My last post was all of those months ago when I was at the brainstorming stages of this article, which eventually became “How to be a Realist about Similarity: Towards a Theory of Features in Object-Oriented Philosophy.” You can see it here.
There are also many other amazing pieces published in this inaugural issue. I’m making my way through them and would encourage you to do the same.
I remember reading an interview somewhere with Ray Brassier where he referred to his big work, Nihil Unbound, as a “botched job.” I can’t recall why he thought that (it’s a fantastic work) or what he thought he needed to get right for next time, but I really admired him for saying it. Scholars and artists put so much of themselves into their work that it’s hard not to over-identify with it. It’s hard not to stand by your work, even if there’s something incomplete or perhaps wrong about it. Part of that is ego, but part of it is ethos. And ethos is real. It belongs to audience just as much as it does to the speaker/writer. If you’re publicly honest about the shortcomings of your previous work, you might get some points for that honesty–but how can you expect anyone to invest their time and trust into the next one?
With that in mind, I’m on the road to completing (or rectifying) that which was incomplete (or wrong) about my past work on OOO and epistemology. This includes my book and a recent article that never survived the editing process. Much of the inspiration for revising my thinking comes from the second of my blog-mediated conversations with Eric Taxier, whose sharp insights into object-quality tensions led me to a very different reading of ontography. I’ve never really put much stock into academic conferences but, man, critical engagement does matter.
Anyway, here’s a very rough introduction to a new essay I’m writing in which will attempt to apply a more systematic treatment of the matter. I submit it here not to illicit feedback (not just yet, anyway), but to thumbtack it onto the wall, to try to stay within the bounds of the few basic tasks I’ve laid out for myself:
Why Don’t Objects Have Properties? (subtitle forthcoming)
There is a perfectly efficient answer to the titular question of this essay: People in the analytical tradition tend to talk about ‘properties,’ whereas those in the phenomenological tradition like to talk about ‘qualities,’ even though they’re all essentially dealing with the same thing. Object-Oriented Ontology speaks with a phenomenological accent, so it uses qualities.
In recent weeks, Italian minister and Lega Nord leader Matteo Salvini has moved to expel as many Roma as possible from Italy, and put the rest on a registry. Comparisons to Nazi Germany and Fascist Italy seem to be the order of the day in our current political discourse (and they’re often entirely justified (re: Trump’s “summer camps” for refugee children)), but this one requires no explicit comparison. This isn’t just something out of the fascists’ playbook–it’s straight out of the fascists’ biography. Romani people endure violence from fringe groups and governments alike every day, but, sadly, it takes an act like this one–an act whose evocation of the Holocaust is all but impossible to ignore–for people to utter the phrase, “Never again.” This has to change. The fate of Europe depends on it.
The importance of antiziganism is lost on Americans, partly because Roma are much less visible in North America and because Holocaust education is incomplete, and because, let’s face it, Gypsies are far more likely to appear in Disney cartoons than history documentaries. The importance of antiziganism is not so much lost on Europeans as it is conveniently hidden. Either way, I would argue that Europe as a political entity is bound to antiziganism. Antiziganism bookends Europe.
First, a personal whinge: In the months leading to my move to Sweden, I followed the local weather pretty closely in order to get a baseline. It seems that they had a late start on winter, but when the snow did arrive, it kept coming. All the way to April. As the months before my departure became weeks and days, I became far more concerned with what still needed be done in Toledo. And by the time I got on the plane, I had no specific idea about what kind of ground conditions to expect when I landed. But I had heard that things stayed pretty wet and cool until July, so I happily packed my rain jacket into my backpack with a near certainty that I’d have to pull it out as soon as I stepped out of baggage claim.
When I say “I happily packed my rain jacket,” I mean just that. I was happy. Not just that I’d be prepared, but because I like cool, dreary days. I always have. Mind you, I don’t walk around with black eyeliner and I’m not at all displeased that Friday I’m in Love is only Cure song most people know. And yes, there is a point of diminishing returns if it stays dreary for too long. But I generally like my days in grey tone.
For one, the heat is not a good look for me. I sweat a lot. And excessive sweat does ugly things to curly hair and a ruddy complexion. Ugly things. Imagine Dylan Thomas in a sauna. Or don’t.
For another, the sun has always seemed to me a sort of luciferian figure. Yes it illuminates the world for us; but when you actually walk around in the sunshine, your head is forever bowed. When it’s too bright, the ground in front of you is all there really is to look at. But on a grey day, light is less homogeneous. It breaks for the turn of a single leaf and the whole cityscape alike. The world is less illuminated, but the things in it are more vibrant.
