Eugenio Mazzarella: Il mondo nell’abisso. Heidegger e i Quaderni Neri

Il mondo nell’abisso. Heidegger e i Quaderni Neri Book Cover Il mondo nell’abisso. Heidegger e i Quaderni Neri
Eugenio Mazzarella
Neri Pozza
2018
Paperback €12.50
110

Reviewed by: Francesca Brencio (University of Seville, Spain / The Phenomenology and Mental Health Network, St. Catherine College, University of Oxford, UK)

La querelle Heidegger e il nazionalsocialismo, più recentemente coniugata alla questione dell’antisemitismo, si ripropone ciclicamente nella storia della critica e più in generale degli studi heideggeriani. Ossessive – e anche noiose – ondate di antiheideggerismo si affacciano sul panorama letterario con la complicità sia di qualche pubblicazione inedita del filosofo di Meßkirch sia dei media, spesso inclini ad una forma di linciaggio intellettuale condita con i toni più accattivanti del sensazionalismo. Questo modo bizzarro di concepire la filosofia, e con essa la Bildung filosofica, finisce nei quotidiani e negli organi di diffusione pubblicitaria avallando un certo modo di pensare che fa della semplificazione la linea guida del nostro tempo. Che il prezzo da pagare per questa operazione sia la banalizzazione della filosofia in generale non lo si contabilizza nella società dello spettacolo: ciò che conta è “rinverdire il cartellone per un teatro filosofico, dove da qualche anno non entrava più nessuno” (Mazzarella 2018, p. 13).

La pubblicazione dei Quaderni Neri di Heidegger, cominciata nel 2014 ed ancora in corso per la casa editrice Klostermann di Francoforte sul Meno, si inserisce in questo cartellone in disuso. Il recente volume di Eugenio Mazzarella (del 2018 è la versione in lingua italiana, mentre del 2020 quella in lingua tedesca, pubblicata per la Ergon Verlag) ha il merito di fare ordine tra il noto, l’insostenibile e il nuovo. Il mondo nell’abisso è una sorta di fotografia nitida di tre ordini di problemi: in primo luogo, è l’istantanea disincantata della vicenda dell’uomo Heidegger di fronte agli eventi politici che abbracciano gli anni dal 1931 al 1946; in secondo luogo è un ritratto di un certo modo di concepire il dibattito filosofico su ‘Heidegger e il nazionalsocialismo’ superando ogni residuo ideologico del pro et contra; infine è un’istantanea attuale di quello che rimane il compito della filosofia oggi, cioè farsi engagement con la realtà e con il proprio tempo. Questo triplice ordine di problemi si interseca con l’intento di comprendere il nuovo, disvelare l’insostenibile ed archiviare il noto, in vista di quella che rimane, a mio avviso, la domanda più spinosa della filosofia heideggeriana: che ne è dell’essere?

Il libro consta di quattro capitoli, o se vogliamo di quattro sentieri, attraverso i quali incamminarsi verso la Seinsfrage per comprenderne la (mancata) ricaduta nella realtà e nella storia negli anni dei Quaderni Neri. Nel primo capitolo, Teatro filosofico. Un cartellone in disuso, Mazzarella ricostruisce le vicende dell’uomo Heidegger legate alla redazione degli appunti contenuti nelle Überlegungen e nelle Anmerkungen per sottolinearne “un disimpegno ontologico dalla realtà” (p. 15), quale conseguenza della delusione del rettorato e accettazione della “profezia dell’avanzare del deserto della modernità nella sua (auto)rovina” (p. 15). Delusione che si aggrava con la disillusione che il nazismo non ha nulla a che vedere con quella rivoluzione spirituale a cui egli aveva guardato come una nuova possibilità per lo “spirito tedesco”. Il disimpegno si fa apocalittico, ci dice Mazzarella, quando Heidegger è testimone degli eventi che muovono dal finire degli anni trenta sino allo scoppio del secondo conflitto mondiale: il nazionalsocialismo è un movimento barbarico fondato sulla politica del terrore che nulla ha a che vedere con “il coraggio inaudito della domanda dell’Essere” (p. 16), bensì manifesta la sua essenza attraverso quella macchinazione propria del calcolo tecnico che deriva dalla metafisica occidentale. Le baldanzose speranze del rettorato si scontrano con il terrore dei fatti; la frustrazione umana ed intellettuale dell’uomo Heidegger si manifesta nella frustrazione di pensiero che lo accompagnerà sino agli anni Cinquanta (pp. 17-18): solo allora egli potrà fare esperienza di una riconciliazione con il mondo per mezzo di Hölderlin, di Hebel, dell’arte e dei Greci. Nel teatro filosofico che offre interpretazioni pro et contra Heidegger, Mazzarella distingue con lucido distacco e sapiente perizia, tipica di chi ha trascorso una buona parte della propria vita intellettuale in dialogo con le domande di Heidegger, fra il noto, cioè quelle interpretazioni che alimentano la scolastica heideggeriana sia sul versante dell’encomio sia su quello dell’oltraggio; l’insostenibile, cioè quelle esegesi che imputano ad Heidegger una qualche colpa del regime nazista e che vogliono scorgere nella sua meditazione una forma di “antisemitismo istoriale” insostenibile, le cui basi filologiche e filosofiche sono ai limiti dell’evanescenza (p. 47); e il nuovo, cioè la possibilità di intravedere nelle note private dei Quaderni una forma di gnosticismo per la quale la dissoluzione nichilista che ha coinvolto tutta la modernità e’ il risultato di un eone del presente (p. 14).

Il secondo capitolo, Arbeit macht frei, è dedicato all’approfondimento dei diciannove passaggi contenuti nei primi quattro volumi dei Quaderni (Gesamtausgabe 94-97) in cui Heidegger si riferisce al giudaismo e agli ebrei. Senza alcuna esitazione, Mazzarella sottolinea come Heidegger accolga con estrema superficialità molti dei cliché legati agli ebrei e tale “stupidità analogica” ha poco o niente a che fare “con un accodarsi all’antisemitismo nazionalsocialista” (p. 28). Piuttosto, Mazzarella insiste sul tratto nichilista che inghiotte sia il carattere ebraico che il cristianesimo: “L’opposizione di principio dell’onto-storia heideggeriana al ‘messianesimo’ (ebraico)-cristiano e’ fondamentalmente una scelta di campo per un’altra Germania (ed Europa) spirituale: non ‘per’ Cristianità ovvero Europa, come in Novalis, ma ‘tra’ cristianità, carattere ‘cristiano’ oppure Europa” (p. 30). Appropriandosi di quel tópos filologico già presente in Nietzsche, Heidegger concepisce una Europa sulla linea Grecia-Germania. Solo in questo modo è possibile oltrepassare la metafisica, cioè rompere con l’eredità giudaico-cristiana: è il tempo del salto dell’Essere, che va da Jena alla Jonia, saltando a piè pari Roma e Gerusalemme. Mazzarella smantella la semplificazione propagandistica di una certa ricezione dei Quaderni Neri non a suon di colpi di martello (per usare ancora un lessico nietzscheano), piuttosto con un fine scalpello filosofico: riscostruendo in pochi sapienti passaggi i nodi tematici della filosofia della storia, in dialogo con il retaggio hegeliano e diltheyano l’autore mostra come dietro alla dicotomia elemento ebraico-cristiano vs grecità’-germanicita’ ci sia un fine intreccio metafisico per il quale il cogito cartesiano diviene principio-io della posizione della coscienza cristiana come gia’ moderna. È l’epoca dell’immagine del mondo in cui il soggettivismo filosofico la fa da padrone. L’autoannientamento – parola chiave nell’ontologia heideggeriana – riguarda la ragione strumentale e tecnica dell’Occidente, che genera quella macchinazione mostruosa per la quale tutto il mondo si piega al dominio dell’impianto della tecnica. L’autoannientamento, la conseguenza più visibile della dimenticanza dell’essere da parte della metafisica occidentale, coinvolge la Germania e l’Europa tutta, e non consiste in quella guerra in cui perdono la vita milioni di persone, bensì “nel pólemos dell’Essere”. Il capitolo si chiude con delle parole che vale la pena riportare per intero: le considerazioni appuntate nelle Überlegungen e nelle Anmerkungen non aggiungono “niente alla comprensione che potevamo avere del suo (scilicet: di Heidegger) pensiero, e del corto circuito con la comprensione del suo tempo”; piuttosto, esse danno “il tocco finale alla pochezza dell’uomo comune, del piccolo borghese nazionalista (frustrato anche dal nazismo) che era” (p. 39).

Il terzo capitolo è dedicato alla presa di posizione di von Herrmann rispetto alla diffusione ad hoc dei passaggi in cui il giudaismo e gli ebrei sono nominati e mostra un Mazzarella incline ad accogliere la riflessione dell’ultimo assistente di Heidegger rispetto ad altri interpreti che hanno imbastito un processo mediatico e ideologico al filosofo di Meßkirch. Estremamente ricco è invece l’ultimo capitolo del libro, La crisi della domanda dell’Essere nei Quaderni Neri. Ancora una volta, l’autore si confronta con la Seinsfrage non più sul terreno dell’esistente, piuttosto su quello dell’“anatema gnostico del presente” (p. 56) e di una nuova ripresa, il nuovo inizio del pensiero che si fa Besinnung. Mazzarella entra nella crisi della domanda dell’essere individuando quattro direzioni attraverso le quali essa si tra-duce: la prima è quella della crisi dell’autenticità dell’esistente, del singolo contro il mondo, della chiacchiera contro il se stesso; dell’individuo contro la massa. La seconda è quella dei poeti, i necessari e gli ultimi. La figura del poeta – custode, vate e traghettatore della storia – è l’elemento chiave per comprendere un’architettonica della domanda fondamentale che si traduce nella necessità dei poeti in tempo di povertà, tema questo a cui Mazzarella ha più di recente dedicato un lavoro a sé, una piccola gemma del dialogo fra Heidegger e Hölderlin, ma anche di quello fra il filosofo napoletano e Giacomo Leopardi[1]. La terza direzione è quella dei pensatori greci, dei presocratici, i primi, coloro che sono “oltre l’uomo filosofico” (p. 67) e prima dello slittamento ontologico dell’essere sul terreno dell’onticita’. Attraverso i pensatori iniziali Heidegger puo’ mostrare quella “fraternità del mondo nella sua radice” (p. 71) che permette all’abitare di essere non mera misura ma postura aperta e donante dell’esserci nel suo trovarsi “sotto la volta dell’edificio del mondo” (Hebel). Infine, la quarta direzione è quella della meditazione sulla tecnica e sulla macchinazione, sul dominio planetario del Gestell. Nelle ultimissime pagine della sua riflessione sui Quaderni Neri Mazzarella ritorna sul tema che in filigrana compare nel primo capitolo: la dimensione gnostica del pensiero heideggeriano, una gnosi “della malaessenza dello stare al mondo”, che si traduce “nella catastrofe purificatrice dei tempi, mentre si attende una nuova specie umana ontologica, capace dell’Essere” (p. 78). Una sorta di “parodia paolina” che genera un “abbuiamento della domanda sull’Essere” (p. 79), una gnosi che negli anni dei Quaderni “passa dal mito del mondo nuovo […] a un radicale anticosmismo” (p. 79-80), in cui il mondo non è piu’ il kósmos venerabile della gnosi antica. Sarà solo alla fine di questo abbuiamento, dice l’autore, che si potrà cogliere nel pensiero di Heidegger un tentativo di riannodare il piano dell’ontologia con quello dell’esistenza e veder ripristinato il dialogo fra uomo ed essere.

Sul fine degli anni ottanta Jean Baudrillard aveva affidato alle pagine de “L’espresso” delle riflessioni significative dello stato di salute della filosofia: “L’inutile zuffa intorno ad Heidegger non ha alcun senso filosofico: è solo sintomatica del pensiero di quest’epoca che, non riuscendo a trovare in sé energie nuove, torna ossessivamente sulle sue origini, e rivive dolorosamente, in questo ultimo scorcio del Novecento, le scene primarie dell’inizio del secolo”[2]. Le riflessioni di Eugenio Mazzarella sembrano riprendere ed espandere quelle di Baudrillard. Anch’egli prende atto di come l’ennesima zuffa intorno ad Heidegger non abbia alcun senso filosofico (o, ammesso che ce l’abbia, vada rubricato al lemma di ciò che è noto) ma si spinge un passo più innanzi rispetto alla diagnosi del filosofo francese, indicando al pensiero un compito ed una direzione: prendere seriamente la realtà e la storia, evitando ogni tentazione di scendere a patti con la banalizzazione o la semplificazione della filosofia. La filosofia è una pratica di resistenza, cioè una pratica in cui occorre imparare a stare nel pensiero, come esseri umani e nel nostro tempo. Questo Mazzarella ce lo aveva gia’ detto[3] e con il più recente lavoro sui Quaderni Neri ce lo ricorda, a partire dalla vicenda dell’uomo Heidegger. Nel cortocircuito fra la vita e il pensiero negli anni delle Überlegungen e delle Anmerkungen, Mazzarella ci offre il ritratto di un uomo incapace di esercitare questa pratica, mostrando come anche un gigante del Novecento possa aver abdicato a tale compito.

La lettura del Il mondo nell’abisso fa tornare alla mente le parole della Arendt:  niente è più problematico nella nostra epoca del nostro atteggiamento verso il mondo[4]. Il mondo sta tra le persone e proprio questo zwischen rende necessaria la filosofia. Quando il pensiero si smarrisce nel buio, quando sul mondo scende una qualche forma di oscurità, quando le relazioni interpersonali diventano incerte quel tra è pratica incarnata “di vita che si prende addosso la vita”  (Mazzarella 2017, p. 7). Solo in questo modo possiamo attingere a quella fraternità del mondo nella sua radice che permette di riscattare il mondo dal dolore e forse anche dal suo abisso.


[1] E. Mazzarella. 2020. Perché i poeti. La parola necessaria. Neri Pozza: Vicenza.

[2] J. Baudrillard. 1988. Forza, aboliamo il novecento. La truffa dei processi postumi. In “L’Espresso”, 24 aprile 1988.

[3] E. Mazzarella. 2017. L’uomo che deve rimanere. La smoralizzazione del mondo. Quodlibet: Macerata.

[4] H. Arendt. 2006. L’umanità in tempi bui. Riflessioni su Lessing. In Antologia, Feltrinelli, Milano, p. 211.

Stefano Marino, Pietro Terzi (Eds.): Kant’s ›Critique of Aesthetic Judgment‹ in the 20th Century, De Gruyter, 2021

Kant’s ›Critique of Aesthetic Judgment‹ in the 20th Century: A Companion to Its Main Interpretations Book Cover Kant’s ›Critique of Aesthetic Judgment‹ in the 20th Century: A Companion to Its Main Interpretations
Stefano Marino, Pietro Terzi (Eds.)
De Gruyter
2021
Hardback 112,95 €
381

Reviewed by: Adam Bainbridge (University of Warwick)

Immanuel Kant’s Third Critique has been extraordinarily influential.  Some see it as a foundational text for aesthetics and the philosophy of art.  For others, it is the cap stone to Kant’s critical project.  It makes aesthetics revelatory of the conditions of human cognition, and so is central to Kant’s reception generally.  Stefano Marino and Pietro Terzi’s collection of essays is an enjoyable and rewarding testament to the diversity of twentieth-century thinkers in the West for whom the first half of the Third Critique has been an inspiration.  Arranged over eighteen chapters, this book provides readers with a history of the influence of the Critique of the Aesthetic Power of Judgement (“CAPJ”).  It describes how key thinkers have turned to the CAPJ and the complex relationships between key twentieth-century ideas and Kant’s text.   The volume does not aim to address the reception of the Critique of the Teleological Power of Judgement.

It is not practical to summarise the contents of eighteen chapters.  Even so, in this review I want to give a sense of the topics covered.  I will discuss the aims of Marino and Terzi’s edited collection, how it sets about this task and what contribution it makes.  I should clarify that the aim of the book is not to provide an explanatory approach to the interpretation of the CAPJ within the terms of Kant’s own project. As the book’s subtitle indicates, it is not so much a companion to the text itself as a companion for those interested in tracing its legacy.  The book is motivated by two thoughts.  First, the CAPJ’s far-reaching influence has nourished many debates, broadly spread across different philosophical traditions and disciplines.  Secondly, in comparison to the history of nineteenth-century romanticism and German idealism, scholars have overlooked the far-reaching influence of the CAPJ on twentieth-century philosophy.  Marino and Terzi explain that their aim is to address this blind spot with contributions from experts in various fields.  They have produced a book that describes a history of reception ‘capable of cutting in a unique way across different traditions, movements and geographical areas’ (30).  They are at pains to explain their intention is to bridge any gap between the so-called analytic and continental traditions.

Marino and Terzi gather a collection of essays by sixteen different academic philosophers, in addition to themselves, from Australia, France, Germany, Italy, Switzerland, United Kingdom and United States.  Each chapter, generally, takes up one or two Western twentieth-century philosophers and explores how they have turned to the CAPJ in order to advance their own philosophical projects.  The editors’ multi-author approach ensures ‘a plurality of perspectives and competences’ (28).  Fifteen chapters tend to prioritise describing how twentieth-century thinkers turned to Kant.  That said, many chapters also draw attention to how these interpretations have aften been tendentious and strained readings of Kant.  The body of book is organised broadly chronologically and according to the geographies of Germany, France, Italy and USA.  This seems to be a pragmatic choice and it makes the structure of the book easy to navigate.  These chapters are positioned between an introduction and, at the end of the book, two contributions that explore the influence of the CAPJ on two contemporary issues.  The helpful introduction offers a brief history of the Third Critique’s reception, first in the nineteenth century and then in the twentieth century.  It discusses the methodology underlying the collection of essays.  In what follows, I want to give an overview of the topics covered in subsequent chapters.

Arno Schubbach opens the first group of chapters on German philosophers with a contribution on how the Third Critique is taken up by Hermann Cohen and Ernst Cassirer.  Schubbach explores different interpretations of the position of the Third Critique within Kant’s overall philosophical system, and how these interpretations inform Cohen’s and Cassirer’s own philosophies of culture.  It makes an interesting contrast between two adaptations of the CAPJ by philosophers developing their own systematic theories.  According to Schubbach, Cohen performed ‘interpretive violence’ (42) on Kant’s text to construe aesthetics narrowly as a philosophy of the experience art.  Cassirer, by contrast, argued for a systematic connection between the aesthetic and teleological sections within the Third Critique.  Schubbach explains how Cassirer’s interpretation of the structure of Kant’s critical project is ‘a question of systematic importance for Cassirer’s philosophy of culture’ (50).

In the next chapter, Gunter Figal explores how Martin Heidegger and Hans-Georg Gadamer criticised Kant for failing to account for an essential truth-character of art.  Heidegger took philosophical aesthetics to be fundamentally concerned with emotional responses and a hedonistic consumption of art.  Yet for Heidegger, the significance of art did not lie in emotional responses.  Figal observes that Heidegger seemingly entirely ignored Kant’s Third Critique, and interpreted the CAPJ as offering an account of art as nothing but an object of emotional experience.  Figal points out that Kant’s conception of aesthetic experience is far more sophisticated than the simplistic picture Heidegger maintained.  Gadamer also shared the view that art had an essential truth-character.  Nonetheless, he did engage with the Third Critique.  Gadamer’s criticism of Kant, according to Figal, was that aesthetic experience for Kant is an autonomous and purely subjective sphere that fails to grasp the cognitive value of art.  Figal turns from Heidegger and Gadamer to advance his own argument: that ‘the Third Critique offers the most elaborate version of an aesthetical conception of art’ (69).  Even so, Kant’s aesthetics is too narrow to accommodate any cognitive value of art.  Figal’s objection is that artworks are ‘a kind of blank spot’ in Kant’s conceptual framework.  That said, Figal does not address Kant’s notion of dependent beauty or how Kant conceives of fine art as expressions of aesthetic ideas.

Dennis Schmidt’s chapter describes in more detail Gadamer’s critique of notions of aesthetic experience that separate it from the possibility of claims to truth.  According to Schmidt, Gadamer exposed once dominant guiding assumptions about how art is thought and experienced as autonomous.  He did this through tracing the historical development of this idea back to Kant’s Third Critique.  Gadamer’s criticism of Kant’s aesthetics was that it closed-down questions about art.  Schmidt explains, ‘from the vantage of pure aesthetic judgement, the work of art contributes nothing to what is disclosed’ (80).  Gadamer argued that this was even the case in Kant’s treatment of fine art and genius.  With Kant, the aesthetic object disappears.  Although it is recuperated by his successors, it is as an autonomous phenomenon.  Tracing a close association of aesthetic experience with subjectivity led Gadamer to develop the idea of ‘aesthetic differentiation’ (88) to explain how the artwork lost its place in the world to which it belonged.  As Schmidt points out, Gadamer’s intention towards Kant was not to get the Third Critique right.  Instead, Gadamer’s reading played a pivotal role in his argument about the contingent historical disengaging of art from questions of truth during parts of the nineteenth and twentieth centuries.

Hans-Peter Krüger’s chapter concerns Helmuth Plessner’s philosophical reflections on the conditions for empirical law formation.   Krüger states that Plessner ‘functionalizes Kant’s reflective judgement for modern research into a procedure’ (95).  Plessner’s thought was that reflective, rather than determining, judgements are central to scientific research that is directed towards discovering something new.  Krüger gives an overview of Kant’s teleological judgement and its regulative a priori principle.  He also summarises the demand for universal agreement in judgements of taste, even though they cannot be proven.  Plessner argued that these characteristics of reflective judgement inform modern research procedures.

Tom Huhn develops an account of how Theodor Adorno took up themes in Kantian aesthetics, read in part through Hegel.  According to Huhn, Adorno criticised Kant for leaving no room for the historically conditioned nature of the relationship between artwork and subject.  Kant mistook a historically specific feature – a sentiment described as aesthetic pleasure – and made it universal and timeless.  Whereas for Adorno, pleasure is a ‘historically specific feature of aesthetic experience’ (117).   According to Huhn, Adorno took from Hegel the idea that the history of consciousness involves a ‘resistance’ between sensuousness and rational consciousness within aesthetic experience.  In Adorno’s view, Kant ‘misses the objectivity of resistance within subjective consciousness’ (120).  Rather than aesthetic experience merely registering as purely subjective affect, the experience some artworks afford includes a ‘resistance’ in the relation between sensuousness and rational consciousness.  For Adorno, such artworks are at odds with the world they are in, eliciting a correlate sensuous otherness of subjective experience.  Huhn’s overall approach is not to assess the fairness of Adorno’s criticism of Kant.  He describes how Adorno picked-up on ideas like taste, disinterestedness and beauty, to argue that Kant’s account of taste was inadequate to ‘measure the meaning and truth of the artwork’ (123).  This helped Adorno to develop his own aesthetic theory.

