Well, that is one answer and possibly close to what Ligotti himself would offer; but it's an answer that prescinds from the very notion of giving reasons for answers; its explanation is not on the same level as the question. It cheats itself out of the right to a little word there in the first sentence of the quote above, without which, its position deflates into a mere mistake (though not a stupid or an easily-avoidable one). You know the word in question: it's the four-letter word "true."

I found myself thinking of this issue of "world-critique" when I re-read an old post on Transcendence by Amod Lele at Love of All Wisdom. Lele is not writing about the radical pessimism Ligotti exemplifies, but rather about those forms of political or anti-political critique which see something amiss in the world and set themselves to fix it. One of Lele's main exhibits is Marxism, but he is at pains to underline the similarities between this and any spiritual "Ascent" tradition which sees something lacking in the ordinary, real world, and wants to transcend it. Some of this underlies a continuing, on-again off-again conversation between Lele and myself about gnosticism, immanence and transcendence, a little of which is explored in the second part of my interview with him, and some of which is touched on in the comments to an earlier post on Eric Voegelin. For Lele, "transcendence" goes along with finding the world bad. Either you want to get the Hell out, or you want to rebuild it from the ground up. In either case, it's what he glosses as "hatred of this world." But the point here is not, if I can put it so baldly, the "world," but the "hatred." For Voegelin, "gnosticism" is primarily a mark not of a kind of cosmology, but of a response to an existential experience of alienation. Of feeling alone, adrift, at odds. "A little bit fed up...", or more than a little. "Against the world, against life."

Christianity has always been scolded for being "world-denying," for flirting with gnosticism, and this despite its tooth-and-nail fight against the gnostics (a fight that, weirdly, also gets them bad press from a sector or would-be world "affirmers"). But what it has in common with gnosticism is what it has in common with ancient thought generally: Christianity affirms that there is a kind of story to the world. Like all ancient ways of thinking, its categories are narrative. Ray Brassier is commendably succinct in contending that dispensing with narrative is the way in which contemporary scientism, which he does not shrink from naming nihilism, differs from all past modes of thought:
conceptual rationality weans itself from the narrative structures that continue to prevail in theology and theologically inflected metaphysics. This marks a decisive step forward in the slow process through which human rationality has gradually abandoned mythology, which is basically the interpretation of reality in narrative terms.... the very category of narrative...has been rendered cognitively redundant by modern science.
I've said before that if there is (as I maintain) a truth to the ancient way of being and thinking, it is on the level of theme, not of plot. This is a distinction I took from C.S. Lewis; "plot" is just what happens in a story; "theme" is the world of the story, its whole gestalt, its "what-it's-like;" what gaming nerds call the flavor rather than the mechanics. I won't argue for this distinction, let alone my deployment of it, here; you can go read the two earlier posts for some of that. Here I want to note that the steely nihilism for which Brassier is justly renowned is, of course, also a theme, a theme of bleakness and the little blip of our meaningless lives in the Universe which just roils on, until it doesn't. To point this out is not some kind of logical gotcha -- I may have my correlationist moments, but I'm not stupid -- but it's worth noticing that this theme is enjoying an upsurge of interest and popularity. I don't assume that this means that "our cultural moment", or whatever, is any more deeply "fed up" with the world than any other; the obvious and overt nihilism of a culture is rarely the deepest symptom of its decadence. But I am interested in the recent philosophical intersections of horror and nihilism -- in particular, in the fixation in some quarters on all things "Dark," a thematics which, one cannot help but notice, frequently helps itself to all manner of associations deriving from precisely the "mythological" heritage of thought which Brassier says science is leaving behind. This is one place where Lovecraft's influence is overt, and "weirdly" mixed with the very different heritage of apophaticism -- a world-transcendence of another sort. I'll treat this somewhat in the next post.

Friday, May 22, 2015

Signal to noise


I've maintained before that the claim in Socrates' defense concerning what sort of life is worth living is not simply an exhortation to a certain ideal; it is a therapeutic rejoinder to the morose conclusion of the tragic world view according to which "not to be born is best, and next best is to die soon." My contention is that Socrates actually concedes that the "worthwhileness" if life is not a foregone conclusion, but holds that there is a good life, and that its sine qua non is (in the usual translation, with which I won't quibble for now) "examination."

Nietzsche famously faulted Socrates for his diagnosis of life, most obviously in The Gay Science, 340: his account of the hemlock scene. He takes Socrates to task for (Nietzsche thinks) construing life as a disease one needs curing of; hence, Nietzsche thinks, Socrates' assertion that he owes a sacrifice of thanks to Asclepius. For all his polemics and his posturing as Anti-Christ, Nietzsche's first and last opponent is Socrates; and here, in his stance as an affirmer of life, he exhorts: "O my friends, we must overcome even the Greeks!"

So it is really quite something to remember that Nietzsche also names a sine qua non. This Yea-sayer, this prophet of amor fati, declares that there is after all one thing without which life would be, well, not worth living:
Without music, life would be a mistake.
(Twilight of the Idols 33.)
This is not an anomaly in Nietzsche, who engaged at the beginning and the end of his career with the most looming musical genius of his era; who at the end of his life signed his letters Dionysius, the god of that very art which his first book had said was born "out of the spirit of music." Nietzsche is probably the most musical of all modern philosophers, the one for whom music is most central to his thought, more so even than Schopenhauer before him, or Adorno or Marcel after. (His own compositions, despite the sneers they got from Wagner, still hold up.)

A great deal depends upon how much difference one discerns between Nietzsche's sine qua non and Socrates'. For some, it's an open and shut case: they're diametrically opposed, 180 degrees apart! But others (and by no means the least Nietzschean) may say -- not "no difference at all!", but perhaps -- "180 degrees in what space?" For the space of reasons is not necessarily Euclidean. And neither is the space of music.