It’s been about five months since the last entry. There are a few reasons for this, first and foremost being that we have recently relocated to Örebro, Sweden, where I’ve taken up a post as Senior Lecturer in Rhetoric (Örebro Universitet). That meant working through a heavy spring semester at Lourdes, making all of the arrangements for an overseas move, and learning Swedish as quickly as I possibly could (still a work in progress). The wheels left the ground three days after final grades were due.
I’m super stoked about being here; however, I started work pretty much as soon as we arrived a few weeks ago, so I am looking forward to being able to catch my breath. Despite the intensity of the past couple of months, the move does mean (fingers crossed) that I’ll get a bit more time and resources for research in the coming months and years. Also, Sweden.
Before I get into it, here’s a relevant passage from Heidegger’s The Origin of the Work of Art in which he describes one of Van Gogh’s studies of peasant shoes (One finds oneself in a dangerously forgiving mood when reading philosophy written this beautifully.) :
A pair of peasant shoes and nothing more. And yet…From the dark opening of the worn insides of the shoes the toilsome tread of the worker stares forth. In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles stretches the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quite gift of the ripening grain and its unexplained self-refusal in the fallow desolation of the wintry field. The equipment is pervaded by uncomplaining worry as to the certainty of bread, the wordless joy of having once more withstood want, the trembling before the impending childbed and shivering at the surrounding menace of death. This equipment belongs to the earth, and it is protected in the world of the peasant woman. From out of this protected belonging the equipment itself rises to its resting-withing-self.
This passage was on my mind as I left the movie theater last week, having finally given Star Wars: The Last Jedi a go. It’s hard to overestimate the impact Star Wars has had on the worldview of what is now three generations of Americans, including my own. Unlike many of my compatriots, however, it’s never been a religion for me. Or at any rate, I’m an apostate. I, for one, thought the prequel movies were jolly good fun. I had no real expectations of those movies, nor for The Force Awakens. But since I was such a fan of Rian Johnson’s Brick and Looper, I’ll admit I might have set the bar a little too high for The Last Jedi. In the end, it was no better or no worse than the last four movies. Nothing gained, nothing lost. But it was apparently a real let down for the faithful because the expectations of this one were that it would dig deeply into Jedi mythology and lay down some canonical law for any future fan fiction. For me, the film’s pronounced lack of substance was actually kind of thought-provoking. I couldn’t help but think about what fantasy tells us about the truth function of art about which Heidegger is speaking in his essay.
I’m worried that my fellow travelers on the Left may be making too much of the recent election in Alabama. First of all, the election was close. And as of this writing, Roy Moore has yet to concede defeat. The conspiracy machines are turning. This thing might be taken to the courts, and the United States does not have the best track record when it comes to letting courts decide elections.
The grim possibility that partisan judges might be empowered to interpret the will of the voters notwithstanding, I am concerned with the way the Left is interpreting this political moment. The Left, you see, still acts as if there were such thing as an arc of history. Richard Wolfe’s latest column for The Guardian, “Roy Moore’s stunning defeat reveals the red line for Trump-style politics,” is typical of this view. The thinking is that we have had our reversal of fortunes, and now we’re undergoing anagnorisis, or recognition. Soon, after his family tears itself apart, the mad King Lear will fall and we will have our catharsis. That may well happen, but the problem with such a view is that encourages us to wait and spectate. We’re all watching a play while a mob stands outside the theater with torches, ready to burn the place to the ground.
If you aren’t subscribed to Eric Taxier’s blog (The Mystery Bin), you should be. Eric T. is a musicologist who also traffics in metaphysics; and his insights into aesthetics, object-oriented ontology, and music are both rare and profound. You’ll want to hitch your wagon to his star now.
In the year and change since I started this blog, Eric T. has become a generous, challenging, and invaluable interlocutor. Thanks to him, some of the best stuff in this blog has existed underground, in the Comments sections. He has been kind enough to permit me to publish our latest conversation as a separate post. The real philosophical dialogue (distinct from the dramatized Platonic-style dialogue) is actually one of my favorite genres of scholarly literature, and when it is done with humility and good faith, I find it more productive than the co-authored monograph or the edited volume. The following, then, is a micro-contribution to that genre. I have edited out some of the salutations and my frequent apologies for being so late to reply, and I have also prefaced each entry with relevant themes. Other than that, what you see is what you get.