According to Nicola Emery, there is a Kantian notion taken from the Third Critique that oriented Max Horkheimer’s thoughts throughout his life.  Horkheimer had an early interest in the potential of modernist art.  By referring to Kant’s sensus communis, ‘albeit very concisely’ (137), Horkheimer related modernist art’s emancipatory potential (from dominating social conditions) to an otherwise hidden shared ‘communitarian sense’ of free people.  However, for historical and methodological reasons, Horkheimer could not endorse the empirical possibility in modernity of a communitarian sense of aesthetic experience.  Even so, Emery argues for Horkheimer’s ‘covert recovery of the sublime’ (149).  He links Horkheimer’s ideas about ‘inhospitable’ modernist art with the counter-purposiveness of the sublime.  Emery suggests that Horkheimer’s later rejection of modern art was because of its failure in practice to go beyond art for art’s sake.  In the end, it was modern art’s failure to revive the experience of the sublime that led Horkheimer to declare modern art a failure.  Even so, Emery claims, Horkheimer retained a somewhat Kantian notion of communitarian sense, which underpinned the possibility of critical analysis of modern society.

Serena Feloj explains that Hannah Arendt’s interpretation of the Third Critique departed fundamentally from Kant’s own position.  Feloj claims that Arendt was unusual in taking seriously Kant’s claims, in the two introductions to the Third Critique, that his fundamental concern was with judgement in general, rather than only with the specific forms of aesthetic and teleological judgement.  Feloj suggest that sensus communis displays in Kant ‘a very peculiar transcendental character’ (164).  For Kant ‘shared humanity is what lays the ground for the public dimension of judgment, not the human need for communicating with one’s peers’ (164).  According to Feloj, Arendt’s distinctive suggestion was that the significance of the Third Critique resided in political philosophy.  Arendt claimed that Kant’s theory of judgement ‘is based on men’s needs to communicate with the others and that sociability is the prerequisite for the functioning of the capacity for judging’ (166).  Sociability and communicability make judgements by people possible.  As Feloj points out, Kant himself denies that such an explanation is adequate.  Yet Arendt reinterpreted Kant’s transcendental principle as an empirical foundation for the possibility of judgements that we share with others.

Opening a group of chapters on France, Patrice Canivez explains German exile Eric Weil’s interpretation.  On Weil’s view, the major discovery of the Third Critique was a way of understanding nature which left room for the possibility of answering ‘how can meaningful (moral) ends be pursued in a world of meaningless (natural) facts’ (178).  The natural facts in question were the beautiful, the sublime, artistic genius and the purposiveness of living organisms.  In their presence we experience the world as meaningful and ‘we affirm that all human beings have the same cognitive structure’ (180).  According to Canivez, Weil argued that Kant’s discovery was a great turning point in the history of philosophy, although ‘this result is obscured by the way Kant presents it’ (184).  The conceptual language Kant had to use to reach his contemporary audiences meant that Kant was compelled to view the existence of meaningful natural facts as fortuitous.  In contrast, Weil argued that experiencing the world as meaningful was foundational: ‘the experience of such reality is prior to any distinction between the possible and the necessary’ (187).  Canivez uses the idea of Kant being committed to a particular conceptual language to introduce Weil’s own ideas about how distinct philosophical categories develop distinct discourses around particular concepts.

Anne Sauvagnargues argues that Giles Deleuze developed his philosophy of art through a ‘critical and renewed mediation’ (195) on Kant’s work.  She chooses ‘meditation’ carefully.  Her argument is that Deleuze created something personal and original through his reading of Kant.  Sauvagnargues describes how Deleuze took from Kant questions about the relationship of the faculties of imagination, understanding and reason to one another.  Deleuze at first regarded Kant’s three critiques as all on the same level, unified in their analysis of the faculties, and each focussing on internal relationships where one faculty takes the regulatory lead over the others.  But Sauvagnargues tells us that Deleuze subsequently elevated the Third Critique, discovering in it something innovative and important about art.  Deleuze reworked the ‘Analytic of the Sublime’.  Sauvagnargues notes: ‘but this is where Kant is forced by Deleuze to undergo a radical distortion’ (198).  What he found there was a productive ‘discordant accord’ of the faculties, which ‘carries the faculties to their point of maximum tension’ (202).  For Deleuze, this discordant accord of the faculties was involuntary and played a crucial role for the possibility of creative thought.  Through his reflections on Proust, Deleuze argued that the discordant accord, where cognition is pushed to its limits, reveals the importance of art for philosophy.

Pietro Terzi tells us how Jacques Derrida used the CAPJ to illustrate a claim about how philosophy, as an academic discipline, deals with a subject area (in this case art) through imposing its own legislative function on that subject.  Philosophy does so by reserving for itself the right define the subject area as a distinct area of practice and experience.  This presupposes some kind of unity of meaning for the subject area and its concepts.  But in the end these definitions are the result of well-established discursive “protocols” of conceptualisation.  Derrida illustrated this claim through an analysis of the CAPJ.  According to Terzi, Derrida emphasised that Kant’s aesthetic pleasure turned the discourse of beauty into its purely formal elements, stripping from artworks any social or historical significance.  Derrida questioned what called for this formal pureness that separates art from contextual concerns and from sensuous “charms” and “emotions”.  He argued that it follows from epistemological presuppositions drawn from the First Critique, namely the four categories of the logical form of judging.  In this way, questions about art were inscribed within a theory of logical judgements.  Derrida argued this inscription was arbitrary: ‘the frame fits badly’ (220).  Art is subordinated to a particular purpose through the imposition of a theory of judgement.

Dario Cecchi explains Jean-François Lyotard’s interest in Kant’s notions of the faculty of judgement and of the sublime.  For Lyotard, no unified system or theory can subsume all human experience.  There are ‘islands of cognition’ that make up ‘archipelagos of experience’, each with its own theory and language.  A central concern for Lyotard was the question of how to transition from one field of experience to another.  His interest in Kant’s theory of reflective judgement related to the question of what theory and language is most appropriate.  The sublime was the focus of Lyotard’s use of the Third Critique, even though for Kant it was a ‘mere appendage.  In the sublime, the relationship between aesthetic judgement and ideas of reason is characterised as a struggle between reason and imagination.  Reason diverts imagination’s attention from its usual task of the synthesis of sensible experience.  Instead, imagination presents ideas of reason to the subject.  These are not direct representation, because ideas of reason exceed the bounds of sensible experience.  The significance of the sublime, for Lyotard, lay in the faculty of reason forcing the imagination to ‘present the unpresentability’ (239) of ideas like freedom, justice and moral law.  In the sublime, these ideas are experienced as signs which open the subject’s experience on to an ethical realm.  Cecchi ends his chapter by explaining the political significance of the sublime for Lyotard.  It resided in the possibility of art offering audiences an array of sublime feelings, including respect and commitment.

For a stopover in Italy, Claudio Paolucci describes how Umberto Eco connected the Third Critique to more recent work in cognitive sciences on Predictive Processing, and to an earlier idea of abduction offered by Charles Sanders Pierce.  The issue in common is explaining how perceptions are partly conceptualised.  According to Paolucci, in Predictive Processing the brain is active in providing ‘top down’ predictions of sensory inputs and comparing those predictions with actual sensory evidence in forming world-revealing perceptions.  Paolucci explains how this topic has an antecedent in Pierce.  Eco picked up certain key Kantian ideas, developed in the Third Critique, but was not primarily concerned with a close analysis of Kant’s claims themselves.  Eco claimed that the relationship between perception and prior knowledge that the brain stores about the world is a reformulation of the Kantian notion of schematization.  Reflective judgement produces or finds concepts through which experience is made possible.  According to Paolucci, Eco developed this with the help of further Kantian notions of regulative principles and ideas of reason.  For Eco, we interpret the world as if it were a narrative.  Yet nothing in the world guarantees our conjectures.  We pursue the semblance of order we need to find in the world in order to make experience possible.  But the principles that underpin the kind of order or narrative with which we structure the world are not constitutive.

Turning to America, Scott Stroud describes how Kant’s aesthetics motivated John Dewey’s own pragmatist theory of aesthetics and art.  According to Stroud, ‘Kant becomes the foil for the pragmatist’s novel theorizing, a respected, but wrong, thinker who set so many on the wrong path’ (274).  Whilst Dewey had broader objections to Kant’s transcendental idealism, he specifically rejected Kant’s conception of aesthetic experience as essentially disinterested contemplation. Dewey objected to Kant’s separation of distinct domains of human experience and distinct faculties of the mind.  Kant’s domain aesthetic experience is markedly separated from the fields of knowledge and practical action.  In contrast, Dewey sees aesthetic experience on a continuum with the practical nature of human activity, always located in some context or environment.  Stroud is careful not to become involved in analysing whether Dewey’s reading is right or not.  His aim is to explain how resistance to Kant’s ideas, together with Dewey’s commitment to humans belonging to a Darwinian natural world, helps explain why Dewey’s ideas on the experience of art took the shape they did.  Despite Dewey’s outward antagonism towards Kant, Stroud tries to find some common ground.  Although continuous with other forms of experience, Stroud explains some characteristics of aesthetic experience for Dewey.  These include the sense that aesthetic experience has a kind of intensity and absorption.  Stroud finds parallels between this and what he sees as Kant’s internalising of ends to the means of aesthetic experience, and with Kant’s claim that the experience of the beautiful is a symbol of the morally good.

A central figure in Diarmuid Costello’s contribution is the American art critic Clement Greenberg.  Greenberg was the leading modernist art critic and theorist.  In the 1970s, when his ideas were facing serious challenges, Greenberg co-opted a kind of Kantian aesthetics to bolster his argument.  Greenberg’s theories were nevertheless discredited.  Costello argues that aesthetics in general, and Kantian aesthetics in particular, became marginalised as Greenberg hegemony was overthrown.  This was because postmodernist art theorists continued to operate with a Greenbergian view of aesthetics.  Costello explains how Greenberg’s aesthetics were a misreading of Kant, and claims that subsequent theorists continued to operate with a distorted view of the Third Critique.  He argues that both Thierry de Duve, in his attempt to revive Kantian aesthetics for contemporary art theory, and Arthur Danto, in his rejection of aesthetics as an adequate basis for explaining contemporary art, both perpetuated aspects of Greenberg’s misreading.  The reproaches levelled at both by Costello are, first, their failure to recognise Kant’s distinction between free and dependent beauty (which is centrally important to aesthetic evaluations of works of art), and, secondly, their failure to engage adequately with Kant’s theory of artworks as expressions of aesthetic ideas.  Costello goes on to argue for a rehabilitation of Kantian aesthetics within the discourse of contemporary art, an interpretation that Costello sees as more faithful to the original text.  Costello identifies resources within the CAPJ that have been overlooked in contemporary theory.

Thomas Teufel aims to articulate a more systematic interpretation of the Third Critique than that offered in the writings of his chosen author, Stanley Cavell.  Teufel turns his attention to Kant largely in defence of the methodological commitments that Cavell employed.  Teufel describes Cavell’s ‘kindredness of spirit’ (301) with Kant generally.  He explains Cavell’s position in relation ordinary language philosophy and the foundations of language, and some ‘scathing’ criticism Cavell received.  Cavell investigated self-descriptions by ordinary language philosophers, as native speakers, of their linguistic communities’ practices and conventions.  Cavell defended a position which claimed that such statements could reveal truths about what we mean when we say what we say.  In response to his critics, Cavell found parallels with pure judgements of taste and argued that meta-linguistic statements had a normative force analogous with the legitimacy of judgements of taste.  Teufel shows some weaknesses in how analogous Cavell’s position is to that of Kant.  But he goes on to offer a deeper analysis of reflective judgements and suggest a closer affinity between Cavell and Kant than Cavell himself made explicit.  In doing so, Teufel touches one of the central debates in contemporary scholarship of the Third Critique.  This is the question of whether Kant made a convincing case in support of his aim to demonstrate a unifying theme that links aesthetic judgements, teleological judgements and reflective judgements in general.

The final two chapters mark a change of tack.  They do not offer a commentary or explanation of leading twentieth century interpretations.  They introduce two areas of contemporary philosophy and discuss their relation with the CAPJ.  Alessandro Bertinetto and Stefano Marino’s chapter discusses the CAPJ in the context of improvisation, especially in jazz music performances.  The central claim is that Kant’s aesthetic reflective judgement helps illuminate the creative process of artistic improvisation.  The authors find parallels in self-regulating and non-ruled driven characteristics.  As the chapter acknowledges, indeed relishes, this is ‘surely a free interpretation’ of the Third Critique; although, as the authors say, it is not arbitrary.  This stands in contrast to the more systematic interpretations of Kant offered in the previous two chapters by Costello and Teufel.   Whilst this is illuminating of the kind of service for which the CAPJ is conscripted, it is not immediately clear why the topic of musical improvisation was chosen.  The chapter certainly does help ‘testify to the plurality’ of readings and philosophical practices.  And perhaps illustrating how Kant can be called upon, in a very loose way, to illuminate a present-day area of interest explains why this topic was chosen.

In the final chapter, Thomas Leddy argues that the CAPJ offers resources for understanding everyday aesthetics.  Like the previous chapter, the aim here is not to offer an account of another leading thinker’s reading of Kant.  Leddy explores to what extent the concerns of the Third Critique illuminate an area of contemporary aesthetics.  In everyday aesthetics such an appeal might appear at first sight a stretch.  ‘Everyday aesthetics takes its origins … not from a transcendental philosophy but from one that is naturalistic and pragmatist’ (339).  This being so, a priori transcendental principles for reflective judgement have little appeal.  Moreover, making rigid distinctions between pleasures of mere sensation, delight in the morally good and reflective aesthetic pleasure in the beautiful lacks plausibility for many involved in contemporary everyday aesthetics.  Leddy nevertheless argues for series of areas of overlap.  These include free and dependent beauty, the ideal of beauty, the rejection of geometric regularity and the expression of aesthetic ideas.  During his analysis, Leddy addresses what, on the face of it, seems a large obstacle to appeals to Kant to explain everyday experiences and objects: the notion of disinterested pleasure.  Leddy’s response is to argue that disinterestedness helps to illustrate the differences in attitudes we adopt towards objects of aesthetic attention.  This is to say that aesthetics is not solely a matter of classification of objects, whether every day, fine art or natural.  Leddy’s claim is that, with some modification, an interpretation that resists the radical separation between aesthetic categories (as Kant may have insisted on), ‘we end up instead with a multifarious usage of Kant for everyday aesthetics’ (356).

What major contribution does this book make?  The editors explain that they aim to offer a comprehensive and coherent contribution to the investigation of the legacy of the Third Critique.  ‘We hope other scholars will dare to follow this promising lead’ (33).  I imagine that the book will primarily appeal to readers already familiar with the CAPJ, especially those concentrating on a particular aspect of the text or its reception.  This absorbing book helps to widen, dramatically, readers’ grasp of the kind influences the text has provoked.  It gives readers a way, via Kant, into the work of thinkers outside their own areas of familiarity.

As to the editors’ selection of contributions, the aim seems to be eclectic, reflecting a wide range of philosophical topics and disciplines covering analytic and continental traditions (31).  The editors themselves raise a worry about such a volume, which aims to ‘provide a selective and synoptic view’: it risks appearing ‘scattered or extremely partial’ (32).  Whilst I am not sure that this concern is properly answered, the volume certainly succeeds in tracing enough of the history of the CAPJ’s reception to capture a strong sense of variegated and pluralist interpretations.  Overall, this makes the book lively and engaging.  The contributions evidence the breadth of influence, and how that influence is performed through very different kinds of interpretations, or uses, of Kant.  Some take aspects of the CAPJ as points of resistance, others employ highly selective readings, still others represent more systematic engagements.   The book gives a wide-ranging account of ‘the various appropriations of a complex but crucial text’ (32).

Understanding the key ideas in the reception of Kant’s Third Critique can at times be as forbidding as reading the text itself.  The complexity seems amplified when subsequent twentieth thinkers have used Kant as a provocation for their own complex claims.  Indeed, many of the contributors note how their authors “do violence” to the spirit of Kant’s claims.  However, the reader is offered, in a relatively compact volume, an introduction to how philosophers have attempted to relate their own work to Kant’s.  As such, it offers a fascinating overview of how the Third Critique has taken on a life of its own.  A volume like this, dedicated to tracing Kant’s legacy across different philosophical traditions, seems to face an inescapable trade-off.  Were such a volume to be written by a single author, it might offer an organising style and thread (beyond chronology and geography).  A reader might be able to follow a more thematic exposition of the issues a stake, and more easily make comparative reflections about the ways in which Kant’s ideas have been taken up.  As they explain in the introduction, Marino and Terzi instead chose an edited volume in order to capture ‘a polarity of perspectives and competences’ (28).  The undoubted richness that this variety offers to readers comes together with problems of wrestling with differences in authors’ styles, and challenges of communicating across philosophical traditions and geographies.

Marino and Terzi make an underlying assumption that texts like the Third Critique have their ‘own performativity’, ‘endowed with a sort of intentionality of their own’ (5).  Their volume certainly succeeds in demonstrating that the CAPJ has enjoyed variegated uses.  This account of its reception might seem like, in the words of Otfried Höffe, ‘the history of productive misunderstandings’ (318).    But it prompts an obvious question: is there something about the particular nature of the Third Critique that underwrites the productivity evidenced in this collection?  The book gestures towards, but does not fully address, the source of the CAPJ’s provocative and far-reaching influence.  It describes its character as ‘complex, multi-layered, heterogeneous, discontinuous and, so to speak, “patchy” work’ (4).  Bertinetto and Marino seem to suggest the source of its productivity resides in the ‘ambiguities and obscurities’ of the work (317).  This all may be true, but seems unsatisfactory as an explanation of the extraordinarily productive status of the Third Critique and the richness of thought it helped to spawn.  This volume does not aim to provide an answer.  But it is certainly is an engaging and ‘promising lead’ in motivating questions like this.

Franz Brentano: The Teaching of Jesus and its Enduring Significance, Springer, 2021

The Teaching of Jesus and its Enduring Significance: With an Appendix: 'A Brief Description of the Christian Doctrine' Book Cover The Teaching of Jesus and its Enduring Significance: With an Appendix: 'A Brief Description of the Christian Doctrine'
Franz Brentano Studies
Franz Brentano. Translated by R, Schaefer
Springer
2021
Hardback 103,99 €
X, 265

Theodor W. Adorno: Notes to Literature: Combined Edition

Notes to Literature (Combined Edition) Book Cover Notes to Literature (Combined Edition)
Theodor W. Adorno. Edited by Rolf Tiedemann. Translated by Shierry Weber Nicholson. With a new introduction by Paul Kottman
Columbia University Press
2019
Hardback $120.00 £100.00
544

Reviewed by: Richard J. Elliott (Birkbeck College, University of London)

 Adorno’s Critique of Aesthetic Intentionalism & its Limits

 

A prominent yet understudied feature that permeates Adorno’s aesthetics is a critique of intentionalism. In this review essay, I will look at this critique and one manifestation of it, as it appears in his Notes to Literature.

Previously published in two volumes, Columbia University Press have for the first time combined Adorno’s Notes to Literature in a single work, translated into English.  The scope of topics Adorno treats is broad, and reading is often difficult but frequently rewarding. Topics span from epic poetry, to Dickens, the free use of punctuation and its ramifications, reviews of individual texts, to more general methodologically loaded tracts on the status of art or particular aesthetic traditions. This is not exhaustive by any measure. As such, a sufficient characterization of this wealth of topics treated by Adorno in the short space available to review would be exceedingly challenging, likely impossible. Instead, I will restrict the focus of this review to a common feature across many of Adorno’s treatments of these topics: his rejection of intentionalism in aesthetics, in this instance, authorial intentionalism in literary works. This rejection appears to some degree in many if not all of the essays within the two volumes. It also looms large in Adorno’s aesthetic theory more broadly. However, it is usefully illustrated by means of a particular formally derived critique Adorno offers, about subject-driven exposition of narrative as an authentic and autonomous force in literary works. I will also argue that Notes to Literature aides in demonstrating an internal limit to Adorno’s anti-intentionalism, as it appears in such works. This internal limit offers a qualified role for the creator of autonomous works, and some insight into the machinations of this role – these will be discussed below.

Intentionalism is the presupposition many would-be aestheticians bring to artworks. The presupposition is that the pure intention of the creator (the composer, artist, or author) is what bestows aesthetic value to such works. Notes to Literature features many instances of a prominent critique of this position, as applied to literary works. Adorno views subject-derived expositions of narratives, particularly streams of consciousness as a narrative device, as one example of formal expressions of authorial intentionalism in literature. Its widespread employment demonstrates the primacy of this intentionalism. Viewing it as an authentically expository force involves a kind of presupposition to aesthetic methodology, and to any discernment of the value to be gleaned from works. This presupposition, Adorno claims, places the individual author in a position of epistemic priority. This position is an erroneous one, as it encourages the proffering and evaluating of works without exploring the social totalities which constitute the conditions for any such individual’s presentation of aesthetic knowledge. The role of the creator for Adorno is inherently mediated within the context of such totalities. Intentionalism and its formal manifestation in subjective narrative shirks this exploration, to the detriment of the autonomous potential that literary works might possess.

One particular target of Adorno’s is a manifestation of intentionalism in a particular conception of the genius. This conception gained predominance as a particular oppositional reaction to Kantian aesthetics. Kant describes the genius as “nature giving the rule to art”, contrasting it with the notion of the single creator doing so, from some epistemically authoritative vantage point. The conception that opposes Kant broadly states that as the wellspring from which aesthetic value flows, the intention of the genius offers a model of salvation, relayed through their work. The figure of the genius, so it broadly goes, is the one who oversees the total expression of their authorial or creative intention in the work, and this successful expression of that intention is the vehicle of aesthetic value for works of art, music and literature equally. On this model, appreciation of works then occurs with reference to this value. Adorno rails against this model.  While Adorno ultimately agrees with Valéry’s claim that great art “demands the employment of all of a man’s faculties” (‘The Artist as Deputy’, 115), this is not the claim that this employment manifests the expression of the conscious intentions of the creator of that art.

Underpinning this presupposition is the wrong-headedness as Adorno sees it of aesthetic intention operating as if immediate value of a work can be transmitted, its message there to be received by an audience who can grasp it if they accept it. Here Adorno opposes an assumption shared by both Kant and those reacting to him, since they converge on the notion that this transmission can take place between agents – in Kant’s case certainly, rational ones. But operating with this kind of presupposition, Adorno thinks, is to be oblivious to the inherent alienation as “a fact that irrevocably governs an exchange society”. To illustrate this, in an approach characteristic of Adorno, he employs Hegelian motifs as a means of undermining of Hegelianism itself – Adorno targets ‘objective Spirit’ as represented in art. For Hegel, the truths purveyed through art (as well as religion and most importantly philosophy) claim to offer representational knowledge into the development of Geist, eventually culminating in the ironing out of all contradictions of reality. Built into this understanding, Adorno claims, of the Hegelian motive for art is that it “wants […] to speak to human beings directly, as though the immediate could be realized in a world of universal mediation” (‘The Artist as Deputy’, 116). But this claim in itself about the representational power of art, says Adorno, is a kind of utilitarian degradation of the aesthetic. In literature specifically, this degradation makes ‘word and form’ into a “mere means” – a manner of utilizing the formal presentation of the work for expressing what the creator takes to be a truth or value relayed through art.

Structurally, Adorno here shares with Hegel the basic claim that art can illustrate certain kinds of truths. But he diverts from Hegel in a qualified way, in how he sees the promise for the role of autonomous art. Hegel conceived of putting art to use in the task of Geist’s reconciliation by means of what the work represents. By contrast, Adorno conceived of autonomous art’s power to at best be able to illustrate the current impossibility of reconciliation, due to the inability of the work to coherently represent reality, in the manner Hegel claims it can. It should be noted that it appears Adorno sees it possible for certain kinds of non-representational knowledge to be gained from successful works of art. Autonomous art can bestow negative knowledge of reality (‘Extorted Reconciliation: On Georg Lukács’ Realism in our Time’, 223). This would initially seem to clash with the claim that this is itself a form of knowledge. But rather than this constituting representational knowledge, Adorno is in some way offering the potential for a kind of aesthetic exposure to an intuition that demonstrates the impossibility of representational knowledge. This is arguably one route to the ‘loss’ that Adorno counts as the second-order objectivity facilitated by autonomous artworks. More on this below. But in the context of the Hegelian assumption, Adorno thinks that this has ramifications for critical engagement. The Hegelian optimism for the revolutionary potential of art in fact pulls the rug out from underneath the work, by undermining its formal and practical autonomy, and its applications.

In this vein, Adorno critiques subjective exposition of narrative, as a manifestation of the intentionalist’s presumption about aesthetic value. This critique tracks formal characteristics intrinsic to presentations of works themselves. It is a claim about the inherent formal critical power or lack thereof that motivates his critique of literary subject-centrism, and the idea of subjectivist narrative as having expository primacy in its formal mode of presentation. It is not just that this is open to criticism as a bourgeois mode of attempted presentation, of the kind indicated above about the power of the author’s intentions. Rather, this more formal critique is aimed at narrative of this kind also for its reduction of the reader or spectator to being merely receptive to such a subjective flow of consciousness. Adorno claims that the proponent of formal narrative subject-centrism identifies “nodal points of conditioned reflexes” of the would-be passive human being, qua “mere receptive apparatuses” (‘The Artist as Deputy’, 119). The work’s recipient responds to intake from their sensibility by the truth-bestowing flow of an intentional consciousness in the work. The presupposition here is that exposition is granted authentic force as a mode of formal description by the author. As such it is employed as a way of receiving and interpreting a work by an audience. This is problematized due to its assumption that the audience has been given the necessary sensibility for the narrative, on a kind of presuppositionless set menu of aesthetic evaluation. The presumption here is that the audience receives a formal presentation of the sensory scheme or stream of consciousness of the ‘genius at work’, to which they should passively engage.  The audience is a conduit to be filled up with aesthetic truths.

But this presumption exposes another facet to Adorno’s critique, centered around the assumption that any subject creating aesthetic works can provide such a coherent formal exposition, by virtue of their professed narrative. The work of Proust, perhaps ironically, is valorized by Adorno for upsetting a presumption in the “prevailing consciousness” about the notion of the unity and pre-given wholeness of the person. This presumption is characterized as a false idol by Adorno (‘Short Commentaries on Proust’, 181), which Proust’s works act as an ‘antidote’ to. A philosophical presupposition of this view concerns the power of subjective narrative. The audience doesn’t receive this subject and its narrative in some necessary and uniform fashion. Nor is the self-representation of either one of the subjects involved, author or reader, of an immediate cognitively accessible character. Rather, Adorno claims that such narrative is the product and cause of further alienation. Only in genuinely autonomous works can there be an intimation of this alienation by a display of the “social relationships [that] reveal themselves to be a blind second nature” (‘Short Commentaries’, 183). Again utilizing while subverting a familiar Hegelian motif, this of second nature, social relationships limit the remit of pure thought, not in a manner that adapts pure thought to nature, but shows its perversion at the hands of the productive forces at work in it.

In this respect, something Adorno claims favorably about Paul Valéry is his capacity to buck the trend of centralizing “the triumph of subjective over objective reason” (‘Valéry’s Deviations’, 161). Though Adorno takes this to be a product of the enlightenment, it is evident from his discussions of many post-enlightenment figures that he views them as capitulating to this trend, too. For example, Adorno writes that for Sartre, “the work of art becomes an appeal to the subject because the work is nothing but the subject’s decision or non-decision» (‘Commitment’, 349). This centrality has ramifications both theoretical and practical. As a result of it, “Sartre’s approach prevents him from recognizing the hell he is rebelling against”, namely the objective self-alienation that latently motivates him to make the proclamation that hell is, in fact, other people (‘Commitment’, 353). Indeed, Adorno’s infamous statement about the barbarism of writing poetry after Auschwitz is reaffirmed, in the context of this continued primacy of the subjective. He claims it “expresses, negatively, the impulse that animates committed literature” (‘Commitment’, 358). This criticism applies also to Heidegger. A ‘decision’ is demanded by Hölderlin, for Heidegger, in Adorno’s devastating excursus of Heidegger (‘Parataxis: On Hölderlin’s Late Poetry’, 380). Claiming this, not only does Heidegger rob and ‘deaestheticize’ Hölderlin of his “poetic substance”, it also eliminates Hölderlin’s “genuine relationship to reality, critical and utopian” (‘Parataxis’, 381). This is done on the grounds of the notion of subjective decision being prioritized by Heidegger, erroneously recapitulating to “the idealism which is taboo for Heidegger [but] to which he secretly belongs” (‘Parataxis’, 385).

Motivating this critique in all of these forms is Adorno’s broader claim that “the social totality is objectively prior to the individual” (‘Extorted Reconciliation’, 224). The presupposition that successful, genuinely autonomous works still somehow belong to the author misses this point. Rather, a work’s success consists “in its becoming detached from [the author], in something objective being realized in and through him, in his disappearing into it”. (‘Toward a Portrait of Thomas Mann’, 295, my emphasis). Autonomy is not bestowed upon a work due to any relation with some condition of genius possessed by the author.

 Yet in pursuit of this thought, Adorno makes an intimation about what positive role the artist qua producer of works of art can have, should a work be successful in the possession and conveyance of truth content. In an ironic twist, he inverts the idea that the work is the instrument of communication for the intentions of the creator. Instead, this possession and conveyance involves the artist becoming an instrument, through which aesthetic form assumes a life of its own. It is this mode of production which ensures the artist does not “succumb to the curse of anachronism in a reified world” (‘The Artist as Deputy’, 117). Adorno assumes his own idiosyncratic kind of interpretivist stance towards the possibility of aesthetic autonomy. Discussing the ways in which artistic creation is subject to reification, and on the point of to whom the truth-qualities of an art work ‘belongs’, Adorno endorses Valéry’s attack on “the widespread conception of the work of art that ascribes it, on the model of private property, to the one who produces it” (‘The Artist as Deputy’, 118).

So Adorno postulates a kind of aesthetic virtue gained by means of a degree of liberation from the folly of intentionalism, including its formal presuppositions about subjective exposition. This liberation, Adorno notes, is a kind of recognition, namely a recognition on the part of the artist, such as Valéry’s bourgeois art as bourgeois, and that this recognition precludes it from conscious or intentional escape from that framework. In this sense, Adorno sees in Valéry (and also, for example, Thomas Mann) a critical platform through formal literary presentation in this “self-consciousness of [its] own bourgeois nature”. The premium is placed on a certain kind of self-knowledge, attained by a capacity for critical distance. This self-consciousness doesn’t determine the truth content of an artwork itself. Rather it constitutes a recognition by the artist that self-consciousness precisely doesn’t determine such truth content. Indeed, in an example of Adorno’s often ironic and flirtatiously paradoxical prose, this self-consciousness comes by the aesthetic judgement

“tak[ing] itself seriously as the reality that it is not. The closed character of the work of art, the necessity of its giving itself its own stamp, is to heal it of the contingency which renders it unequal to the force and weight of what is real” (‘The Artist as Deputy’, 118).

With some nuance, Adorno criticizes the aims of recent art, at a “retreat of productive forces [as] a surrender to sensory receptivity” – in other words, it recapitulates to viewing subjective and specifically sensorially derived authorial creativity as the primary means of producing truth. This in fact diminishes the capacity for abstraction, or for the construction of artworks as possessing a genuinely autonomous character.

This makes Adorno’s claims about Valéry and Proust somewhat ironic, but arguably productively or virtuously so. Despite Valéry’s own processual and solipsistic mode of presentation, it is so by virtue of his “advocacy of the dialectic” qua the recognition that the only freedom possible is freedom in relation to the object (‘Valéry’s Deviations’, 150). This in a roundabout fashion actually serves to undermine the idea that the subjective stream of consciousness is an authentic expository force for narrative truth.

Adorno writes that Valéry’s philosophical affinity to this advocacy “erodes from below […] the illusion of immediacy as an assured first principle” (‘Valéry’s Deviations’, 150). Indeed, intentionalists presuppose some primary or immediate access to the author or creator’s epistemic faculties via the formal presentation of the subjective narrative. But attempts at cleanly cutting through the social conditions which engendered the work are inhibitions to aesthetic truth, for Adorno. There is a broadly ethical dimension to Adorno’s rejection of this presupposition, too: “[t]he objectification of works of art, as immanently structured monads, becomes possible only through subjectification” (‘Presuppositions: On the Occasion of a Reading by Hans G. Helms’, 368).

Adorno offers the potential for a positive way out. He describes an emancipation made possible through aesthetic endeavour, when works are forced to try and re-establish a kind of objectivity which is lost

“when it stops at a subjective reaction to something pregiven, whatever form it takes. The more the work of art divests itself critically of all the determinants not immanent in its own form, the more it approaches a second-order objectivity” (‘Valéry’s Deviations’, 152, my italics).

Developing dialectically out of its own deficiencies, this particular route to disillusionment constitutes a second-order objectivity – a kind of knowledge of one’s disillusionment, through aesthetic form. This is an objectivity which, depending on how one interprets Adorno, facilitates the possibility for reconciliation, or at least the knowledge that reconciliation is presently beyond our ken or grasp (‘Valéry’s Deviations’, 154). This has already been discussed by Adorno in the context of a certain kind of self-consciousness. But Adorno also discusses a kind of forbidden mode of consciousness, which, if we had access to it, would allow us access through art and literature to a genuinely different and non-reified mode of approaching our genuine needs (‘The Handle, the Pot, and Early Experience: Ui, haww’ ich gesacht’, 473). One might interpret this forbidden mode of consciousness as something necessarily inaccessible, like Kant’s intellectual intuition. Or one might interpret it as something contingently improbable, an obfuscated mode of consciousness which might come to be available to us under certain productive conditions. Regarding this difference of interpretation, I remain non-committal about, for the purposes here. But this second-order objectivity partly constitutes an acknowledgment of some kind, of this mode.

What might this second-order objectivity amount to, in the context of the work? Herein I argue lies an important internal limit to Adorno’s anti-intentionalism. The loss of the subject as an authentic expository force can lead to a realization that objectivity by this means constitutes a “loss”, Adorno claims (‘Valéry’s Deviations’, 152). Adorno then claims that the subject’s pursuit of this “critical path is truly the only one open. It can hope for no other objectivity” (Ibid.). The ramifications for this in aesthetics is that the construction of works “no longer conceives itself as an achievement of spontaneous subjectivity, without which, of course, it would scarcely be conceivable, but rather wants to be derived from a material that is in every case already mediated by the subject” (‘Presuppositions’, 371). This is not mediation by the purely spontaneous, causa sui subject, a la the presupposition of the intentionalist. Rather, the creator of the genuinely autonomous and truth-contentful work of art must be in some respect a “representative of the total social subject” (‘The Artist as Deputy’,  120, my italics).

It is only by virtue of recognizing this representative nature of works as something interpreted by the social and cultural conditions it is subject to, that art can “fulfill [itself] in the true life of human beings” (Ibid.). Adorno’s conception of the artist involves acting as a “midwife” to the objectivity inherent in the autonomous artwork – which is delineated “in advance by the form of the problem and not by the author’s intention (‘Valéry’s Deviations’, 168)”. Indeed, in line with Adorno’s authorial anti-intentionalism, the problem of delineating a work’s autonomous value is framed by its historical contingency, determined by the conditions of possibility that the forces of social production allow for the work to rupture through. It is autonomous works which can attain this expository status in relation to these forces. Put succinctly in his essay critical of Sartre and the idea of committed literature, “art, which is a moment in society even in opposing it, must close its eyes and ears to society”, while holding out the presence of “an ‘it shall be different’”, which Adorno claims “is hidden in even the most sublimated works of art” (‘Commitment’,  362).

Important to note here is that the success of the work in its autonomy is to some extent accidental, if viewed from a purely intentionalist perspective. Formal technique can only contribute to the intention of “what is presented”, as opposed to what the author purely intended. Its conditions of success are determined by the ability to recognize its autonomy within the context of objective social reality (‘Extorted Reconciliation’, 224). This includes a rupturous expression of what is concealed from reality by reifying processes, or as Adorno describes these processes, the purely “empirical form reality takes” (‘Extorted Reconciliation’, 225).

A paradox arises at the heart of Adorno’s position about this criterion for success. It is chance that “proclaims the impotence of a subject that has become too negligible to be authorized to speak directly about itself in a work of art” (‘Valéry’s Deviations’, 156, my italics). Yet at the same time as this claim about the possibility created by chance, it is this subjectivity, as

“alienated from itself, against the ascendancy in the objective work of art, whose objectivity can never be an objectivity in itself but must be mediated through the subject despite the fact that it can no longer tolerate any immediate intervention by the subject”. (‘Valéry’s Deviations’, 156)

This is a convoluted qualification by Adorno, merciless in its demands on the reader. In a reductive sense, the brute intentionalist model of subjective creativity is rejected. But the importance of the subject in some mediated sense remains of critical importance, for Adorno. Creators of autonomous works acknowledge “the paradoxical relationship of the autonomous work to its commodity character” (‘Valéry’s Deviations’, 158).

Adorno makes the allowance that this mediation via the subject is not an enterprise which the subject remains wholly unaware of, within narrative structures. But at the same time, he frames this as an eventual culmination, in a particular mode of formal consciousness towards an “estrangement of meaning” (‘Valéry’s Deviations’, 156). Adorno claims that its projection of this estrangement within an autonomous work “imitates the estrangement of the age”. Artists capable of producing autonomous works come to possess some conscious disposition towards an awareness of this imitation, by virtue of their being estranged. But how to understand this disposition toward an estrangement of meaning? Adorno thinks that it comes from a particular intuitive awareness of reification. Using Valéry as an exemplar, “[f]or Valéry’s aesthetic experience, the subject’s strength and spontaneity prove themselves not in the subject’s self-revelation, but, in Hegelian fashion, in its self-alienation. The more fundamentally the work detaches itself from the subject, the more the subject has accomplished in it” (‘Valéry’s Deviations’, 167). What Valéry and Adorno see interrelatedly, quoting Valéry, is that “[a] work endures insofar as it is capable of looking quite different from the work the author thought he was bequething to the future” (Ibid.).

Mere intention isn’t what makes a work autonomous: a presupposition of its primacy amounts to a recapitulation to the alienating forces as Adorno seems them as regnant in society. Rather, the author or creator is instrumental – “with the first movement of conception, the author is bound to that conception and to his material. He becomes an organ for the accomplishment of the work’s desires” (Ibid.). The most plausible manner of making sense of the idea that a work itself possesses desires is within the context of the claim about the artist or author as a midwife. The work embodies the hidden intuitions of a collective, expressed without ascribing any one individual’s intentions to the production of a work. Difficult as this may seem, I take it that Adorno’s point here is that autonomous works implicitly channel the hidden but genuine desires of the collective of human individuals, within their socio-historical context. Rather than representing the individuated subject, it represents the reification of the “latent social subject, for whom the individual artist acts as an agent” (‘Valéry’s Deviations’, 168). Once again, the representation of the social subject is of an instrumental rather than intentional kind through the aesthetic creator. Since Adorno thinks that all those under the same socio-historical conditions are bound to a mode of reification, there will be broad similarity underwriting the mode of self-alienation the representative artistic agent embodies and formally expresses, as themselves a conduit through which the work comes to be. The self-alienating autonomous work is described by Adorno as itself possessing ‘wants’, but intuitions of these are framed by the demands of the human condition to recognize the ill, perhaps impossible fit of the forces of social production upon that condition – the blind second nature which all are forced to adopt.

The use of the term ‘latent’ in this context is important, since Adorno frames the capacity of the contingency of the subject in psychoanalytic terminology. The ego has heretofore been assumed as the origin of pure aesthetic intentions and the harbinger of aesthetic truth, by means of its transparent route to creativity. Contrary to this assumption, Adorno claims that the ego “cannot be healed of its cardinal sin, the blind, self-devouring domination of nature that recapitulates the state of nature forever, by subjecting internal nature, the id, to itself as well” (‘Presuppositions’, 373). Rather, the ego can only be healed “by becoming reconciled with the unconscious, knowingly and freely following it where it leads” (‘Presuppositions’, 373–4). In some sense for Adorno, the regulating ego is to some extent aware of obedience or concession to the unconscious id in the creative process. The ego wants to find out what it wants, or at least wants to become aware of what it is about empirical reality that it doesn’t want.

Once this awareness takes place, the experience of autonomous artworks gives “the sense that their substance could not possibly not be true, that their success and their authenticity themselves point to the reality of what they vouch for” (‘Short Commentaries’, 187). Or, as Adorno puts it punchily elsewhere, autonomous art “represents negative knowledge of reality” (‘Extorted Reconciliation’, 222-3) – not positive representational knowledge in Hegel’s fashion, but the poverty of representational knowledge to track the real. Adorno offers an explanatory metaphor for this in a powerful discussion of Ernst Bloch’s musings on ‘An Old Pot’ at the beginning of Bloch’s Spirit of Utopia. Emulating the conscious disposition which can be intuited through autonomous works, Adorno self-referentially writes, “I am Bloch’s pot, literally and directly, a dull, inarticulate model of what I could be but am not permitted to be” (‘The Handle, The Pot, and Early Experience’, 472).

There might be no right living in a world gone wrong. But through autonomous works, formal glimmers exude, that give us intuitions of its wrongness. Whether these intuitions could develop more concretely, or be instantiated practically, is of course another story, one that cuts to the heart of Adorno’s immanent critique.

Harald A. Wiltsche, Philipp Berghofer (Eds.): Phenomenological Approaches to Physics

Phenomenological Approaches to Physics Book Cover Phenomenological Approaches to Physics
Synthese Library, Vol. 429
Harald A. Wiltsche, Philipp Berghofer (Eds.)
Springer
2020
Hardback 103,99 €
VI, 263

Reviewed by: Mahmoud Jalloh (University of Southern California)

Phenomenological Approaches to Physics is a welcome attempt to bridge the gap between two areas of philosophy not often mentioned in the same career, let alone the same breath. The collection provides fertile ground for further work on phenomenological approaches to physics—and science more generally—however, as much as the collection is promising, it is also disappointing in the preparatory nature of much of the material. While this is a general vice of the phenomenological tradition—consider how many of Husserl’s published works are introductions to phenomenologyin order to appeal to one of the primary audiences of the collection, phenomenology-curious philosophers of physics, further developments with clear consequences are needed. Many of the papers stop just as they’ve really started. This collection is of value for many purposes: as a general introduction to phenomenology, as a guide to the consequences of phenomenology for science and physics, as a pointer to areas of application for the budding phenomenologist, but it also provides some indications of particular lines of further development.

The editor’s introduction is relatively long, but deservedly so, as it does a lot, providing expositions of ten themes from Husserl’s oeuvre: anti-psychologism, intentionality, descriptions and eidetics, the epistemic significance of experience, phenomenology as first philosophy, anti-naturalism, the life-world, historicity and genetic phenomenology, embodiment and intersubjectivity, the epochē, transcendental reduction, and transcendental idealism. The sketch of Husserl produced is that of an epistemological internalist who develops a theory of the objective from fundamental subjectivity, who denies empiricism about logic and mathematics, and who holds that phenomenology is a first philosophy which comprises analyses of the essential structures of subjectivity, the ground of all knowledge, therefore legitimizing all other forms of knowledge, sciences. Any reader interested in a first pass at the role of these themes in Husserl’s work could probably do so no more efficiently than looking through the first half of this introduction. A highlight of the introduction is a sketch of the relevance of other phenomenologists, Heidegger and Merleau-Ponty, to the philosophy of physics. The themes brought up in the introduction and elsewhere are suggestive: Heidegger’s pluralism regarding scientific standards and the difference in the concepts of time in physics and history; his preemption of the theory-ladenness of observation; his praise of Weyl; his primacy of practical understanding over theoretical knowledge; Merleau-Ponty’s participatory realism; his analysis of measurement and rejection of instrumentalism, realism, and idealism, in favor of structuralism.

Part 1: On the Origins and Systematic Value of Phenomenological Approaches to Physics

Robert Crease’s “Explaining Phenomenology to Physicists” is a response to philosophy-phobic physicists, like Hawking, and aims to show how the projects of phenomenological philosophy and physics differ. This amounts to a sort of introduction to the Husserlian distinction between the natural, or naturalistic, attitude of the physicist in her workshop and the more skeptical attitude of the epochē adopted by the phenomenologist. Note that Crease makes the same point that Maudlin and other metaphysically oriented philosophers of physics often emphasize, that mathematical formulae do not comprise a theory but require an interpretation, an ontology (57). How this interpretation is established and justified is the common project of the phenomenologist and the analytic metaphysician. But herein lies a problem with the Crease essay, which is that it while it distinguishes analytic (narrowly focused on the logical analysts of science of the early 20th century), pragmatic, and phenomenological approaches to the sciences, Crease does not say enough to distinguish a defense of phenomenological approaches to physics from a defense of a philosophical approach to physics whatsoever. Now Crease may make the point that phenomenology preempted concerns with the metaphysics of physics or concerns regarding the applicability of mathematical idealization to nature that have more recently become central to the philosophy of physics. Further, it is not clear that this is a fair reading of the aims of the logical empiricists. What is the logical empiricist project of establishing how scientific, “theoretical” terms get their meaning if not a concern with the “framing” of scientific theories and “the reciprocal impact of that frame and what appears in it on their way of being” (55)? This is not to say there is no distinction to be drawn, but the discussion here is not fully convincing as an argument for the value of phenomenology in studies of physics in particular.