Briefly, we began with the topic of equivocation in contemporary political discourse in response to my short entry on Donald Trump’s post-Charlottesville comments. We then went on to discuss the relationship between the rhetoric of equivocation and philosophies of equivocity/univocity, referencing both Medieval theological and contemporary debates, citing a range of figures including Thomas Aquinas, Duns Scotus, Henri Bergson, Gilles Deleuze, and Alain Badiou. We also talked about equivocal philosophy and the naturalization of nature–there citing the work of Arianne Conty, Felix Guattari, and Bruno Latour. The thread ended up with a discussion of aesthetic causality, in which we staked out positions on the relationship between withdrawal and endurance in Harmanian objects. As you’ll see, I largely came around to Eric T.’s POV on the deep distinction between withdrawal and endurance.
If nothing else, this dialogue serves as an excellent primer for the thinkers and philosophies mentioned above. But if you already have positions staked out on these things, some of the arguments in this thread might persuade you to think otherwise, as they have for me. Please read on!
I think I must give off a sort of Louis Theroux vibe. People on the most extreme fringes feel comfortable opening up to me for some reason, even as I make it clear that I’m not with them. This has given me the opportunity to have frank conversations over the years with fundamentalists and radicals of just about every ideological flavor. In each case, the currency of the realm is equivocation. Its function is not to prove that Side A is right by virtue of the fact that Side B has done bad things too; it is to show that Side A and Side B are the same, and so the only choice is Side C, which just turns out to be Side A by another name. It’s simple. It’s lazy. But it’s still the most effective way of sewing moral confusion. Mind you, this is nothing new…But add it to the epistemic confusion caused by information overload, and you’ve got a rhetorical H-bomb.
Equivocation is reason why Trump has been able to thrive where other politicians might have crashed and burned. And it’s why when Trump eventually does crash and burn, others will likely thrive in his place.
His “many sides” response to the white supremacist violence in Charlottesville, VA is the most disgusting example yet of Trump’s equivocalist rhetoric. The scary thing is that he was probably on mental autopilot when he said it. Equivocation is a worldview as much as it is a rhetorical tool.
This is one of the reasons I’ve been pursuing the slippery topic of similarity in recent years, which unfortunately is understood as being…well…equivocal to equivocation (i.e. the repetition of the same essence). I think we need to be able to think past repetition as being repetition of the same. Equivocation is a way of casting similarity as the repetition of the same quality which differs only in proportion (i.e. quantity). Deleuze got the closest to a new way of thinking repetition when he saw difference as emerging out from the amplitude/intensity of the repetition of the same. But like the equivocal understanding of similarity, this just reduces quality to quantity. I believe we need to think repetition as a distortive, qualitative thing which can best be understood by a radical re-thinking of similarity.
Elizabeth Bruenig has written an excellent piece in the Washington Post entitled “Why is millennial humor so weird?” While Bruenig is not the first person to diagnose the millennial condition through humor, her piece is the most clearheaded and insightful I’ve seen on the topic.
Bruenig focuses in particular on the aesthetics of absurdity in millennial cultural production, which, in contrast to absurdist aesthetics of the past, is not accented with outright pessimism:
Surrealism and its anarchic cousin dadaism are nothing new; neither is absurdism or weirdness in art. ‘The absurd,’ Albert Camus wrote in 1942, ‘is born of this confrontation between the human need [for happiness and reason] and the unreasonable silence of the world.’ Absurdity is the compulsion to go looking for meaning that simply isn’t there. Today’s surrealism draws aspects of all of these threads together with humor, creating an aesthetic world where (in common internet parlance) ‘lol, nothing matters,’ but things may turn out all right anyway.
I would add that millennial absurdism can further be defined against the cynicism and irony of postmodern cultural products (those belonging to baby boomers and gen x’ers). In postmodern culture, the central trope was self-referentiality–the practice of acknowledging production from within the production (think of the “S.O.B.s” episode of Arrested Development when the show found out it was going to be canceled). Here, we can go back to McLuhan’s distinction between hot and cold media. The postmodern aesthetic of self-referentiality was a bit like hot media in that its consumption was profoundly passive. It was so passive that its producers (writers, onscreen talent, etc.) positioned themselves as members of the audience, watching the production right along side us. In other words, even the producers removed themselves from the production. There was no need to go looking for meaning in context because, as the audience, we were the context. There was no meaning to be found outside of ourselves. Millennial absurdism by contrast takes the attitude that context is always yet to come; the audience must actively create the context by distorting the product.