Mirja Hartimo’s contribution, “Husserl’s Phenomenology of Scientific Practice,” fills out Crease’s sketch of the phenomenological approach and specifies how Husserl preempts the naturalistic, practice-oriented turn in contemporary philosophy of science. This “naturalism” is to be opposed with ontological or methodological naturalism, both of which Husserl rejected. Hartimo recapitulates the difference between the natural and phenomenological attitudes and its production by the epochē, in which existence is “bracketed.” The case is made that the phenomenological attitude is not inconsistent with the natural attitude (indeed Husserl had, for the most part, the same natural understanding of the sciences as did his contemporaries in Göttingen). The Göttingen view comprises a pre-established harmony between mathematics and physics, “the axiomatic ideal of mathematics served for Husserl, as well as for his colleagues, as an ideal of scientific rationality, as a device that was taken to guide empirical physical investigations ‘regulatively’.” (67) This influences the focus on Galileo in Crisis: physics is fundamentally mathematical in nature (68). Harmony amounts to an isomorphism of the axioms and the laws, with the axioms of physics being a formal ontology, a formal definite manifold (69). Husserl’s two differences with the Göttingen consensus are: (1) scientists should also develop material ontologies, which provide specific normative ideals for the mathematization of nature and its connection to intuition; (2) the normativity of the exact sciences does not extend to all scientific domains, a normative pluralism. (2) is particularly important because phenomenology itself falls short of the axiomatic ideal, due to the inexactness of the relevant essences.

Pablo Palmieri’s contribution, “Physics as a Form of Life,” is an odd fish. It presents itself not as a presentation of Husserl’s account of the lifeworld and its relevance to physics but rather as focusing on a foundational question raised by Husserl: “why is it that the axioms of mathematical physics are not self-evident despite the evidence and clarity that is gained through the deductive processes that flow from them?” (80) To answer this question Palmieri embarks on an analysis of physics as a form of “Life” in the sense of some historical development. The three epochs of physics which characterize its form of life are (1) the youth of Galileo’s axiomatic physics, (2) the senescence of Helmholtz’s work on the anharmonic oscillator and the combination of tones, and (3) the “posthumous maturity” of physics following quantum physics. These historical studies are interesting and valuable in themselves, especially the Galileo study, particularly regarding the influence of Galileo’s aesthethics on his mathematization of nature (84). Unfortunately, how these studies relate to the overall aim of the essay is unclear and is shrouded by the sort of allegorical and flowery prose that turns away many from “continental” approaches more generally. Palmieri’s description of the third stage of physics’ life as “posthumous maturity” describes a “disarticulation” in physics that comes to a head for Palmieri in Heisenberg’s use of (an)harmonic oscillator framework for quantum mechanics. The result of such a “translation” is not a direct analog to the classical treatment of spectra, due to the lack of rules for “composition of the multiplicity into the unity of an individual, by the interpretation of which we might generate the individual utterance that once performed will elicit in our consciousness a corresponding perception in any of the sensory modalities whatever” (100). The obscurity of such bridge principles to observation is, again, exactly the crisis of which Husserl was concerned. The upshot seems not to be, as it was for Husserl, a call to action for phenomenological analysis, but rather the essential mystery of nature as “[i]t is nature herself that precludes herself from knowing reflexively her own totality of laws” (83). While this is supposed to have the status of an explanation it is only buttressed with metaphor:

This being hidden of nature as a totality, or her desire or necessity to hide herself from further scrutiny, which I would be tempted to qualify as nature’s vow of virginity, explains why the axioms of mathematical physics must appear to our intuitions as obscure (84).

This pessimistic conclusion conflicts with phenomenology’s self-conception as a progressive research programme, leaving Palmieri’s own position mysterious, and one suspects that is how he wants it.

Norman Sieroka’s “Unities of Knowledge and Being—Weyl’s Late ’Existentialism’ and Heideggerian Phenomenology” is a fascinating exposition of Weyl’s latter existentialist turn and his engagement with Heidegger’s work. Weyl claims that physics is dominated by “symbolic construction”, of which axiomatic mathematics stands as paradigm, which are empirically evaluated holistically. Weyl’s account of symbolic construction is dependent on the understanding that these symbolic systems are constructed out of particular concrete tokens. Similarly it is essential to the symbolic construction that it is intersubjective and the practitioners of a symbolic system are peers embedded in a wider public. The core of mathematics and the sciences is not logic, but rule-bound “practical management” of symbols (109). This practical level must be fundamental or else we fall into a circle of physical reduction and symbolic representation.

Weyl’s 1949 paper “Science as Symbolic Construction of Man,” explicitly invokes Heidegger’s concept of the existential basicness of being-in-the-world as a point of agreement. Weyl does not, however, accept Heidegger’s anti-scientific attitude that concludes from this, that science is “inauthentic”. Weyl held that scientific practice and philosophical reflection were mutually enriching — particularly moral reflection in the shadow of the bomb. Heidegger’s rejection of science is due to symbols being merely present-at-hand, as they do not figure in the “care-taking encounter of daily life” (114). The weight of evidence and experience clearly sides with Weyl here. Sieroka raises examples of bridge-building and experimental physics. More simply, even the manipulation of symbols in themselves is care-taking in that they are to be interpreted and not only by oneself, in a dubious “private language”, but by some community. Here is a missed opportunity to engage with Heidegger’s later work, though it cannot be said to have influenced Weyl. Something like “The Question Concerning Technology” shows that Heidegger did not think that modern science and technology were independent of daily life, but rather have a radical and destabilizing effect that inhibits Dasein from encountering its own essence. Though, it is not clear how much this is a rejection of the verdicts of Being and Time, or should correct Sieroka and Weyl’s intepretations. The extension of the critique by way of Fritz Medicus, Weyl’s colleague, to a critique of “thrownness” and the general receptivity or passivity of Dasein to Being seems beside the point and reliant on a misunderstanding of Heidegger. Medicus’ “piglets” complaint about the thrownness of Dasein can only rest on a misunderstanding of the role of historicity in Dasein’s being (see Division 2, Chapter 5). Intersubjectivity is fundamental to Dasein. Being-with is “equiprimordial” with Dasein’s Being-in-the-World and is an existential characteristic of Dasein, even when it is alone (149-169).  Being-with defines Dasein’s inherent historicity. Dasein is thrown into a culture, into a way of life.

Sieroka’s comparison of Weyl and Cassirer, that Cassirer’s theory of symbolic forms provides a unity of knowledge, while Weyl’s provides a unity of being, owing to his existentialist inflection, is interesting but perfunctory. It makes one wonder what such a distinction could tell us about the difference of method between phenomenology and neo-Kantianism, how this might relate to the interpretational dispute at the center of the Davos debate, and how Weyl’s conception of physics and mathematics could have played a role in such rifts.

Part 2: Phenomenological Contributions to (Philosophy of) Physics

“A Revealing Parallel Between Husserl’s Philosophy of Science and Today’s Scientific Metaphysics” by Matthias Egg aims to show how the crises that Husserl saw as central to the contemporary sciences and his solution are echoed in the scientific metaphysics of Ladyman and Ross (2007). The crisis is rooted in the substitution of the lifeworld for mathematical idealities, which amounts to a forgetting of the “meaning-fundament” of the sciences, undermining their own epistemological standing. Egg frames his comparison of Husserl and the scientific metaphysicians with Habermas’ critique of Husserl’s project of making science presuppositionless, providing a basis for absolute practical responsibility. The supposed failure is that it is left unexplained how a more perfect theoretical knowledge is to have practical upshot. The lacuna is Platonic mimesis, wherein the philosopher “having grasped the cosmic order through theorizing, the philosopher brings himself into accord with it, whereby theory enters the conduct of life,” (129), which is in direct ontological opposition with Husserl’s transcendental idealism, as Habermas sees it. (Does Habermas commit the naturalistic fallacy?) Husserl’s model claims only that the procedure or methodology of theoretical knowledge provides normative force on our practical affairs, in Egg’s example, our doing of physics. Egg presents Ladyman and Ross as agreeing with Husserl’s science-cum-Enlightment project, particularly, that science must be central to our worldview as it allows for a unified, intersubjectively valid approach to world even beyond theoretical practice. This too, falls short of Habermas’ mimetic ideal —their project could only be preserved in the “ruins of ontology” (130). Ladyman and Ross share some skepticism about strong metaphysics but accept weak metaphysics. Unfortunately, Egg stops just before saying anything more substantive than an observation of convergent philosophical evolution. There is more to be said particularly regarding the link between this sort of communicative conception of the scientific project and structural realism which puts Ladyman and Ross and Husserl in the same camp. The metaphysical essays to follow cover some of what I would like to say, but let me gesture at a possible development. In Ideas II and the fifth Cartesian Meditation, Husserl develops an account of scientific objectivity such that it is constituted by intersubjective agreement via “appresentation.” What is intersubjectively available are the appearances of objects, but what is agreed upon are the invariant structures supposed to explain the experiences of the community. Heelan’s (1978) hermeneutic interpretation of Husserl provides a picture in which the infinite tasks of mathematization and measurement link together the lifeworld and the scientific image which is constituted by it. There is a structural realist position to be examined here which could provide a unified account of everyday and scientific perception.

Lee Hardy’s “Physical Things, Ideal Objects, and Theoretical Entities: The Prospects of a Husserlian Phenomenology of Physics” attempts to square Husserl’s phenomenology with scientific realism. Husserl’s seeming positivism is especially problematic given that Husserl argues “that the objective correlates of the mathematical laws of the physical sciences simply do not exist in the physical sense. They are ideal mathematical objects, not real physical things” (137). Hardy restricts Husserl’s instrumentalism to scientific laws rather than scientific theories tout court. Husserl’s view is that knowledge of physical objects is gained by mathematical approximation, leaving room open for the positing of actual physical entities. Hardy’s argument, a rational reconstruction of a path not (explicitly) taken by Husserl, depends on a distinction that seems both interesting and suspicious. Hardy wishes to distinguish instrumentalism about the laws from instrumentalism regarding theories, the difference between the two lies in the fact that laws specify functional interdependencies of physical quantities which state how empirical objects behave, but theories explain why physical quantities behave as they do. So then, the instrumentalist holds that the semantic value of theories is limited to that of the laws, which predict observable behavior. The realist holds that scientific theories have as semantic values the behavior of unobservables. Husserl’s radical empiricism is in apparent tension with the realist’s explanation, Hardy reconstructs the received view:

(1) A obtains if and only if p is true.

(2) p is true is and only if p is evident.

(3) p is true if and only if A is intuitively given in an act of consciousness.

Ergo, (4) A obtains if and only if A is intuitively given in an act of consciousness.

Theoretical entities cannot be so given, so statements about them can never be true, so we ought not be committed to them. This interpretation Hardy rejects in favor of one which changes the role of experience from semantic-metaphysical to epistemic:

S is justified in believing p if and only if the correlative states of affairs A is given to S in an intuitive act of consciousness (143).

Hardy specifies that the perceivability condition on existence was meant to be dependent on an ideal possibility, not an actual possibility (dependent on sensory apparatuses). This point goes some way towards specifying the meaning of transcendental idealism, though this seems to go astray in attempting to recover realism. Transcendental idealism requires that possible perception by a transcendental subjectivity constitutes (the preconditions for) existence. Hardy picks up the thread in the Crisis regarding the essential approximative nature of the sciences as their conclusions are mediated by ideal, mathematical constructions:

Exact, objective knowledge is possible only by way of a passage through the ideal; and for that very reason will never be more than approximative knowledge of the real (146).

In  Crisis, Hardy claims, Husserl distinguishes the ideal, physical object and the perceived object ontologically: the objects of ordinary life are not  “physical” objects.  It is these limit-idealized objects that Husserl is anti-realist with respect to. The trouble with Hardy’s distinction between theories and laws and between real objects and idealized objects is that the approximation relation is left unexplained. There remains an explanatory gap as to why physical objects should be subject to laws that properly only have idealities as their subjects.

Arezoo Islami and H. A. Wiltsche’s “A Match Made on Earth: On the Applicability of Mathematics in Physics” shows how phenomenology can provide a response to Wigner’s puzzle, “the unreasonable effectiveness of mathematics,” by moving on from why-questions to how-questions. The puzzle arises from a rejection of Pythagorean mathematical monism towards which the phenomenologist is officially neutral, due to the epochē, setting aside why-questions altogether. To answer the how-questions, the phenomenologist must also provide both synchronic and diachronic accounts of how we apply mathematics. The authors explicate constitution and replacement. They show what is meant by the horizon of experience, all the non-actual aspects of some experience which frame one’s interpretation of it, one’s anticipations. From this constitution is explicated:

It is this process of intending objects through specific noemata and then constantly projecting new sensory data against horizons of possible further experiences that phenomenologists call constitution. Of particular importance in this context are those aspects of experience that remain invariant… (169)

From these invariances of the noemata, lawlike relations are found and suitably objective properties can be described of the noema. This structure generalizes to scientific constitution from the example of perceptual constitution. Aiming to intend all of reality through mathematical noemata is Galileo’s great leap forward. Doing so is to replace the lifeworld with the scientific image. Nature is mathematical because we have made it so. While I am largely sympathetic with this approach, and hold that it contributes to a structuralist view that is worth developing, to satisfy mysterions like Wigner specific accounts of such constitution is needed.

Thomas Ryckman’s essay, “The Gauge Principle, Hermann Weyl, and Symbolic Constructions from the ‘Purely Infinitesimal’,” provides a mini-history of Weyl’s development of the gauge principle (a fuller history in Ryckman 2005), in which Weyl is motivated to investigate Lie groups and algebras by phenomenology on the one hand and Naturwirkungphysik on the other.  Naturwirkungphysik is a standard explanation, “that all finite changes are to be comprehended as arising through infinitesimal increments” (182). In practice this is to take locally defined tangent spaces to be explanatorily fundamental. For Weyl, this standard of locality is justified by appeal to not just phenomenological epistemology, that direct givenness to the ego is the ground of all essential insight into the structure of things, and this givenness is attenuated at spatial distance, but to full blown transcendental idealism:

insofar as symbolic construction of the “objective reality” of the purportedly mind-independent objects of physics is, per Husserl, a constitution of the sense of such objects as having “the sense of existing in themselves” (184-5).

Just as the previous essay establishes, the objects of mathematical physics are constructions which intend transcendent objects. However these objects are only fixed up to an isomorphism, any further “essence” is beyond cognitive grasp and therefore unreal (188). Ryckmann provides an able and clear derivation of the gauge principle in QED and a quick rundown of how this generalizes in the Standard Model. While this is a valuable contribution to the collection, those familiar with Ryckman’s past work will wish that the closing remarks regarding the standard model and the Weyl-Nozickean (2001) slogan, “objectivity is invariance,” were expanded upon. I look forward to further development of the alternative view implied by Ryckman’s interpretational challenge this slogan, which centers locality as the source of gauge transformations (199).

Part 3: Phenomenological Approaches to the Measurement Problem

Steven French’s “From a Lost History to a New Future: Is a Phenomenological Approach to Quantum Physics Viable?” does well to show that the phenomenological background of Fritz London was deeply influential on his approach to the measurement problem (with Bauer) and that this influence has been covered over by misinterpretation. The measurement problem is essentially the apparent inconsistency of deterministic dynamics of quantum mechanics and the collapse of the wave function. London and Bauer have been taken to merely restate von Neumann’s notorious solution, that the uniqueness of the interaction of the system with a conscious observer explains how and when the “collapse” occurs. French shows this picture presented by Wigner, which fell to the criticism of Shimony and Putnam, to be a straw man. French argues that London and Bauer’s phenomenological account of quantum measurement can stand up to such criticisms and for London.  Quantum mechanics presupposes a theory of knowledge, a relation between observer and object “quite different from that implicit in naive realism” (211). Measurement, considered subjectively, is distinguishable from the unitary evolution of the quantum state by introspection giving the observer the “right to create his own objectivity” (212). This is not some (pseudo-)causal mind-world interaction that creates a collapse but rather a precondition for the quantum system to be treated objectively and by a different mathematical function, the precondition being a reflective act of consciousness in which the ego-pole and object-pole of experience are distinguished, not a substantial dualism, “thereby cutting the ‘chain of statistical correlations’” (212-3). The discussion that follows, while suggestive, shows that it is not clear how this general phenomenological view about the nature of objectivity is supposed to remove the particular quantum measurement problem. Whether this is the fault of French or of London and Bauer is unclear; the most direct quotation from London and Bauer suggests that this distinction of the ego and the object somehow licenses the transition from representing the measurement situation by the wave function, ψ, to representing the system as in a particular eigenstate. This is much too oblique, given that the nature of such fundamental acts of consciousness is, even to the phenomenological initiate, obscure, and requires some substantive claims about the determinate nature of consciousness. French too must find the explanation as given by London and Bauer incomplete as he invokes decoherence, decision theory, and the “relational” interpretation as elements of a fuller story, presenting something, protestations aside, very close to Everettianism indeed. If such a distinctive and useful interpretation can be fleshed out on phenomenological grounds, it would be the most direct and substantive proof of the progressive nature of a phenomenological programme.

Michel Bitbol’s “A Phenomenological Ontology for Physics: Merleau-Ponty and QBism” is another breath of fresh air in the collection, exploring a phenomenological approach other than Husserl’s. Taking the primacy of lifeworld and Bohr’s challenge to traditional scientific epistemology as starting points, the essay sets up correspondence between Fuch’s participatory realism and Merleau-Ponty’s endo-ontology. More generally Bitbol takes recent developments in the philosophy of quantum mechanics, like Peres’ no-interpretation and Zeillinger’s information-theoretic approach, to “all seem to be pointing in the same direction,” in line with the phenomenological approach to the sciences as tools for navigation in the world. These are the pragmatists, as distinguished from the interpreters. Bitbol goes on to describe how the anti-interpretational approach is phenomenological by establishing an epochē for quantum physics. Rather than understand the states of quantum systems in a Hilbert space as properly predicative, we bracket any ontological posit and treat these states functionally as informational bridges between the preparation and outcome of experiments. Bitbol then considers a question a level up:

[W]hat should the world be like in order to display such resistance to being represented as an object of thought? Answering this question would be tantamount to formulating a new kind of ontology, a non-object-based ontology, an ontology of what cannot be represented as an object external to the representation itself (233).

For Merleau-Ponty (and Michel Henry), the non-objectual ontology is provided by the priority of the body and raw, original experience.

This is an ontology of radical situatedness: an ontology in which we are not onlookers of a nature given out there, but rather intimately intermingled with nature, somewhere in the midst of it… we cannot be construed as point-like spectators of what is manifest; instead, we are a field of experiences that merges with what appears in a certain region of it. This endo-ontology is therefore an ontology of the participant in Being, rather than an ontology of the observer of beings (236).

Here the central self-consciousness of transcendental idealism becomes self-perception of the body. In physics, this is translated into a participatory realism, wherein the observer is involved in the creation of Being.  Merleau-Ponty’s own statement of the relationship between his phenomenology of embodiment and physics starts from the observation that physics always attempts to take in the subjective as a part of or a special case of the objective. This is something of a category error, and in quantum mechanics it seems that there is a concrete proof of the impossibility of eliminating the subjective, or better yet shows that the objective-subjective distinction is not well formed. These are interesting points and one wishes that Bitbol (and Merleau-Ponty himself) would have spelled out this metaphysical picture in more detail. While the correspondence with QBism seems somewhat plausible, it is not shown that either view commits one to the other or that this endo-ontology provides an advance on the anti-metaphysical orientation of the QBist. The remarks regarding probability are paltry and given the significance of probabilities in quantum mechanics, a full account of it is necessary if there is to be much uptake—the primary limitation here seems to be that Merleau-Ponty did not get to consider this matter much prior to his death.

In contrast, “QBism from a Phenomenomenological Point of View: Husserl and QBism” by Laura de La Tremblaye is one of the fullest contributions in the collection. This essay serves as an able introduction to non-denomenational QBism, presented as a generalization of probability theory and cataloged as a participatory realist, -epistemic “interpretation” of quantum mechanics. QBism “stands out as an exception” (246) in this category because it focuses on belief, adding the Born Rule as an extra, normative rule in Bayesianism (the axiomatization is not explicitly shown). QBism removes the ontological significance of the collapse of the wave function, the state description and reality are decoupled, the collapse is a statement of some (ideal) agent’s belief state. Accordingly, “knowledge” yielded by measurements is redefined as information about the system that is accepted via measurement (250). While the probabilities assigned are subjective, the updating rules are objective.

It is no trivial task to draw a clear line between the subjective and the objective aspects of the Born rule… Fuchs and Schack invoke a completely new form of intersubjectivity. It is through the use of Bayesian probabilities that the multiplicity of subjectivities elaborates a reasoning that can be shared by everyone, and that, consequently, can be called “objective” in precisely this limited sense… this leads to the new conception of knowledge: knowledge is no longer understood in terms of an objectively true description of the intrinsic properties of the world; it is rather understood as the kind of knowledge that is needed to guide the future research of any agent, thus implying a weaker form of objectivity (251).

For Fuchs, the measuring device is analogous to a sensory organ, measurement  is an experience. This leads de La Tremblaye to consider two notions of experience, one from Husserl, the other from William James, who influenced Chris Fuchs. de La Tremblaye argues that it is Husserl’s model of experience as involving a normative, intentional horizonal structure, that better coheres with the Qbist view. This shows a positive contribution phenomenology may offer to QBism: an explanation of the source of the Born Rule’s normativity. Another would be an adequate explanation of how it is that the rules of Bayesian probability can be objective via the intersubjective constitution of objectivity essential to Husserl’s model of the sciences.

In sum: this collection is promising though deficient in some respects. It will provide a number of starting points for a further development of a phenomenology of physics and provides the curious or sympathetic philosopher of physics something to chew on, but it is not a full meal. Many of the contributions would do well as additions to a graduate seminar or undergraduate course on phenomenology or the philosophy of science, with the materials on quantum mechanics showing the most potential for further development.[1]

References

Heelan, P. A. 1987. “Husserl’s Later Philosophy of Natural Science.” Philosophy of Science 54 (3): 368-390.

Heidegger, Martin. 1977/1993. “The Question Concerning Technology.” In Basic Writings, David F. Krell (ed.). New York: HarperCollins.

———. 1962. Being and Time. John Macquarrie and Edward Robinson (trans.). New York: Harper and  Row.

Ladyman, J. & Ross, D. et al. 2007. Every Thing Must Go: Metaphysics Naturalized. Oxford: Oxford University Press.

Nozick, R. 2001. Invariances: The Structure of the Objective World. Cambridge: Harvard University Press.

Ryckman, T. 2005. The Reign of Relativity: Philosophy in Physics 1915-1925. Oxford: Oxford University Press.


[1]    Thanks to Porter Williams for reading the collection with me and sharing his thoughts with me, which allowed me to sharpen my own.

Aaron B. Daniels (Ed.): Dante and the Other: A Phenomenology of Love, Routledge, 2020

Dante and the Other: A Phenomenology of Love Book Cover Dante and the Other: A Phenomenology of Love
Aaron B. Daniels (Ed.)
Routledge
2020
Paperback £29.99
246

Daniele De Santis, Burt Hopkins, Claudio Majolino (Eds.): The Routledge Handbook of Phenomenology and Phenomenological Philosophy

The Routledge Handbook of Phenomenology and Phenomenological Philosophy Book Cover The Routledge Handbook of Phenomenology and Phenomenological Philosophy
Routledge Handbooks in Philosophy
Daniele De Santis, Burt C. Hopkins, Claudio Majolino (Eds.)
Routledge
2020
Hardback £190.00
840

Reviewed by: Gabriele Baratelli (University of Cologne)

This volume arguably represents the most ambitious and complete attempt until today to collect in a uniform form a series of highly qualified contributions on the entire spectrum of phenomenological philosophy.[1] Given the peculiar character of each entry of this Handbook, it will be no surprise if the text will be taken as a useful guide by students entering for the first time in the difficult terrain of phenomenology as well as by experienced scholars. On the one hand, the book is, in fact, certainly meant as an introduction, as a “conceptual cartography” that alludes to the answers and to the immense potentialities that this philosophical practice has expressed in its history. This is done by means of the precise but not esoteric description of its language and conceptuality. On the other hand, with diverse gradations, the entries are also original contributions that certainly make significant progresses in phenomenological research.

The text is divided into five main parts. The first one is devoted to history, conceived in two senses.  The first essay of this section, written by Pierre-Jean Renaudie, gives an excellent and concise overview of the history of the phenomenological movement itself. The others concern instead the conceptual heritage of phenomenology and the original transformation of traditional doctrines and methods coming from the history of philosophy that it brought about. The style of the contributions varies a lot. This is certainly a virtue for the expert, but it can easily become a limit for the beginner. To make a comparative example, Burt Hopkins’ “Phenomenology and Greek Philosophy” provides an analysis of one of the classical themes of phenomenology, namely its relationship with ancient metaphysics. This is realized in three steps. Since the terms of the discussion have been laid out by Heidegger in the 1920s, Hopkins takes into critical account at first his interpretation of Husserl’s method through the lens of Plato’s and Aristotle’s philosophies. It is argued that both Heidegger’s identifications (of the doctrine of categorial ideation with Aristotle’s doctrine of the apprehension of eide, and of the theory of intentionality with Plato’s statement that speech is about something) are totally unwarranted. This technical assessment of Heidegger’s miscomprehension of Husserl’s main tenets leads Hopkins afterwards to the related conclusion that the entire Heideggerian conception of Greek philosophy has to be recognized as the “myth not only of Plato’s philosophy being limited by a prior understanding of the meaning of Being as presence, but also of it being a fundamentally driven by an ontology”. After a brief intermezzo devoted to a not very well-known Husserlian discussion over the origins of philosophical thought and the role played in it by the sceptics and Socrates, Hopkins presents Jacob Klein’s account of Plato’s doctrine of the eide. Besides its intrinsic interest, this last part helps clarifying Hopkins’ critical account of Heidegger. It has moreover the merit of assigning to Klein’s analyses of Greek philosophy the deserved position next to the other classical phenomenological interpretations. The presentation of the subtlety of his arguments as well as the skilful use that Hopkins makes of them to confute and correct Heidegger’s shortcomings is certainly proof of the richness Jacob Klein’s thought. To come back to our concern, it is clear that this text has strong theoretical claims, whose authentic appreciation could require the reference to the other texts of the author and, especially for the beginner, to the other entries of the Handbook (including the one dedicated to Klein himself).

Francesco Valerio Tommasi’s “Phenomenology and Medieval Philosophy” has instead a less demanding theoretical commitment, as it displays an historical outline of the different approaches to Medieval philosophy (and religion and theology in general) that characterizes phenomenology (Tommasi focuses on Brentano, Scheler, Stein, Heidegger and Marion). The reconstruction is driven from the outset by a clear interpretative idea, namely, as Tommasi puts it: “The history of the relationship between phenomenology and medieval philosophy is, for the most part, the history of the relationship between phenomenology and Neo-Scholasticism”. The paper has then a twofold utility: by studying the reciprocal influences of two of the greatest philosophical tendencies of the XXth century, it shows indirectly, so to speak, the noteworthy role that Medieval thought played in phenomenology itself. Regarding the conceptual viewpoint, the key-concept that allows Tommasi to give uniformity to his reconstruction is arguably that of analogia entis. This “fragile architrave” of Scholastic thought gathers together the initial emergence of a phenomenological conceptuality in Brentano (for whom, as it is well known, the encounter with Aristotle’s doctrine of category and Being was decisive) and some of its most radical outcomes, including Heidegger’s philosophy. On this view, significant differences among the phenomenologists can be detected through the analysis of their appropriation of this pivotal notion. This undoubtedly sheds new light on phenomenology overall and on its conflicting relationship with Neo-Scholasticism. Without this common ground, in fact, even the “very heavy blow to the Neo-Thomist model” provoked by Heidegger’s critique of “ontotheology” would remain inexplicable.

The other essays concern the relationships with the Cartesian tradition, British empiricism, German idealism and Austrian philosophy.

The second section is the real core of the text. It presents a list of concepts and issues that form, so to speak, the basic ingredients of phenomenology. The entries are either fundamental concepts that often immediately refer to a specific author, for example “Dasein” and “Life-World”, or general topics, like “Ethics”, “Time”, “Mathematics” and so forth. The order is alphabetic, so that any hierarchical connotation and immanent principle of organization is excluded. The complex technicality of phenomenological vocabulary is here analysed thanks to a useful kaleidoscopic operation. Since many terms have already taken upon various meanings, one the strategy followed in the texts of this section is to refract the successive sedimentations of meanings showing the hidden reasons and the misunderstandings responsible for their complex conceptual history. Paradigmatic of this choice is the crucial entry “Phenomenon”, written by Aurélien Djian and Claudio Majolino, in which the connotations of this fundamental concept are unfolded throughout the history of phenomenology. Among the important shifts that characterized this history, two of them appear probably as the most significant ones: Husserl’s departure from Brentano’s notion of phenomena, and Heidegger’s departure from Husserl’s. Thus, in the first case, while for Brentano a phenomenon is “what appears as it truly is, something whose existence is tantamount to its appearance”, for Husserl is rather “what appears beyond existence and non-existence, something whose existence is indifferent with respect to its appearance”. This change clearly determined the “eidetic” character of Husserlian phenomenology as a “purely descriptive” science in the Logical Investigations. This feature will be constant in Husserl’s further reflections, despite the increasing sophistication of his method and the corresponding substantial modifications of the concept of phenomenon itself (modifications that are recognized in three further steps and painstakingly described in the paper). Heidegger’s case involves something else. Thanks to a precise clarification of the famous §7 of Being and Time, the authors explain how Heidegger considered phenomenology as a method that has to deal with the “how” things show themselves, and not with a certain “what”, namely phenomena themselves. Moreover, he distinguished between the “vulgar concept of phenomenon”, something that “initially and for the most part” shows-itself in the world, namely entities, and something that, by showing itself, is essentially concealed, namely Being, the “proper phenomenological concept of phenomenon”. A different phenomenological method corresponds to each pole of this ontological difference: the one of positive sciences and the one of hermeneutical ontology, i.e., “a method to wrestle from its concealment what essentially does not show itself (Being) and yet is fundamental with respect to the immediate and unproblematic self-showing of worldly entities”. This new peculiar scientific attempt is then irreducible to Husserl’s original one, as it focuses not on “phenomena” simpliciter, but exclusively on “the most exceptional phenomenon of all”. The final part of the essay reconstructs the more recent developments of phenomenology by showing the “Heideggerian logic” they embody. Be it Levnias’ phenomenon of the Other, Henry’s Life or Marion’s Givenness, in all these cases it is reiterated that the idea of an authentic phenomenological thought has to face the most exceptional phenomenon of all. The differences lie rather in determining which is the most fundamental one. This paper, therefore, alongside with many others, not only elucidates a central theme in conceptual and historical terms, but it also offers indirectly an interpretation of the sense of several, apparently contradictory, phenomenological trajectories.

The third part is composed of a list of major phenomenologists. For each of them is given an overview of their work. It is noteworthy that this section dedicates deserved space to authors that are still little known (the list includes, for example, Aron Gurwitsch, Jacob Klein, Enzo Paci). Here, the ideas analytically set forth in the previous section form specific constellations of meanings within the unitary production of each philosopher.

The fourth part, —“Intersections”—concerns the significant influence of phenomenology on other philosophical traditions and the positive sciences. This section not only stresses once again the peculiarities and the theoretical richness of phenomenology, but also its fundamentally relational nature. In “Phenomenology and Analytic Philosophy”, for instance, Guillaume Fréchette takes into account the vexata quaestio of the alleged fracture between “continental” and “analytic philosophy” that occurred during the XXth century. The author recollects the most significant episodes of dialogue (and reciprocal incomprehension) of the last decades and gives an overview of the philosophers that, explicitly or not, tried to “bridge the gap”. However, Fréchette underlines the fact that this divide is exclusively determined by contextual and institutional factors, and not by fundamental theoretical principles, as it has been usually the case for conflicting schools of thought in the history of philosophy. In the last part of the essay he conceptually formulates both traditions by invoking the realist/anti-realist distinction. On the one hand, this analysis proves the previous thesis, since it is shown that these opposing tendencies are equally present in both traditions. On the other, by an overarching reflection concerning the so-called “philosophy of mind”, it sheds light on the (often undervalued) similarities and influences that, besides any actual recognition, inform the course of recent philosophical research. Other papers are instead devoted to the relationships with psychoanalysis, medicine, deconstruction, cognitive sciences.

The fifth and final part of the text connects phenomenology, historically grounded in the Western world, to other areas and thus to conceptualities apparently distant from the philosophical tradition. As Bado Ndoye notes in the first essay of the section dedicated to “Africa”, this operation can even appear odd, if not paradoxical, if we think that when Husserl mentioned “African or non-Western people in general, it was always in order to make a contrast with what he used to call the ‘Idea of Europe’, as if the very essence of the latter could not be cleared if not opposed to a radical exteriority”. Husserl’s “eurocentrism”, however, is of a peculiar kind since it privileges the role of European humanity as that which factually revealed the authentic idea of reason and science. The content and especially the telos of this idea are not of course limited to one culture, but rather represent the common horizon that has to define humanity as such. Given this premise, the wide interest that phenomenology received all over the world cannot be a surprise and does not imply eo ipso an endorsement of relativism. Ndoye shows precisely this by analysing the work of Paulin J. Hountondji and his critique of the philosophical Western prejudices over Africa from the exact standpoint of Husserl’s universal idea of science. This happens in Hountondji’s account of Tempels’ Bantu Philosophy (1947), which is charged with confusing philosophy and ethnology, and in this way creating “philosophemes” attributed to a “fantasized vision of African societies”. This attitude does not rule out the importance of empirical research but is useful, on the contrary, to appreciate its authentic role and meaning. Ndoye suggests that in this sense Hountondji’s trajectory repeats Husserl’s, inasmuch as the latter finally encounters the question of the life-world as the unavoidable dimension that precedes every objective science. Despite the plurality of its manifestations, the correct interpretation of this original dimension helps “to pass through the element of the particular, in this instance the local cultures, as a gateway to the universal”.

Two things have to be certainly recognized in the editorial composition of this Handbook. The first is to have successfully produced and assembled a useful and insightful instrument for further phenomenological studies. The second is the courage behind the realization of such a project. The unity of this book, in fact, surpasses the collection of excellent contributions that it contains. Through its pages, phenomenology is not presented in the rigor mortis of definitions and historical analyses dictated by an eccentric scholarly curiosity. It is instead fierily depicted as a “living movement” whose role within and outside the philosophical sphere is not exhausted. In other words, this book does not impose the seal of the past to phenomenology, but rather it vividly presents it in its actual force, as a cultural project that is still in becoming in such a way that it can still meaningfully respond to our present needs.

Now, if this is what motivated, at least partially, this enterprise, then a very basic assumption is here presupposed. Namely, the fact that phenomenology, whatever it really is, exists. Given a superficial knowledge of the history of philosophy after Husserl up to the present, a sceptic could simply deny this alleged fact: the contrasts among philosophers at first recognizing themselves as belonging to the same scientific community inspired by Husserl’s works are so fundamental and the paths taken from them so diverse that any possible feature giving an acceptable unity and coherence seems to vanish.  The sceptic could find in the constant appeal to metaphors describing the course of phenomenology further evidence for his thesis. For instance, in Renaudie’s already mentioned historical essay, it is said that phenomenology cannot be characterized as a systematic doctrine, having fixed and clear fundamental principles and a cumulative-like progress. On the contrary, what is common to its different manifestations is only a “philosophical style”. As a consequence, Renaudie himself describes the history of phenomenology through a series of “conceptual shifts” (“transcendental”, “existential” and so forth) and he finally compares this flourishing of expressions to a plant, “the wilting of which does not necessarily prevent its growing back under a new and rejuvenated shape”. On this view, the many unorthodox interpretations stemming from Husserl’s texts would not destroy the sense of the entire project but, on the very contrary, would be essential to foster its development. Surely fascinating, but again, the sceptic would reply: is it  really so? Is it not just a verbal escamotage to cover the historical failure  of phenomenological thinking, whatever it tried to be at the end? Is not this narrative even more doubtful in contrast to Husserl’s own words, where in the Crisis the existence of almost as many philosophies as philosophers is presented as an urgent contemporary problem?

As said before, the editors do not elude this question and, in the introduction, they give a few remarkable hints to clarify their position. Even more clearly, perhaps, the collection of essays itself indicates a possible reply to the sceptic. The way in which they are organized, as well as the very diversified contents and perspectives offered, reveal a tension towards two complementary directions. The first one has to do with the “origin” of phenomenology, and specifically with the inevitable theoretical heritage of Edmund Husserl’s epoch-making work. Without Husserl, that is, without his immense factual influence, phenomenology, and therefore any history of phenomenology, would have never been arisen. Having in mind Paul Ricouer’s notorious dictum, namely that phenomenology is the sum of Husserl’s works and the heresies that stemmed from them, the editors suggest that this history has to be primarily described as a “‘self-differentiating’ history, a series of more or less dramatic (theoretical or even spatial) departures from Husserl, or even as a sum total of all the one-way train and air tickets away from him”. This does not amount to saying that the inevitable coming back to Husserl has to be meant as a return to “the things themselves”, in the sense of an auroral locus in which phenomenology was authentically conceived and practiced, untouched by its successive distortions. This solution cannot work since the sceptical arguments could be in fact repeated on this level. After all, who really is Husserl? Given the profound changes that mark his philosophical career, not to mention the various interpretations and criticisms to which his work underwent, the sceptic would maybe paraphrase what Einstein once bitterly said of Kant, namely that every philosopher has his own Husserl. Be that as it may, the state of affairs that occasioned the “ongoing cluster of heresies of heresies”, is not in contradiction with its grounding in Husserl’s texts. The latter do not contain a fixed and coherent system of doctrines, but rather (despite the huge amounts of material) a “small beginning” that has to be still understood and, when necessary, criticized. The very content of Husserl’s ground-breaking philosophizing, in other words, has not finished to be unfolded with his death: new shades appear in a circular motion in which phenomenology tries to define itself in such a manner that “Husserl’s own doctrine assumes a constantly new aspect and shape as it is looked at from such and such an angle”. The ultimate reference point, therefore, is not a mythological Husserl, “the true one”, but the conceptual space that he opened and that still waits for its authentic discovery.

The other side of the reply to the sceptic involves a certain view of the future. The connection to an origin meant in this way cannot but find its verso in a unity that is still to come. Now, despite the appearances, it is undoubtful that phenomenological doctrines share a certain “family resemblance”, whose sense points beyond each of them. Just like “the many different adumbrations do not exclude the dynamic unity of what is experienced though them”, the multiple directions presented in this text are directed to a common ideal pole. In other terms, each of them cannot live without the others in a multiplicity of positions that, insofar as they are genuinely phenomenological, contribute to build the very same “Husserlian” theoretical space.

In conclusion, this book is a great guide for everybody who is looking for an orientation in a certain domain of phenomenology. But we could say, it is a phenomenological guide, a book of phenomenology, that gathers a (empirical but ideally infinitively extendable) community whose project is shared. The implicit tension that crosses the contributions hides thus a promise, the promise that many heard at first in Husserl’s own words and that this text has succeeded in making audible once again. The restoring of this philosophical ambition is what preserves the necessary looking back to the past into a nostalgic and antiquarian task and at once what projects the very same enquiry into the future.


[1] To my knowledge, the only comparable text in English is The Oxford Handbook of Contemporary Phenomenology (2012) edited by D. Zahavi, published by Oxford University Press, which is limited to a smaller portion of this spectrum.

Hagi Kenaan: Photography and Its Shadow

Photography and Its Shadow Book Cover Photography and Its Shadow
Hagi Kenaan
Stanford University Press
2020
Paperback $24.00
248

Reviewed by: Arthur Cools (University of Antwerp)

In Photography and its Shadow, Hagi Kenaan addresses the medium specificity of the photographic image, particularly the transformation of the image experience due to the invention of this medium. It is not his first publication to reveal his interest in and critical confrontation with the dominance of the visual in contemporary culture. In his book on the French philosopher Emmanuel Levinas, The Ethics of Visuality. Levinas and the Contemporary Gaze (Tauris, 2013), Kenaan stated that “[s]omething has happened to our gaze. The experience of seeing has changed. The visual field has undergone a radical transformation” (xiv). In this study, he scrutinized the limits of contemporary visuality, which attracts the gaze “into the constant flickering of images, large and small screens, at every angle, at every moment, in every possible size, always in plural” (xii). Contrasting the visuality of the image with Levinas’s phenomenological description of the appearance of the face of the other person, he explored the possibility of the emergence of what he called the “reflexive gaze,” a visual field that appears to be oriented (in the strong sense of the word “orientation,” as being essential to what appears) and that as such opens up an ethical domain.

In his new book, Photography and its Shadow, it may appear that Kenaan is leaving behind the Levinasian optics of ethics as first philosophy, were it not the case that the title of this publication reminds us of an early article on art by Levinas entitled “Reality and Its Shadow” (1948). While in this article Levinas does not consider the emergence of the photographic medium, and Kenaan in his new book does not pay particular attention to Levinas’s treatment of the artwork and artistic visuality, the notion of the shadow reveals the legacy of the latter in Kenaan’s approach to photography. This legacy is manifest at different levels: the understanding of the image as a shadow; the reflection on the kind of connections between reality and shadows; the examination of the appearance of shadows in the general economy of being; the definition of the shadow as a double of reality, which fixes the momentary or, as Levinas formulates it, which “transform[s] time into images” (Levinas 1948, 139);[1] and as a “fixed shadow” (Kenaan 2020, 6), a “shadow [that] is immobilized” (Levinas 1948, 141). Significantly, it is Levinas who, at the end of his article, brings the creation of the artistic image since the Renaissance into the horizon of the Nietzschean theme of the death of God, or what he calls “the alleged death of God” (Levinas 1948, 143). It is this same Nietzschean horizon that gives a decisive twist to Kenaan’s approach to photography, as becomes manifest in the third part of the book, entitled “Photography and the Death of God,” where he writes: “The proclamation of God’s death by Nietzsche’s madman was the point of departure for our study of photography. Photography emerges with the death of God, a condition that calls for a new way of orienting humans within an indifferent (homogeneous, meaningless, nihilistic) space” (Kenaan 2020, 159).

Let us consider this central claim of the book, through which Kenaan intends not only to describe the transformation of the visuality of the image by the photographic medium, but also to understand this transformation in light of a more encompassing historical transformation of Western culture as a whole in the 19th century and its aftermath, which Nietzsche labeled the death of God. This connection with a broader cultural field of investigation provokes a certain analytic complexity. The approach is first of all phenomenological in that the author describes the specificity of the visual experience of the photographic image on the basis of many concrete examples. This phenomenological approach is complemented by a strong historical interest, with the author returning to the beginnings of photography and providing a detailed description of the different techniques from which photography – as a practice (as a guideline for ‘taking’ pictures) and as a new theory of the image (as an image of nature, made by nature, not created by the artist’s hand) – emerges in the 19th century. However, the methodology is intended to be “ultimately ontological rather than historical” (9), in the Heideggerian sense of the word, namely in the sense that, as the author formulates it in the opening lines of his book, “[p]hotography has become an intrinsic condition of the human” (2) and this condition is both “existential” (i.e., photography has become part of ordinary experience) and transformative (i.e., this condition indicates an ontological shift in our understanding of the world and ourselves).

The central claim of the book is thus ontological, with the Nietzschean theme of the death of God not mentioned merely to establish a contextual and/or epochal connection with the appearance of the photographic image in modern culture, but in order to define the ontological transformation that manifests itself in and through the visuality of the photographic medium. This transformation, understood in its ontological dimension, is not limited to the photographic medium or to the question of what an image is, but more radically concerns the experience of seeing, the visibility of world, the meaning of existence. Kenaan is certainly not the first to draw particular attention to the transformation of the image experience and of visual perception through the invention of the photograph, but his departure point of the Nietzschean theme of the death of God within the framework of a Heideggerian understanding of ontology creates a new, intriguing perspective. How is this theme at work in Kenaan’s approach to photography?

In fact, the theme of the death of God brings together different lines of argumentation and it is the combination and consequent elaboration of these lines that constitutes the book’s originality, as well as its complexity. The first – and most familiar – of these argumentative threads consists in pointing to a reversal of Platonism with regard to the image experience. Here, Kenaan joins “an anti-Platonic approach” characteristic of theories of the image in the late 20th century. This approach no longer takes the image to be a copy or a representation but “is aware of the need to articulate a modality of presence that belongs to images qua images (and not as objects or functions)” (102). Maurice Merleau-Ponty already announced this new direction of thought in Eye and Mind when he wrote: “The word ‘image’ is in bad repute because we have thoughtlessly believed that a drawing was a tracing, a copy, a second thing.”[2] However, considering the reversal of Platonism as an intrinsic condition of the invention of the photographic image, Kenaan not only dates the event of this reversal more than a hundred years earlier (even prior to Nietzsche’s birth), disconnecting it from the debate about the developments of modernism in painting, but also points to a naturalistic basis and proposes a new, more precise interpretation of the reversal of Platonism with regard to the image experience. The invention of photography presupposes that the appearance of the image is no longer related to the divine or to the ideal forms, as is the case in Platonism, but to the mere physical laws of (breaking) light rays and (fixing) shadows. It is the possibility of seeing in mechanically fixed shadows the appearance of an image which defines the reversal of Platonism. In photography, the relation between image and shadow is reversed and this reversal implies a completely different ontological understanding of what a shadow and an image are.

Kenaan retraces this new relation between image and shadow in the writings of William Henry Fox Talbot, the author of The Pencil of Nature (1844), who described the invention of photography as the art of “photogenic drawing.” Talbot’s descriptions of his photographic experiments, which he initially called skiagraphy, “shadow drawing” or “shadow writing” (117), reveal that the invention of photography coincided with the discovery of the shadow as a transcendental condition for the photographic image and as an intrinsic part of the visibility of nature. In this regard, Talbot liberates the shadow from the binary opposition between being and appearance that determines Plato’s ontology. In a Platonic framework, shadow and image belong to the realm of appearance; they are both dependent on the presence of the real (being), and they are in this sense secondary. Moreover, the relation between the two is one of identity: the shadow, as projection of a material object, is defined as an image (eidolon) of that object, and the image, considered as the visual appearance of the idea (the original presence of the real), is defined as a shadow projected by that idea. Talbot discovers in his experiments with light rays that shadows have their own unique mode of appearance and that this mode of appearance is given in nature. The shadow belongs to the way in which nature unfolds its visibility. The shadow therefore cannot be reduced to the binary logic of object and copy, being and appearance. It is not in itself already an image, but the photographic image depends on it; depends on the possibility of “capturing,” “controlling” and “fixing” the shadow event projected by light rays. On the basis of his readings of Talbot, Kenaan describes the appearance of the shadow as an “in-between.” It both belongs to nature and transcends nature, it is part of nature’s visibility and it reproduces this visibility, it is not itself an image but it provides the ground for a potential image: “the shadow manifests a doubling of nature that belongs to the very order of nature itself” (135). In this sense, he makes plausible the continuum thesis that defends a causal continuity between shadow and image; between nature’s visibility and the image’s visuality. In this sense, the appearance of the photographic image has its origin in nature.

A second line of argumentation is construed around another aspect of the Nietzschean theme of the death of God, namely the belatedness of the effects of this event. In Nietzsche’s narrative, the event of the death of God is not yet recognized, its meaning remains concealed and its consequences are simply denied. In this sense, the death of God casts a shadow, the extent of which is still undefined. In a similar way, Kenaan argues that the invention of photography, which is based on the discovery of the shadow in nature’s visibility, conceals its origin and confounds its meaning. He speaks of a “betrayal” (136). The second part of the book, “The Butades complex,” reveals the mechanism of this betrayal: photography, in its attempt to distinguish itself from the traditional concept of image creation as an act of drawing, defines itself within the limits of the idea of drawing. Butades, the myth of the Corinthian maid who traces the shade of her departing lover, plays an important historical role in this context. According to Pliny, who was the first to mention this story in his Natural History, “the drawing of pictures began with ‘tracing an outline round a man’s shadow’” (58). Between 1770 and 1820, in the wake of romantic classicism, this story was very popular in the visual arts as a pictorial theme about the origin of painting and of art in general. At the beginning of the 19th century, it delivered the main narrative frame for understanding the invention of photography and presenting the photographic image to the public: “‘The legend’s popularity in the eighteenth-century British visual culture, […], did not coincidently anticipate the dawn of a new relationship between image, object, and beholder that was photographic. Rather, it virtually establishes this relationship by setting the terms in advance by which photography would be discovered, understood, and assimilated’” (61). Kenaan quotes here the study by Ann Bermingham, “The Origins of Painting and the Ends of Arts: Wright of Derby’s Corinthian Myth (1782-1785).”

Relying on this narrative, however, it is clear that photography betrays its own newness. To make a photograph is not an act of drawing – the latter is created by the drafter’s hand, the former implies a mechanical process. Moreover, the shadow in the myth of Butades is defined as the picture of the beloved one. The myth relates the act of drawing to the amorous desire of keeping present an original presence even when this presence has gone, disappeared or died. The betrayal of photography’s newness implies thus a denial of what the invention of photography discovered: the continuously moving, transforming and evanescent appearance of shadows in nature’s visibility. Shadows, experienced as intrinsic to nature’s visibility, are not fixed and do not depict an original presence. Therefore, the idea of taking a picture, formulated to promote the camera as a technical means and photography as each individual’s way of keeping present whatever they want, is misleading: it conceals the mechanical process that is the birthmark of the photographic image, it misunderstands the outcome of this process as the visual depiction of an original experience, and it turns nature and world into a vast repository of photographic images.

A third line of argumentation deals with Nietzsche’s perspectivism. Nietzsche formulated this idea in his early writings in an epistemic context, namely as a criticism of the defenders of an all-encompassing theoretical access to the objectivity of reality. Perspectivism holds that a view from nowhere is not possible: knowledge of the real is not given independently of a point of view. The connection with the later theme of the death of God is obvious: “Perspectivism is primarily a way of acknowledging the disintegration of an all-encompassing structure of legibility, the loss of coordinates to orient man’s place in the universe. The collapse of an overarching, super-sensible principle that upholds human meaning and value is what Nietzsche understands as the ‘death of God’” (159). It is Kenaan’s contention that the invention of photography has opened the possibility of an infinity of perspectives: “The idea of an infinite plurality of perspectives is part of its inner logic. […] photography’s space consists of an indefinite multitude, a plurality of viewpoints that refuse to coalesce” (157). The introduction of the photographic apparatus detaches vision from the human eye and transforms the relationship between the visible and the visual: “photography’s visualization of the visible becomes, in principle, limitless” (154). This not only means beyond the limits of the human eye with regard to distance (too far or too close), time (too fast or too slow) or light sensitive (too bright or too dark), but also beyond the limits of the evanescent unfolding of nature’s visibility: “Every visibility is a potential photograph that can be taken from an infinite variety of perspectives.” In this regard, the photographic visualization has the potential of achieving “full domination of the visible.”

Anti-Platonism, denial of its own origin, and perspectivism: it is through these three conceptual frames that the major Nietzschean theme of the death of God functions as a heuristic and organizational device in Kenaan’s approach to photography. As a consequence, the appearance of the photographic image is presented as a kind of epochal transformation within the human condition. Ontologically speaking, this transformation can be articulated in at least three different ways: 1. a subversion of the Platonic opposition between being and appearing, including the ontological upgrading of the presence sui generis of the shadow; 2. the concealment of the mechanical nature of the photographic image and therefore the concealment of its emptiness and arbitrariness; 3. and finally, the submission of the embodied visual appearance to the limitless visibility of the photographic image, and hence the collapse and fragmentation of all meaning and values given within the visual field of human experience.

The outcome of this examination of the photographic image is challenging and at the same time disturbing because of its general, encompassing and nihilistic claim that the rise of the photographic image is based on the breakdown of all human meaning and value as given with the embodied condition of visibility. Moreover, according to Kenaan, this “ultimate breakdown of human meaning” (178) defines photography’s visual dominance today, despite its efforts to conceal it: “The visible thereby becomes a homogeneous expanded space of inhuman eyes, identical units, each of which can record an infinite number of views that are all equally set to provide sequences of representation. In such a space (the term ‘world’ no longer applies here) each and every point is a place mark for potential views” (170). Here, it becomes clear that the Nietzschean theme of the death of God not only functions as a heuristic device to analyze photography’s specific transformational power regarding embodied visible perception but also that the visual specificity of the photographic image is intended to concretize and to visualize the abyssal implications of the Nietzschean theme of the death of God: the appearance of a limitless shattered space of the visible without coherence and orientation, disconnected from the human body and indifferent with regard to the human world.

It thus seems that, in bringing Talbot’s invention of photography and the Nietzschean theme of the death of God into the same field of reflection, Kenaan first of all intends to say something about our contemporary culture, which has predominantly become a visual culture, and in which he has detected in his other book, The Ethics of Visuality, “a pathology” (xviii) of the gaze. The outcome of the examination in Photography and its Shadow seems therefore to confirm and to legitimize the starting point of this other book in the examination of another approach to vision, inspired by the philosophy of Levinas, that breaks with the limitless fragmentation of the visual without meaning: “the eye is flooded with images, swamped yet driven by a chronic hunger – rather than a desire – that does not seek meaning in the visual, only stimulation” (xv). However, returning to the mechanical roots of the photographic image, one may wonder what the theme of the death of God precisely adds to the analysis of the visual experience of the photographic image and whether the generalization it implies does not distort the specificity of this experience.

Considering the birthmark of the photographic image, Kenaan does not distinguish between the many different kinds, such as the digital and the analogical, the virtual and the real, the moving image and the snapshot, the simulation and the video game, the publicity poster and the family photobook, the visual artwork and scientific image production, or the passport photograph and the selfie on Instagram. The photographic image is considered a pars pro toto, and the original condition of a general transformation of visibility in contemporary culture. However, the problem with this generalization is not only that images have different meanings according to their various functions in contemporary society, but also that we are aware of these meanings and their differences and, accordingly, have different image experiences. The generalization implied by the Nietzschean theme of the death of God does not allow for an examination of these differences and, in a certain way, hinders access to such an analysis. Even if familiarity with the photographic image “[i]n our age of satellites, drones, Google Glass, and GoPro” makes it possible to bring randomized visible objects into one sentence, such as “the red spot on a seagull’s bulk, a particle of food processed in the digestive system, a cookie crumb on the desk of an administration, the tip of an iceberg melting in the Arctic, a dead fish in an oil spill in the ocean, the bronze hand of an ancient god at the bottom of the sea” (170-1), among many others, the meaninglessness of this collection of fragmented objects does not replace or obliterate the possibility of meaning recognition in each of these photographs. The latter is in fact dependent on the here and now of the single image experience, whereas the former requires abstraction from it.

Here, we touch on and are confronted with the basic ontological assumption of Kenaan’s approach, which we mentioned at the beginning and that Kenaan reformulates in his debate with Roland Barthes as: “[O]ntology teaches us to see the photographic as an Existential” (104). This means, according to Kenaan, that the task of ontology is “to open photography to the way in which its presence can be seen as a branch of being” and not, as is the case in Barthes’s view, to seek to define the essential features of the photographic image. The notion of “existential” is introduced to describe photography as a way of being (a way of understanding world and oneself) and not as a distinctive category of image experience. “Existential” is the term that Heidegger explicitly used to describe the existentiality of existence ontologically (cf. Being and Time §9). However, “existence” is the term he coins (against the metaphysical tradition, which defines existence in relation to a given essence) to address the question of the ecstatic openness to being, which distinguishes the manner of being of the human being. Moreover, this openness is only possible from a “being there” (Dasein), a situated being-in-the-world, or human being’s facticity. To understand the photographic as an “existential” thus implies a description of the photographic as one way of being of this facticity (among other ways of being, such as being mine, being-with, being born, being understanding, being caring, being anguished, being towards death, etc.). In other words, even if it is factually true that the mechanical condition of the birth of the photographic image (the invention of the camera) provokes a visibility disconnected from the human eye, it is still necessary to relate this visibility to human being’s facticity in order to be able to understand the photographic ontologically as an “existential.”

This ontological orientation indisputably constitutes the originality of Kenaan’s approach. It enables him to interpret the appearance of photographic visibility as an epochal transformation of being-in-the-world. Yet, it might be that the Nietzschean theme of the death of God, although explicitly intended to examine this transformation as epochal, is not sufficiently specific with regard to photographic visibility understood as an “existential.” In particular, it lacks the tools to describe the openness to being as related to this visibility. Nor are the naturalistic descriptions of Talbot’s experiments of (fixing) shadows able to address this. The natural effects of breaking light rays do not say anything about the existentiality of the human being, which seeks to capture and to understand these effects. What turns these natural effects into a new kind of visibility, the visibility of the photographic image, presupposes human being’s openness to being. Photographic visibility is a visibility with regard to the human condition. If this visibility thus constitutes an epochal transformation, as is the central claim of Kenaan’s approach, it should be possible to describe this transformation in terms of how the relation to being is concerned with the specific visibility of the photographic image. Kenaan leads the reflection in that direction but changes course by stating that the camera’s visibility is disconnected from the human body and interpreting this disconnectedness in line with Nietzsche’s perspectivism as a limitless plurality of views.

That the camera provokes a visibility disconnected from the human body is, however, itself visible in the photographic image. This kind of being visible is called “framing”: the photographic image reveals the visual appearance of a framing of the visible. Kenaan indeed mentions and explores the nature of this framing, especially in the experiments by and the examples related to Talbot, but he omits to analyze and describe the appearance of this framing as an “existential,” that is, as an appearance that delineates human being’s openness to being. It is not argued how and to what extent the Nietzschean theme of the death of God could be interpreted as the expression of the visual appearance of a framing. However, it is not difficult to point to some ontological implications that result from the framing of the visible.

The visual appearance of a framing implies first of all a re-organization of the relation between the visible and the invisible. In the field of an embodied perception, the invisible is intrinsic to that perception as what cannot be seen: either because it does not belong to the visible (but to another sense, e.g., it can be smelled), or because it is part of the other side of the perceived objects that we cannot see from our embodied perspective but only in moving our body around that object (what Husserl calls “adumbrations”). In neither case does the invisible limit or contradict the fullness of the embodied visual perception. However, this is different in the visual appearance of a framing. Here, the invisible is essential in at least two ways. The photographic image is itself cut out, extracted from or selected in a field of visibility that encompasses the framing. The invisible is also present within the framing as something that appears as not yet fully visible, still arising, happening. If it is the case that the photographic image catches and attracts the human gaze and is able, as Kenaan contends, to dominate the visible, then it is only because and on the basis of these two ways that invisibility limits its visuality. This means that the visual experience of the photographic image is not without a relation to what exceeds the visibility of the frame and is not without a certain organization of the frame.

Moreover, the visual appearance of a framing – whether or not fixed by the mechanism of the camera – presupposes the recognition of a frame. In fact, Talbot’s experiments showed this very well: he delineates and sets up a frame each time to be able to study the effects of light rays and precisely this experimental method makes it possible to recognize the effects of framing in natural processes of light rays. Interesting cases such as trompe l’oeil (and, by extension, immersive) experiments demonstrate that there is no visual experience of a framing without the recognition of the frame. In this regard, the visual appearance of a framing still refers to and depends on the condition of the human body in two ways: in order to be recognizable, it is necessary that the frame is adapted either to the visual apparatus of the human body (i.e., it remains within the limits of the human eye’s capabilities and expectations) or to its cognitive apparatus (i.e., it corresponds to a conceptual modelling). The fact that mechanical or digital production of visual fragments is limitless – like a camera out of control that cannot stop taking pictures of the same object whatever the picture resolution may be – is completely irrelevant without a reference to the human body in one of these two ways. This means that the mere fact of being framed does not fix or define the meaning of the visual appearance of the framed fragment. Or, to put it in an “existential” way: the visual appearance delineated by the photographic image cannot undo, replace or supplement human being’s openness to being.

Finally, as Kenaan amply demonstrates in his examination of the historical development and interpretations of the photographic image, each particular framing appears to be historical: it exposes and is the expression of human being’s situated being. The historical leaves a trace in the visual appearance of the framed that the frame cannot erase.  Without this trace of the historical, Barthes’s discourse on  the punctum of the individual photograph, to which Kenaan refers, and also his own discourse on “[p]hotography’s goodbyes,” which he calls “the book’s subject” (51), would not make sense. Yet, to say goodbye is not necessarily the appropriate response to photographs. In some photographs, the trace of the historical relates to the singularity of the here and now of the framing event as being intrinsic to the meaning of the photograph. This is especially the case for documentary photographs that record events from the perspective of the witness, that is, from the perspective of a here and now, the meaning of which the photographer is witnessing. In these cases, the frame of the photograph is explicitly used to reveal and express something about the meaning of the historical and hence about the meaning of human being’s facticity. This means that, however fragmented its visual appearance may be, the photographic image can contribute to making sense of being-in-the-world and to witnessing the values we live by.

As these remarks make clear, Kenaan’s approach is original and inspiring because it analyzes the photographic image as an “existential” and not just as a distinctive category of the image. It consequently shows the relevance of situating the visuality of the photographic image in a broader cultural, epochal transformation of visual experience. Establishing different and intriguing connections with the Nietzschean theme of the death of God, it sheds a new light on the origins of the photographic image and its effects on the visible. In this way, it contributes to a re-examination of the visual experience of framing in its relation to the human condition.


[1] All references to this article are quoted from Emmanuel Levinas, The Levinas Reader, edited by Seán Hand, Basil Blackwell, 1989.

[2] Quoted from Mauro Carbone, The Flesh of Images: Merleau-Ponty between Painting and Cinema. New York, Suny Press, 2015, 2. Mauro Carbone pointed to this “form of reversal of ‘Platonism’” that “develop[s] the premises affirmed by Nietzsche’s philosophy and explored by modern art” (Ibid.) in the work of Merleau-Ponty.

Agnès Louis: Le corps politique: Introduction à la phénoménologie politique

Le corps politique: Introduction à la phénoménologie politique: Arendt, Lefort, Merleau-Ponty, Ricœur Book Cover Le corps politique: Introduction à la phénoménologie politique: Arendt, Lefort, Merleau-Ponty, Ricœur
Agnès Louis
Éditions OUSIA
2020
Paperback 18.00 €
322

Reviewed by: Hans Arentshorst (University of Jyväskylä)

The emergence of totalitarianism in the 20th century not only marked a destructive turning point in modern history, but it also led to a ‘political turn’ in the phenomenological movement. Philosophers with a phenomenological background, such as Hannah Arendt, Claude Lefort, Maurice Merleau-Ponty, and Paul Ricœur, started to apply phenomenological insights to the study of political life in order to understand the emergence of Nazism and communism. This resulted in original and nuanced accounts of both totalitarianism and democracy, which are still relevant today, especially in the face of the growing popularity of nationalist and populist movements.

When it comes to the reception of their work, it is interesting to note that one almost never reads discussions of ‘political phenomenology’ as a coherent movement with its own method and beliefs. Apparently, the work of these philosophers is considered to be too idiosyncratic and incommensurable to be discussed together as part of a single movement. It is here that the originality lies of Le corps politique by Agnès Louis: by analysing the work of Arendt, Lefort, Merleau-Ponty and Ricœur – mainly focusing on similarities and how they complement each other – she provides an account of ‘political phenomenology’ as a coherent movement.

The central concept with which Louis tries to tie together the work of these four philosophers is the body politic, which is somewhat surprising since this is at most a marginal concept in their work. In the introduction to the book, Louis gives a brief historical reconstruction of the use of the concept of ‘body politic’ in political philosophy, followed by an explanation why she thinks this concept is fruitful for framing the movement of political phenomenology.

When people today talk about the political community they live in, they usually refer to it as ‘nation’, ‘country’, or ‘society’, but – as Louis reminds us – it used to be common to speak of the ‘body politic’. By looking at three paradigmatic thinkers of the body politic—Aristotle, John of Salisbury and Thomas Hobbes—Louis shows how the notion of the body politic was accompanied by three central claims about political life. The first claim is that individuals can only truly realize themselves when they are part of a political community; by becoming political, human life takes on a superior form that it otherwise would not take. For example, in Aristotle’s picture ‘mere’ life (focused on reproduction) becomes the good life (focused on the actualization of moral and political capacities), and in Hobbes’s account a violent state of nature becomes a peaceful Leviathan. The notion of the body politic thus expresses the idea that liberation and belonging to a political community go hand in hand.

Secondly, the metaphor of the body politic entails that the form that human life takes in a political community is particular and that therefore there exists a plurality of political bodies. The possibility of a single political body that includes all of humanity is rejected, which we find clearly expressed in Hobbes, who famously rejected the possibility of a universal sovereign.

Thirdly, the notion of the body politic is informed by a certain conception of the body, which reinforces a certain conception of political life. For example, the conception of the body in Aristotle and Salisbury, in which the distinction between body and soul is central, leads to a different picture of political life than Hobbes’s mechanistic conception of the body. Despite these differences, they agree that there is an analogy between bodily life and political life.

Given these three claims, Louis says, it is not surprising that the notion of the body politic became problematic and disappeared in modern democratic societies. First of all, democratic societies give primacy to the individual, and individual freedom is now understood as having the possibility to escape any pregiven identity. The idea that individuals can only liberate and realize themselves by belonging to a political community therefore becomes suspect. Secondly, the understanding of humanity in modern democracies becomes broader and more abstract: humanity now consists of all individuals independent of their political and cultural attachments, which conflicts with the notion of humanity as being divided into a plurality of different body politics, each having their own form of life. As Louis says, the metaphor of the body politic thus seems to be too demanding for us when it comes to the individual, and too limited when it comes to our interpretation of humanity.

In modern political life there thus emerges a permanent tension between freedom and belonging, or freedom and embeddedness. And unfortunately, modern political history has showed a tendency to resolve this tension one-sidedly, either absolutizing the pole of individual freedom (i.e. imagining that the individual can liberate him or herself without belonging to any political community) or absolutizing the pole of communal embeddedness (i.e. the individual belongs to a community where political existence does not lead to any kind of liberation).

It is here, Louis thinks, that phenomenology can make a valuable contribution. In its analysis of embodied subjectivity and the life-world, the phenomenological movement has provided nuanced insights about the way in which freedom and embeddedness are always intertwined in human experience. What would happen if these phenomenological insights be applied to the analysis of political life? This brings us back to the concept of ‘body politic’ and to the third claim mentioned above: that the body politic is always informed by a certain conception of the body. What Louis aims to do in her book is to rehabilitate the notion of ‘body politic’ by connecting it to a phenomenological conception of the body. In this way she wants to explore how phenomenology can help us to better understand the tension in modern political life between freedom and embeddedness.

The book consists of three parts. In the first part Louis gives a general introduction to some basic aspects of the phenomenological tradition—most notably the phenomenological method and the phenomenological conception of the body—which are necessary for understanding the presentation of political phenomenology in the rest of the book. Louis says the phenomenological method consists of an analysis that is characterized by a respect for phenomena and a sensitivity to the way in which subjective existence is embedded in the world. And even though Husserl and Heidegger were never directly concerned with issues of political philosophy, Louis shows that the phenomenological method can be fruitfully applied to political life in order to do justice to political phenomena by avoiding various forms of reductionism, and to become aware of how subjective existence is embedded in the political world. And indeed, it has been the merit of political phenomenologists like Arendt and Lefort to have done justice to political phenomena in an intellectual climate dominated by Marxism and sociology, in which it was very common to reduce politics to a supposedly more fundamental reality, either economic or sociological. Furthermore, they have contributed to a better understanding of the experience of living in a totalitarian or democratic society, as opposed to positivist approaches that reduce political life to a collection of objective empirical data.

The second aspect of the phenomenological tradition that Louis discusses—its conception of the body—is especially crucial for the argument in the rest of the book. Since Louis wants to introduce a concept of the body politic that is informed by a phenomenological account of the body, she has to explain how to understand this and how it plays a role in the work of Arendt, Lefort, Merleau-Ponty and Ricœur. Louis is aware that this is not an easy task since the four philosophers use the concept of ‘body politic’ in different ways, if they use it at all. Merleau-Ponty and Lefort seem to prefer the notion of ‘flesh’ over the notion of ‘body’ when speaking of modern political life. And although there are passages in Arendt’s work where she uses the notion of body politic, this is not informed by a phenomenological conception of the body. Only Ricœur uses the notion of body politic to refer to modern democracies while at the same time drawing an analogy between political life and embodied subjectivity.

Still, despite this conceptual confusion, Louis thinks that a phenomenological conception of the body politic can function as a helpful focal point for discussing the similarities between Arendt, Lefort, Merleau-Ponty and Ricœur. Louis therefore presents a Husserlian account of the ‘flesh-body’ (corps de chair) in which there is an intertwinement of activity and passivity. On the one hand, the flesh-body plays an active role in human experience: for example, it is the place from which objects and the world can be experienced as a unity, and it plays an active role in the experiencing of others. At the same time, there is a passive side to the flesh-body: it is something given to us at birth and it remains something opaque and strange, something that we can never completely appropriate or control. The flesh-body is thus paradoxical in the sense that it is both active and passive, both personal and impersonal.

Louis sees a parallel between this paradoxical character of the Husserlian flesh-body and the way in which Arendt, Lefort, Merleau-Ponty and Ricœur describe political experience in a healthy political community as an intertwinement of freedom and embeddedness. In their different ways, they all show how freedom (or political action) is embedded in a social, institutional and historical situation that can never be completely known or controlled. So both in the Husserlian account of the flesh-body and in the account of political life by the four political phenomenologists freedom is never absolute, since it is always preceded by something—the flesh-body or social-historical reality—that can never be fully controlled or made fully transparent. Louis’ notion of a ‘phenomenological body politic’ thus refers, simply put, to a political community in which this interdependency between freedom and embeddedness, or activity and passivity, is acknowledged.

In the second part of the book Louis explores the way in which totalitarianism destroys the ‘phenomenological body politic’ by turning to the critical reflections on Nazism and communism by Arendt, Lefort, Merleau-Ponty and Ricœur. Louis starts by discussing Arendt’s The Origins of Totalitarianism in which totalitarianism is described as a phenomena that manifests itself as a permanent movement, which aims to realize total domination with the help of terror and ideology. Two visible effects of this permanent movement are central in Arendt’s description: first of all, the atomization of society, whereby the totalitarian Party uses terror and ideology to destroy the common world, thereby isolating individuals and preventing them from forming a meaningful community in which political action is possible. Secondly, since total domination is only possible when it encompasses all humanity, totalitarianism cannot settle for a limited territory nor acknowledge the existence of a plurality of political bodies, but it has to remain a de-territorialized movement. Arendt’s analysis of totalitarianism thus shows how totalitarian power refuses to become embedded in any body politic whatsoever.

For Lefort, the main characteristic of totalitarian power is that—in its quest for  complete control and domination—it suppresses all internal division, such as the division between different spheres of human activity (economy, politics, religion, science, art, etc.), the divisions within society (no autonomous associations) and within politics (no diversity of opinion within the Party), the division between the political and the social (since totalitarian power denies any separation between itself and society), and finally the division between the real and the symbolic.

This striving for unity is accompanied by both an organic representation of society as a giant body or organism and a mechanistic conception of society as a machine. Together, they fuse into a conception of society as a mechanical body, which points to the ideal of a society that can be completely known and fabricated. As Louis says, this is the opposite of the flesh-body, which is always characterized by division: there is a part that is intimate and a part that is opaque and strange, and therefore our power to master experience is always limited. It is this limit to power that the totalitarian Party does not acknowledge; it wants to be autonomous without being embedded, thus destroying the phenomenological body politic.

Merleau-Ponty and Ricœur have not provided full-blown theories of totalitarianism, but their work contains interesting critiques of communism. For Merleau-Ponty the main problem of communism is its gradual disconnection – visible both in the Soviet Union and in Sartre’s ‘ultra-bolshevism’ – between the Party (the will) and the social-historical experience of the proletariat (the flesh). As soon as the Party stops understanding itself as being embedded in the proletarian experience, Merleau-Ponty argues, it becomes a will without flesh, thus destroying the emancipatory possibilities of communism.

Ricœur argues that communism is problematic because it is unable to clearly distinguish between social-economic and political reality and to acknowledge the relative autonomy of the latter. This is illustrated by the fact that communism cannot conceive of an evil that is properly political; it reduces all forms of evil to the social-economic evil that results from the inequality of the relations of production. Once a socialist regime is established, all evil should therefore be abolished. But by denying the possibility of political violence, it also becomes impossible to control or limit it; this explains, according to Ricœur, the unleashing of terror in communist states.

In sum, Louis shows in the second part of the book how the four philosophers criticize totalitarian power for running amuck and refusing to be embedded, thereby destroying the phenomenological body politic. Whereas the second part of the book thus provides a ‘negative’ picture of the destruction of the body politic, in the third part Louis tries to extract a ‘positive’, substantial picture of the phenomenological body politic from the work of Arendt, Lefort, Merleau-Ponty and Ricœur. She does this by focusing on three areas where the tension between freedom and embeddedness manifests itself: political action, history, and the symbolic unity of the social.

Louis explores the area of political action by looking at the work of Arendt and Ricœur. Similar to Aristotle, Arendt associates biological life with servitude and determinacy, and political life with freedom and action, that is, our capacity to create something new and to escape from the repetitive patterns of biological life. But, as Louis asks, if freedom is about starting something new and breaking with repetitive patterns, is there still a need for the agent to be embedded in a political community in order to realize freedom?

Arendt’s answer is affirmative: action needs to be embedded, first of all, in what she calls ‘plurality’. In order for action to become an objective reality, the presence of others is needed, which creates a space of visibility in which action can appear, a space of signification where action can become interpreted and meaningful, and it creates the possibility for an action to be fully accomplished, since this requires bringing others to act. Secondly, action needs to be embedded in the physical and juridical reality of the political community, which together create a common space between people where action has a chance to realize itself not just in exceptional circumstances but in a regular manner.

Arendt thus illustrates how in a free political community autonomy and embeddedness are intertwined and – despite her association of ‘the biological’ with servitude – she refers to such a community as a ‘body politic’. However, her concept of body politic remains vague and she does not draw an analogy between the body politic and embodied subjectivity. This is why Louis complements Arendt’s analysis with that of Ricœur, who largely agrees with Arendt but who explicitly draws an analogy between the duality of political action (starting something new and being dependent on others and institutions) and the duality of embodied subjectivity.

A second area where the tension between freedom and embeddedness manifests itself is history. Louis explores this tension by focusing on the work of Merleau-Ponty and Lefort, who both speak of the ‘flesh of history’ to refer to the complex interdependency of freedom and historical embeddedness. In the last chapter of the Phenomenology of Perception, where Merleau-Ponty gives his account of freedom, he argues that freedom is effective in human life only insofar as it is  not absolute: the subject is always already embedded in a specific personal history that provides certain options and motivations on which he or she can decide to act or not.  The same goes for collective history: every historical period offers certain options and roles to be taken up, between which individuals can choose and which they can play good or bad.  Merleau-Ponty’s account  of the relation between freedom and history thus rejects the two extremes of absolute freedom (which denies historical embeddedness) and historical necessity (which denies individual freedom).

In his later work, Merleau-Ponty further developed these reflections on historical embeddedness by introducing a specific understanding of the notion of institution. Against Durkheim, who understood institutions as social facts that restrict human behavior, Merleau-Ponty understands an institution as a symbolic matrix that opens up a field of possibilities for giving form and meaning to human co-existence.

Louis then shows how Lefort further developed Merleau-Ponty’s reflections by connecting this understanding of institution as a symbolic matrix to the question of the political. According to Lefort, every society is the result of a political institution of the social, that is, by a process in which form and meaning is given to human relations based on a common understanding of the nature of society. However, this political institution is executed in different ways, as Lefort illustrates by comparing different ‘forms of society’.

For example, in primitive societies, which Lefort also calls ‘societies without history’, the political institution of the social is understood as something that has been done by ancestors, gods or heroes in a distant past, and it is now beyond anybody’s power to change. The nature of society is thus fixed once and for all, and this explains, according to Lefort, why primitive societies suppress all conflict and why they resist all novelty and social transformation: only in this way can society’s identity remain stable and be preserved over time. Democratic societies, however, operate differently: they deny a transcendent foundation of the social and instead allow permanent conflict and debate over the nature of society. This explains the emergence of ideologies in modern democratic societies, such as liberalism, socialism or conservatism, each painting a different picture of the nature of society and each presenting a different program of the changes and transformations that are needed in order to realize such a society.

Unlike primitive societies, democratic societies thus embrace both conflict and transformation, and in this way, Lefort says, they become truly historical societies. In democratic societies we find ourselves embedded in a historical situation that presents several options for transforming society (liberal, socialist, progressive, conservative, etc.), and democratic politics consists in debating which option makes the most sense to pursue based on past experiences (failures, successes, unintended consequences, etc.). Lefort thus paints a similar picture to Merleau-Ponty of the connection between freedom and historical embeddedness – or of the ‘flesh of history’ – but he gives it a political twist by showing that it is only in democratic forms of society that a healthy balance can be realized between the two.

The third aspect of the phenomenological body politic that Louis discusses concerns the enigma that democratic societies can be both divided and united at the same time. Democratic societies are divided into relatively autonomous spheres of action, such as the economy, politics, religion, science, art, etc., each with their own norms. This raises the question why life in democratic societies can still be experienced as a unity, which Louis tries to answer by turning to the work of Merleau-Ponty, Lefort and Ricœur.

As Louis says, an important concern in Merleau-Ponty’s body of work has been to show the unity that penetrates the variety of domains of experience. However, in doing so, he has always resisted reductionist solutions – either materialist, sociological or idealist – that reduce the social world to an economic principle, a social fact, or a determined idea. Such explanations of social life remain abstract and cannot do justice to the variety of experiences, nor to their internal coherence. Instead, Merleau-Ponty conceives of social life as a totality, which he sometimes calls ‘civilization’; even though society is divided into different social spheres, these spheres communicate and interact because they are all informed by a specific understanding of the human, that is, a background understanding that pervades social life in all its dimensions.

As Louis shows, it is again Lefort who gives a political twist to Merleau-Ponty’s reflections by arguing that the specific understanding of the human that penetrates a society is of a political nature, and that it is closely related to the way in which power is organized in a society. Louis illustrates this by comparing Lefort’s accounts of the Ancient Regime and of democratic societies. According to Lefort, the society of the Ancient Regime was pervaded by a corporatist and mystical understanding (i.e. individuals had their place in corporations and this organization of society had a religious foundation), which went hand in hand with a form of government where the King was both the highest corporation and his authority had a sacred quality. Democratic societies, on the other hand, are informed by an understanding of man as articulated in the Declaration of Human Rights – as both autonomous and indeterminate – and this is accompanied by a paradoxical organization of power, which appears to be both emerging from society (the people are sovereign, which secures autonomy) but at the same time as being external to society (nobody can legitimately appropriate and embody power, which secures indeterminacy). A democratic regime thus secures a specific understanding of the human as both autonomous and indeterminate, initiating a permanent process of attempting to give substance to the human. In this sense, a democratic society is divided and symbolically united.

Louis’ discussion of Ricœur revolves around his critical analysis of Michael Walzer’s Spheres of Justice. In this book, Walzer argues – pace John Rawls – that a theory of distributive justice should take into account the plurality of goods that have to be distributed. However, Ricœur thinks that Walzer, in discussing this plurality of goods, does not emphasize enough that citizenship and political power cannot be discussed as goods to distributed like other goods. Citizenship, according to Ricœur, is a general condition for having access to social goods, whereas political power (or the state) is the central instance of distribution. In other words, the division of society into different spheres of distributive justice is only conceivable within a political community, or body politic, in which citizenship and the state are already instituted. Ricoeur conceives the nation-state to be the concrete form of the body politic within which complex justice can be established. The nation-state can both guarantee the autonomy of the different spheres of justice, but it can also prevent their complete dissociation: it is because citizens in the end feel themselves members of a nation-state that their pursuit of a plurality of goods in different social spheres does not lead to a radical dissociation.

Despite their differences, Louis thinks that the accounts of Merleau-Ponty, Lefort and Ricœur can be understood as a plea for the securing of a phenomenological body politic in which a healthy balance can be realized between the autonomy of social spheres and their embeddedness in the symbolic unity of a political community. The phenomenological body politic thus serves as an antidote to both totalitarian unity (in which the diversity of social life is abolished by the reign of ideology) and radical dissociation (where a particular social sphere, such as the capitalist economy, emancipates itself completely from all political frameworks).

In sum, Louis uses the third part of the book to extract insights from the work of Arendt, Lefort, Merleau-Ponty and Ricœur about the intertwinement of freedom and embeddedness in different areas of political life, and she ties these insights together with the help of the metaphor of the phenomenological body politic. In this way, Louis gives a convincing presentation of ‘political phenomenology’ as a coherent movement that wants to do justice to political phenomena and defend democratic political life as the privileged place for establishing a healthy balance between freedom and embeddedness (or, put more abstractly, between indeterminacy and determinacy). This account of political phenomenology is similar to the one given by Robert Legros (1996, 548), whose work seems to have been an important influence on Louis’ thinking.

In the final pages of the book Louis tells us that political phenomenology does not tell us which political position we should adopt, but it can help us to avoid the two pathologies of ‘absolute freedom’ and ‘stagnant embeddedness’. Even if we avoid these pathologies, Louis says, there is still plenty of room for political maneuvering – from a flexible conservatism to a radical reformism – and, depending on our situation, we have to decide if we need to secure more freedom or more embeddedness.

I want to conclude with three critical remarks. The first remark concerns Louis’ silence about the differences between Arendt and Lefort. This silence is partly understandable since she wants to focus mainly on similarities so that she can present political phenomenology as a coherent movement, but I think the differences between Arendt and Lefort are of such a fundamental nature that they cannot be ignored. For example, whereas Arendt makes a rigid distinction between ‘the social’ (as a sphere of determinacy and the biological) and ‘the political’ (as a sphere of freedom), for Lefort the social and the political are closely intertwined: the political refers for him to the complex process in which the social gets symbolically instituted.

And indeed, as Wim Weymans (2012) has argued, Arendt’s lack of attention to the symbolic dimension of democratic life is at the heart of many differences between Arendt and Lefort. Whereas Arendt has a tendency to interpret political phenomena in a concrete-empirical way, Lefort interprets them in the light of their symbolic dimension, which explains for example their different evaluation of human rights. Lefort considers human rights as emancipating because of their symbolic dimension: the fact that they are indeterminate and can never be fully realized in social reality creates a permanent possibility for citizens to criticize the existing state of society. Arendt instead perceives human rights as problematic because, in concrete reality, they are not protected by a particular state. One could list more differences between Arendt and Lefort (for example concerning equality, representation, or ideology) but I think this suffices to show that these differences are not unimportant but touch on central aspects of a political phenomenology: how to understand ‘the political’ and how to perceive and interpret political phenomena.

The second remark is related to the phenomenological metaphor of the body politic. Although I think Louis shows convincingly that there is an analogy between political life and embodied subjectivity when it comes to the tension between freedom and embeddedness, in the end this is just one of the tensions in modern political life. As soon as one analyses modern democracies more closely and concretely – as it has been done for example by some of Lefort’s students, such as Pierre Rosanvallon – then there emerge many other structural tensions, such as the tension between liberalism and democracy, the individual and the citizen, reason and will, expertise and opinion, representation and participation, juridical generality and identity, self-responsibility and solidarity, etc. All these tensions structure our democratic experience but, one could argue, they are of a much more incommensurable or ‘tragic’ nature than the tension between freedom and embeddedness. It remains to be seen if the phenomenological metaphor of the body politic can also help to illuminate these ‘tragic’ tensions in our democratic experience or if we would need other metaphors and imaginaries for that.

Thirdly, although Louis’ book convincingly shows that political phenomenology deserves a place in the landscape of contemporary political philosophy, one would still like to hear more about how it relates to other approaches. For example, political phenomenologists are not the only ones who have studied the relation between freedom and embeddedness; there has been a long tradition of Hegelian scholars who have reflected on this problem by rethinking Hegel’s notion of Sittlichkeit (e.g. Honneth 2014). And although Louis justly characterizes Heidegger’s phenomenology as apolitical, there has been a growing interest lately in ‘political ontology’ (e.g. Marchart 2007), which takes its inspiration largely from Heidegger. By comparing political phenomenology to these closely related approaches, I think its specific contribution to contemporary political philosophy could become even more clear.

References

Honneth, Axel. 2014. Freedom’s Right. The Social Foundations of Democratic Life. New  York: Columbia University Press.

Legros, Robert. 1996. “Phénoménologie politique.” In Dictionnaire de philosophie politique, edited by Philippe Raynaud and Stéphane Rials, 544-551. Paris: PUF.

Marchart, Oliver. 2007. Post-Foundational Political Thought. Political Difference in Nancy,  Lefort, Badiou and Laclau. Edinburgh: Edinburgh University Press.

Weymans, Wim. 2012. “Defending Democracy’s Symbolic Dimension: A Lefortian Critique of  Arendt’s Marxist Assumptions.” Constellations 19 (1): 63-80.

William McNeill: The Fate of Phenomenology: Heidegger’s Legacy

The Fate of Phenomenology: Heidegger's Legacy Book Cover The Fate of Phenomenology: Heidegger's Legacy
New Heidegger Research
William McNeill
Rowman & Littlefield
2020
Paperback $39.95 • £31.00
168

Reviewed by: François Raffoul (Louisiana State University)

In this short book, The Fate of Phenomenology. Heidegger’s Legacy, Heidegger translator William McNeill engages the question of phenomenology in Heidegger’s work. The question or conceit that is taken as a guiding thread for this work runs as follows: while the early Heidegger “enthusiastically” embraced phenomenology as proper access to authentic philosophizing, and as the “method of ontology,” after the publication of Being and Time, McNeill considers thatHeidegger appears to abandon phenomenology,” and that his “later thinking is for the most part no longer carried out in the name of phenomenology” (41). With respect to this alleged abandonment of phenomenology, McNeill adds that Heidegger “never fully or systematically explains why, neither in his published writings nor in his public lectures,” to then conclude: “the apparent abandonment or further transformation of phenomenology remains something of a mystery” (117). In what follows, I will briefly reconstruct the sequence of the work, and then raise a few questions.

As mentioned above, this is a short book, and McNeill recognizes the limited scope of his work, characterizing it as a series of “musings” (xiv), a “set of short reflections,” a sketch that “cannot and does not claim to offer a full or systematic account of Heidegger’s complex relationship to phenomenology” (ix). Rather, this work is more like a “provocation” on the way to a philosophical reflection on the fate of phenomenology in Heidegger’s thought. The book is composed of 7 chapters, with a preface and no conclusion. Two chapters are either already published or drawing from an earlier essay.

The first chapter looks at Heidegger’s early work, focusing on his confrontation with Husserl, on the interpretation of what is meant by “the things themselves.”  In opposition to Husserl’s emphasis on consciousness and transcendental subjectivity, and to a certain theoreticism, Heidegger posits “life” in its historical concreteness as the “‘primordial phenomenon’ (Urphänomen) of phenomenology,” 14).  McNeill follows Heidegger’s appropriation of phenomenology, insisting on its hermeneutic and deconstructive scope.

Chapter two pursues and develops Heidegger’s radicalization of phenomenology around the time of Being and Time, fleshing out the ontological sense that Heidegger gives it (as opposed to Husserl’s orientation towards consciousness). Being for Heidegger must be considered as what is primarily concealed. This, it should be noted, already announces the late expression of “phenomenology of the inapparent,” to which I will return. This element of concealment is crucial and determines Heidegger’s thinking of phenomenology.

In Chapter three, McNeill argues that Heidegger’s radicalization of phenomenology “was not quite radical enough: It did not quite get to the root of the matter, of the Sache.  That would require a further step, one that Heidegger would begin to venture only in 1930.”  McNeill claims that the early Heidegger approaches “the λόγος of phenomenology in its scientific guise,” maintains a “scientific” (wissenschaftlich) aspiration that is in tension with phenomenality itself” (xi), and concludes that, “The conceptual discourse of phenomenology, it turns out, was by implication complicit with doing a certain violence to things, indeed to phenomenality itself,” thereby necessitating a turn towards poetic thinking that is “no longer the conceptual λόγος of phenomenology” (xii). Further in the book, McNeill still refers to such “conceptual thinking of phenomenology” (123). These claims are a bit surprising, first because Heidegger had broken with the dominance of the theoretical as early as 1919, in a Freiburg lecture course, where he spoke of “breaking the primacy of the theoretical” on the way to an originary phenomenology of the facticity of life (GA 56/57, 59/50); second, because as we will see Heidegger rejected the ideal of scientificity in Husserl’s phenomenology; and, finally, because he approached λόγος in Being and Time in its apophantic and phenomenological scopes, and not under the form of the concept. The early Heidegger has certainly already broken with the dominance of the theoretical and of conceptuality, approaching phenomenology as belonging to life itself in its process of self-explication (always occurring against the background of a certain opacity, as factical). Heidegger still reminded us in the Zollikon seminars that “Phenomenology deals with what is prior to all conceptualization” (GA 89, 172/131). Referring to a “turn away from phenomenology” toward a more poetic attunement to letting be after Being and Time, McNeill contrasts this alleged conceptuality with Heidegger’s new emphasis on the motif of “letting.” But did Heidegger not precisely characterize in Being and Time the λόγος as a “letting be seen” (Sehen lassen)? The contrast established by McNeill in chapter three, although convenient, is thus not without complications.

In Chapter 4, McNeill focuses on the 1936 version of “The Origin of the Work of Art,” a choice that McNeill never really justifies. This is an odd chapter, as it is not entirely clear how it fits the problematic of the book on the fate of phenomenology in Heidegger’s thought. The chapter draws from an earlier publication by McNeill, but its justification in this work is not provided. We are asked to “reflect on the implications of that essay for the phenomenological approach.” Yet the question that follows reads: “Does the essay provide us with a phenomenological account of the work of art, as is sometimes claimed?” That is not the same question. The first statement seeks to reflect on the implications of “The Origin of the Work of Art” for phenomenology. The second asks whether the essay offers a phenomenological account of the work of art. Further, McNeill makes the very odd claim that the work of art “takes the place of phenomenology.” Heidegger’s effort in that essay would be to “twist our thinking free from the violence” (79) of conceptual thinking. Once again, the contrast made with an early privileging of conceptual thinking in Heidegger’s early work is without basis.

In Chapter 5, McNeill focuses on two recently published essays or self-critical notes written by Heidegger in 1936, “Running Remarks on Being and Time” and “Critical Confrontation with Being and Time,” texts that McNeill interprets as showing Heidegger’s intent “to take leave of phenomenology.” Yet the reason given for such a view is most telling. Heidegger would distance himself from phenomenology (as well as fundamental ontology), not because they “are simply inadequate or inappropriate, but because of their very success” (87). This nuance is crucial, for it shows that Heidegger does not simply dismiss or discard phenomenology, but on the contrary assumes its vocation in getting us to the matters themselves, in opening the way to a thinking of the event of being, or Ereignis, “the originating Ereignis of Being.” As McNeill puts it,

“Phenomenology, on this account, can be left behind because it has brilliantly accomplished its proper task and is thus no longer needed—at least by that thinking that now thinks the truth of Being as Ereignis” (76).

Ereignis becomes the ultimate phenomenon. This is why we are not seeing  a movement away from phenomenology, but rather, “a turning into and toward the issue or Sache of phenomenology” (58).  In a sense, it is a turning back, back to the matter of thinking. Phenomenology is a re-turn to the things themselves.  A leap into Ereignis, yes, but in the sense in which Heidegger speaks of it in What is Called Thinking?: “A curious, indeed unearthly thing that we must first leap onto the soil [Boden] on which we really stand” (GA 8, 44/41).

In Chapter six, a slightly revised reprint of an earlier essay, McNeill develops the “transition” (and the entire difficulty lies in determining the sense of this word), from phenomenology to the thinking of Being as Ereignis, referring to Heidegger’s thinking of a “history of being,” which he labels the “concept” of the history of being. A word in passing: McNeill has a tendency to designate Heidegger’s key words as “concepts.” We saw how he referred to the notion of a “conceptual λόγος” in Being and Time (when Heidegger was proposing there a phenomenological understanding of λόγος as “letting be seen”). He also writes of “the concept of destruction” (13), of the “central concept of care (Sorge)” (17), of how “the λέγειν of the early phenomenology tends, first, to bring Being to a concept” (79), or how Heidegger “develops the concept of the happening of Ereignis as a ‘history of Being” (103), etc… The title of an earlier essay of his reads: “On the Essence and Concept of Ereignis,” an essay in which McNeill keeps referring to the “concept of Ereignis.” Now, the language of conceptuality (or essence!) is certainly not appropriate to approach Heidegger’s thought, and particularly not the thinking of Ereignis: Ereignis is not a concept, but as we saw the ultimate phenomenon. In any case, in this chapter McNeill attempts to relate the notion of destruction with Heidegger’s later problematics of a history of being. We may note here that Destruktion in the early work was already connected to, indeed grounded in, historicity.

In chapter 7, after having spent the entire book claiming that Heidegger abandoned phenomenology, McNeill has to recognize (and without giving an explanation for the discrepancy) that in his last texts and seminars Heidegger did claim phenomenology as his own approach, and sought “to reclaim or rehabilitate the term phenomenology, along the lines of what he calls ‘a phenomenology of the inapparent’ (eine Phänomenologie des Unscheinbaren)” (122). This last expression, according to McNeill, “fulfills what Heidegger now calls the original sense of phenomenology, that which phenomenology has always sought, its concealed τέλος, as it were” (xiv), implicitly recognizing that phenomenology (as a phenomenology of the inapparent) has been a continuing thread in Heidegger’s thought. The original Sache of phenomenology has now been rethought as “the letting of letting presence as the happening of the inapparent” (xiv). We witness in these texts by Heidegger an assumption of phenomenology: not a move beyond phenomenology, but on the contrary an appropriation of a more primordial sense of phenomenology. This compels us to return to the assumptions of this work.

As we saw, McNeill’s entire problematic rests upon the hypothesis of an “abandonment” of phenomenology by Heidegger after Being and Time, upon the claim that “phenomenology is, to all appearances, discarded by Heidegger as the designation for his own method of thinking” (65). This led McNeill to wonder whether Heidegger remained a phenomenologist at all:

“Is the later Heidegger of the 1930s onward still thinking phenomenologically, as is often claimed? If so, in what sense? Why, in that case, does he no longer appeal to phenomenology as the method of his thinking? Has phenomenology been left behind or abandoned? Or is it somehow retained, but in a transformed or radicalized sense? Yet why, then, does he no longer use the term phenomenological to characterize his later thinking?” (ix).

Now, with respect to this last claim, we saw that Heidegger did use the term phenomenological to characterize his later thinking, during a period that spanned two decades (the 1960s and the 1970s), acknowledging his debt to phenomenology, claiming it as his own, and professing faithfulness to the phenomenological approach as constitutive of his own path of thinking. Would that have happened if he had “abandoned” or “left behind” phenomenology?

We note here several issues: first, it seems as if McNeill wonders whether Heidegger remained a phenomenologist after Being and Time because for a time he used the word less, considering that it is “the deployment of phenomenology itself, at least in name, that disappears” (65). As if the relative absence of the word “phenomenology” amounted to a repudiation or a retraction. Because the word is not uttered we have to conclude that phenomenology was left behind and abandoned? That would be a superficial view. To ask whether Heidegger is still a phenomenologist, if he still “belonged,” as it were, to the phenomenological movement, is to reduce phenomenology to a title or a school of thought as opposed to an effort directed at the “things themselves.” Heidegger always stressed that phenomenology is not to be approached as a particular philosophical movement but rather as a permanent possibility of thought, entirely oriented towards the access to the things themselves: “This procedure can be called phenomenological if one understands by phenomenology not a particular school of philosophy, but rather something which permeates [waltet] every philosophy. This something can best be called by the well-known motto ‘To the things themselves’” (GA 14, 54/TB, 44-45). This is why in the autobiographical essay “My Way to Phenomenology” (1963), Heidegger suggested that phenomenology “can disappear as a title [als Titel] in favor of the matter of thinking [Sache des Denkens]” (GA 14, 101/82, slightly modified). Instead of worrying about “titles” or “labels,” it might be worthwhile to question about what such relative eclipse of the term might harbor. In “A Dialogue on Language between a Japanese and an Inquirer,” when asked about his neglect of the term “phenomenology” (along with “hermeneutics”) after Being and Time, Heidegger had this telling response: “That was done, not — as is often thought — in order to deny the significance of phenomenology, but in order to abandon my own path of thinking to namelessness” (GA 12, 114/29). We recall here that remark in the “Letter on Humanism” where Heidegger stated that the human being “must first learn to exist in the nameless,” and how, “before he speaks the human being must first let himself be claimed again by being, taking the risk that under this claim he will seldom have much to say” (GA 9, 319/243). If there is any abandonment, it is to the nameless, so that, as William Richardson put it, the term “phenomenology” disappears “in order to leave the process name-less, so that no fixed formula would freeze its movement” (Through Phenomenology to Thought, 633). Indeed, the Sache of thinking is not some static object, but an event to which phenomenology always responds and corresponds, a response that always occurs as a relationship to the nameless. Phenomenology is never finished or complete, but always underway in its response to the eventfulness of being. As Heidegger stressed in an early course, whereas “Worldview is freezing, finality, end, system,” “philosophy can progress only through an absolute sinking into life as such, for phenomenology is never concluded, only preliminary, it always sinks itself into the preliminary” (GA 56/57, 220/188). The fact that there was less thematic discussion of the term “phenomenology” after Being and Time says nothing about the fact that Heidegger would have renounced the phenomenological impetus of his early thinking. There is simply no basis to make that claim. In fact, Heidegger actually rejected that view.

In his preface to William Richardson’s work, Heidegger ponders the initial title of the book, From Phenomenology to Thought. This expression might suggest that phenomenology would be left behind to the benefit of another kind of approach, i.e., “thought.” However, Heidegger disputes that implication, and proposes to replace “from phenomenology” with “through phenomenology,” precisely in order to show that not only phenomenology is not left behind, but that it is the very process and way of thought itself. He begins by recalling how his understanding of phenomenology as a return to the “things themselves” differs from Husserl’s orientation towards the modern categories of consciousness and transcendental ego. Whereas “‘phenomenology’ in Husserl’s sense was elaborated into a distinctive philosophical position according to a pattern set by Descartes, Kant and Fichte,” Heidegger returns to the question of being as fundamental Sache of thinking: “So it was that doubt arose whether the ‘thing itself’ was to be characterized as intentional consciousness, or even as the transcendental ego. If, indeed, phenomenology, as the process of letting things manifest themselves, should characterize the standard method of philosophy, and if from ancient times the guide-question of philosophy has perdured in the most diverse forms as the question about the Being of beings, then Being had to remain the first and last thing-itself of thought.” In fact, he insists, “The Being-question, unfolded in Being and Time, parted company with this philosophical position, and that on the basis of what to this day I still consider a more faithful adherence to the principle of phenomenology” (GA 11, 147-148/Through Phenomenology to Thought, xiv, my emphasis). On the basis of this reorientation of phenomenology, Heidegger then discusses the title of Richardson’s book in this way: “Now if in the title of your book, From Phenomenology to Thought [von der Phänomenologie zum Seinsdenken] you understand ‘Phenomenology’ in the sense just described as a philosophical position of Husserl, then the title is to the point, insofar as the Being-question as posed by me is something completely different from that position” (GA 11, 148/Through Phenomenology to Thought, xiv). However, if “we understand ‘Phenomenology’ as the [process of] allowing the most proper concern of thought [der eigensten Sache des Denkens] to show itself, then the title should read ‘Through Phenomenology to the Thinking of Being’ [durch die Phänomenologie in das Denken des Seins]” (GA 11, 148-149/Through Phenomenology to Thought, xvi). Through phenomenology as opposed to from phenomenology: this shows that the thinking of being enacts the task of phenomenology as a return “to the things themselves.” There is thus no shift from an early espousal of phenomenology to a later thinking of being and letting-be, as McNeill suggests. This is how Heidegger describes his so-called “turn” or reversal (Kehre) in his thinking: “The thinking of the reversal is a change in my thought. But this change is not a consequence of altering the standpoint, much less of abandoning the fundamental issue, of Being and Time. The thinking of the reversal results from the fact that I stayed with the matter-for-thought [of] ‘Being and Time’” (GA 11, 149/Through Phenomenology to Thought, xvi). There is no essential change of standpoint from an early to a later phase, but only the persistence of the same fundamental issue, i.e., the question of being. What matters in phenomenology is the revealing of the matters themselves, and, “Once an understanding of these is gained, then phenomenology may very well disappear” (GA 19, 10/7). Could it be for that reason (among others, such as Heidegger’s distancing with Husserl) that the term itself was not as often used after the turn, a turn or reversal that as Heidegger clarified in no way signifies the abandonment of his phenomenological thinking?

Heidegger thus speaks of the persistence of the same fundamental issue, i.e., the question of being. Indeed, the fundamental issue in Being and Time, accessed through an analytic of Dasein, is being. What is asked about [Gefragtes] in Being and Time is the meaning of being. And phenomenology is precisely understood by Heidegger as the method of ontology, as the access to being. In fact, as early as the 1925 course Prolegomena to the History of the Concept of Time, Heidegger had distanced himself from the Husserlian conception of reduction, which he characterized as a forgetting of the question of being. Husserl’s phenomenology is marked by a prior orientation toward an absolute science of consciousness.

“Husserl’s primary question is simply not concerned with the character of the being of consciousness. Rather, he is guided by the following concern: How can consciousness become the possible object of an absolute science?  The primary concern which guides him is the idea of an absolute science” (GA 20, 147/107).

In the final analysis, according to Heidegger, Husserlian phenomenology is a fundamentally Cartesian undertaking: “This idea, that consciousness is to be the region of an absolute science, is not simply invented; it is the idea which has occupied modern philosophy ever since Descartes” (GA 20, 147/107). Heidegger reiterates this point in the Zollikon seminars: “Thus, the term ‘consciousness’ has become a fundamental conception [Grundvorstellung] of modern philosophy. Husserl’s phenomenology belongs to it as well” (GA 89, 191/146). Consequently, the project of returning to pure consciousness, carried out through the various stages of the reduction, rests upon a subjectivist presupposition and can lay no claim to being an authentic phenomenological enterprise. “The elaboration of pure consciousness as the thematic field of phenomenology is  not derived phenomenologically by going back to the matters themselves but by going back to a traditional idea of philosophy” (GA 20, 147/107). To that extent, as Heidegger is not afraid to affirm, Husserlian phenomenology is … “unphenomenological!” (GA 20, 178/128). By contrast, Heidegger defines phenomenology as the very method of ontology, allowing him to grasp the phenomena (in contrast with Husserl), not in relation to a constituting consciousness, but to the event of being as such. Indeed, Heidegger stresses that phenomenology is concerned about the being of phenomena, the appearing and happening of phenomena (an appearing that, as will see, is itself inapparent). The opposition that Husserl established between phenomenology and ontology, or rather the “bracketing” of ontological themes in the transcendental phenomenological reduction, is a foreclosure of ontology that can be said to be rooted in the determination of phenomenology as a transcendental idealism, that is, in the subjection of phenomenology to a traditional (Cartesian) idea of philosophy. For Heidegger, on the contrary, as he stated in Being and Time, ontology and phenomenology are not two distinct disciplines, for indeed phenomenology is the “way of access to the theme of ontology” (SZ, 35). In turn, and most importantly, ontology itself “is only possible as phenomenology” (SZ, 35, modified). Thus, if the question of being, of the event of being, is the fundamental issue of thought, then phenomenology, as the pure apprehension of being, could not have been left behind and abandoned by Heidegger. Even when he had recourse to other terms, whether “mindfulness” (Besinnung), “remembrance” (Andenken) or “releasement” (Gelassenheit), Heidegger continued to think phenomenologically. As Thomas Sheehan clarifies: “Heidegger did all of his work on the question of being as phenomenology” (Making Sense of Heidegger, 106).

As we saw, McNeill seems committed to the view that Heidegger has abandoned or discarded phenomenology, returning to it throughout the book and claiming that his “later thinking is for the most part no longer carried out in the name of phenomenology” (41). Now, Heidegger’s later thinking was in fact carried out in the name of phenomenology. This is a simple matter of scholarship: precisely in his later thinking, through the 1960s and 1970s, Heidegger did explicitly and repeatedly claim phenomenology as the most authentic way of thought, one that he claimed as his own. The question thus arises: if Heidegger had abandoned phenomenology, then why did he claim it in the last two decades of life as his own? McNeill’s question, “Why, in that case, does he no longer appeal to phenomenology as the method of his thinking?”, is misleading at best: Heidegger did continue to appeal to phenomenology, not as the “method,” but as the way of his thinking until his very last years. This, in fact, is implicitly recognized by McNeill, when he refers to the notion of a “phenomenology of the inapparent,” which appears in Heidegger’s 1973 Zähringen seminars. This expression, I would argue, accomplishes the early sense of phenomenology, for instance as it is presented in Being and Time. Heidegger defines there the concept of phenomenology as a “letting be seen” (sehen lassen), which necessarily implies the withdrawal of the phenomenon. Indeed, if the phenomenon was simply what is given and apparent, there would be no need for phenomenology. As Heidegger put it, “And it is precisely because the phenomena are initially and for the most part not given that phenomenology is needed” (SZ, 36). This is why Heidegger could write that the phenomenon, precisely as that which is to be made phenomenologically visible, does not show itself, although this inapparent nonetheless belongs to what shows itself, for Heidegger also stresses that “‘behind’ the phenomena of phenomenology there is essentially nothing” (SZ, 36). What is the full, phenomenological concept of the phenomenon in Being and Time?

“What is it that phenomenology is to ‘let be seen’? What is it that is to be called a ‘phenomenon’ in a distinctive sense? What is it that by its very essence becomes the necessary theme when we indicate something explicitly? Manifestly, it is something that does not show itself initially and for the most part, something that is concealed [verborgen] in contrast to what initially and for the most part does show itself. But at the same time it is something that belongs to what thus shows itself, and it belongs to it so essentially as  to constitute its meaning and its ground” (SZ, 35).

What is concealed according to Being and Time is being itself, although in “The Way to Language,” Heidegger would state that Ereignis is “the least apparent” of the inapparent: “Das Ereignis ist das Unscheinbarste des Unscheinbaren—the least apparent of the inapparent” (GA 12, 247/128, modified). Phenomenology, in its very essence, is for Heidegger a phenomenology of what does not appear, a phenomenology of the inapparent, as he put it in his last seminar in 1973:

“Thus understood, phenomenology is a path that leads away to come before…, and it lets that before which it is led show itself. This phenomenology  is a phenomenology of the inapparent [eine Phänomenologie des Unscheinbaren]” (GA 15, 399/80).

Thought must be brought “into the clearing of the appearing of the inapparent,” Heidegger also wrote in a letter to Roger Munier, on February 22, 1974. The entire phenomenological problematic is thus rooted in the concealment of being, in what Heidegger calls the forgetting of being, which is to be meditated upon and remembered (itself to be understood paradoxically as a standing in oblivion: GA 14, 38/30), as opposed to overcome. Phenomenology becomes the guarding of the inapparent. This would suggest, without ignoring the various twists and turns that occurred throughout, a profound continuity and unity (which McNeill tends to ignore as he cuts Heidegger into pieces) between the early and later Heidegger, what Richardson refers to as the “Ur-Heidegger” (Through Phenomenology to Thought, 633). McNeill seems to only situate the problematic of a phenomenology of the inapparent in the 1973 Zähringen seminar, and only in terms of what Heidegger calls there “tautological thinking” (tautologisches Denken),  without realizing that not only does the theme of a phenomenology of the inapparent run throughout Heidegger’s corpus, but also the motif of tautological thinking: let us mention here the following occurrences that one encounters throughout Heidegger’s work: “die Welt weltet,” “die Sprache spricht,” die Zeit zeitigt,” “der Raum räumt,” “das Wesen west,” “Das Walten waltet,”  “das Ding dingt,” “Das Ereignis ereignet,” etc… In fact, the very idea of a “phenomenology of the inapparent” could be seen as the guiding thread of the entirety of Heidegger’s thought: from the “ruinance” of factical life in the early lecture courses to the concealment of being in Being and Time, from the errancy and the lethic at the heart of aletheia in “On the Essence of Truth” to the notion of “earth” in “The Origin of the Work of Art,” from the Geheimnis or mystery in the Hölderlin lectures to the sheltering of the λήθη in the 1942-1943 lecture course on Parmenides, from the withdrawal or Entzug in the essay on the Anaximander fragment or in What is Called Thinking to the Enteignis within Ereignis in “On Time and Being”… Each time phenomenological seeing is exposed to an inappropriable and inapparent phenomenon.

In conclusion, the work provides precise and detailed analyses of several of Heidegger’s texts, and to that extent is a valuable contribution. However, the overall interpretation is flawed, and the underlying hypotheses and questions that drive those analyses are misguided and miss the ultimate stakes of the question. The book is constructed upon an artificial problem: McNeill assumes an abandonment of phenomenology in Heidegger’s work that is not warranted by the texts and by the very trajectory of his thought. Further, this assumption is itself based on an inadequate understanding of phenomenology as a particular discipline or school of thought, a view that Heidegger rejects. Heidegger insisted that phenomenology was to be rigorously approached in its “possibility” (that is, not exclusively connected to the philosophical movement founded by Husserl). This is how Heidegger presents the issue in this passage from Being and Time, beginning with an ambiguous homage to Husserl that is immediately followed by a distancing with his former mentor: “The following investigation would not have been possible if the ground had not been prepared by Edmund Husserl, with whose Logische Untersuchungen phenomenology first emerged. Our comments on the preliminary conception of phenomenology have shown that what is essential in it does not lie in its actuality as a philosophical ‘movement.’ Higher than actuality stands possibility. We can understand phenomenology only by seizing upon it as a possibility” (SZ, 38). In “My Way to Phenomenology” (1963), Heidegger reiterates the same point:

“And today? The age of phenomenological philosophy seems to be over. It is already taken as something past which is only recorded historically along with other schools of philosophy. But in what is most its own phenomenology is not a school. It is the possibility of thinking, at times changing and only thus persisting, of corresponding to the claim of what is to be thought. If phenomenology is thus experienced and retained, it can disappear as a title in favor of the matter of thinking [Sache des Denkens] whose manifestness remains a mystery [Geheimnis]” (GA 14, 101/82, slightly modified).

“At times changing and only thus persisting”: this passage captures the persistence of the phenomenological thread in Heidegger’s thought. In a letter to Roger Munier from April 16, 1973, Heidegger still claimed that “For me it is a matter of actually performing an exercise in a phenomenology of the inapparent,” while clarifying that “by the reading of books, no one ever arrives at phenomenological ‘seeing’” (GA 15, 417/89). In fact, a proper introduction to phenomenology “does not take place by reading phenomenological literature and noting what is established therein. What is required is not a knowledge of positions and opinions. In that way phenomenology would be misunderstood from the very outset. Rather, concrete work on the matters themselves must be the way to gain an understanding of phenomenology. It would be idle to go back over phenomenological trends and issues; instead, what counts is to bring oneself into position to see phenomenologically in the very work of discussing the matters at issue. Once an understanding of these is gained, then phenomenology may very well disappear” (GA 19, 10/6-7). There lies, ultimately, the limit of McNeil’s work, if it is the case, as Heidegger reminds us, that “talking about phenomenology is beside the point” (GA 63, 67/53, modified).

Works Cited:

(GA): Martin Heidegger’s Gesamtausgabe (Frankfurt am Main: Vittorio Klostermann, 1978–)

Martin Heidegger. GA 8. Was heißt Denken? (1951-1952). Ed. Paola-Ludovika Coriando, 2002. What is Called Thinking? Trans. J. Glenn Gray. New York: Harper & Row, 1968.

Martin Heidegger. GA 9. Wegmarken (1919-1961). Ed. Friedrich-Wilhelm von Herrmann, 1976, 1996 (rev. ed.). Pathmarks. Ed. William McNeill. Cambridge: Cambridge University Press, 1998.

Martin Heidegger. GA 11. Identität und Differenz (1955-1957). Ed. Friedrich-Wilhelm von Herrmann, 2006. Letter to William J. Richardson. In William J. Richardson, S.J., Heidegger: Through Phenomenology to Thought, 4th ed. New York: Fordham University Press, 2003.

Martin Heidegger. GA 12. Unterwegs zur Sprache (1950-1959). Ed. Friedrich-Wilhelm von Herrmann, 1985. On the Way to Language. Trans. Peter D. Hertz and Joan Stambaugh. New York: Harper & Row, 1971.

Martin Heidegger. GA 14. Zur Sache des Denkens (1927-1968). Ed. Friedrich-Wilhelm von Herrmann, 2007. On Time and Being. Trans. Joan Stambaugh. New York: Harper & Row, 1972.

Martin Heidegger GA 15. Seminare (1951-1973). Ed. Curd Ochwadt, 1986, 2005 (2nd rev. ed.). Four Seminars. Trans. Andrew Mitchell and François Raffoul. Bloomington: Indiana University Press, 2003.

Martin Heidegger. GA 19. Platon: Sophistes (1924-25). Ed. Ingeborg Schüßler, 1992. Plato’s “Sophist.” Trans. Richard Rojcewicz and André Schuwer. Bloomington: Indiana University Press, 1997.

Martin Heidegger. GA 20, Prolegomena zur Geschichte des Zeitbegriffs (1925). Ed. Petra Jaeger, 1979, 1988 (2nd, rev. ed.), 1994 (3d, rev. ed.). History of the Concept of Time: Prolegomena. Trans. Theodore Kisiel. Bloomington: Indiana University Press, 1992.

Martin Heidegger, GA 56/57. Zur Bestimmung der Philosophie (1919). Ed. Bernd Heimbüchel, 1987, 1999 (rev., expanded ed.). Towards the Definition of Philosophy. Trans. Ted Sadler. London: Continuum, 2000.

Martin Heidegger. GA 63. Ontologie. Hermeneutik der Faktizität (1923). Ed. Käte Bröcker-Oltmanns, 1988. Ontology—The Hermeneutics of Facticity. Trans. John Van Buren. Bloomington: Indiana University Press, 1999.

Martin Heidegger. SZ. Sein und Zeit (Tübingen, Germany: Max Niemeyer Verlag, 1953). English translations: Being and Time, trans. John Macquarrie and Edward Robinson. New York: Harper, 1962; Being and Time, trans. Joan Stambaugh, rev. Dennis J. Schmidt. Albany: State University of New York Press, 2010.

William Richardson. Through Phenomenology to Thought. 4th Edition: Fordham University Press, 2003.

Thomas Sheehan. Making Sense of Heidegger. A Paradigm Shift. Rowman & Littlefield Publishers, 2014.