Simon Høffding: A Phenomenology of Musical Absorption

A Phenomenology of Musical Absorption Book Cover A Phenomenology of Musical Absorption
New Directions in Philosophy and Cognitive Science
Simon Høffding
Palgrave Macmillan
2018
Paperback
XXII, 282

Reviewed by: Camille Buttingsrud (The Danish National School of Performing Arts)

Summary

“Who is playing?” (2). This question, which opens Høffding’s book, is prompted by the late Danish bassoonist Peter Bastian’s story of how he experienced looking at his own fingers “sprinting up and down the fingerboard” of the instrument he was playing, in awe of the skill of his own fingers. Høffding wants to understand the nature of such an unusual experience of the self, undergone by musicians in “those Golden Moments when it suddenly takes off”, as Bastian puts it. The debate regarding how best to comprehend and describe such altered states of subjectivity – found in, for instance, artistic absorption – has occupied theorists of expertise, cognitive scientists, and phenomenologists for a number of years. Høffding’s general approach is to find continuities between the various positions in this debate. The theory of one of the main voices in the debate, Hubert Dreyfus’ theory of skilled coping, is strongly disputed in Høffding’s book (94), though. Skilled coping is the idea that in expertise decision-making and skill acquisition are based on bodily coping rather than representational knowledge. Høffding’s own account of expertise, specifically of musical absorption, is built up through the chapters, and fully unfolds towards the end of the book.

Høffding develops his phenomenology of musical absorption by means of empirical as well as theoretical research. On the empirical side, he bases his investigation on a series of qualitative research interviews with the Danish String Quartet; on the theoretical side, Høffding’s work is rooted in the philosophy of mind and classical and contemporary phenomenology. Furthermore, theories from aesthetics, psychology of music, sleep science, and psychiatry are used in the comparative chapters of the book.

Throughout the book, Høffding focuses on three overlapping themes: the absorbed minimal self, the absorbed reflective self, and the absorbed body (6). These aspects of subjectivity are all part of what Høffding eventually calls performative passivity, a notion inspired by Edmund Husserl’s theory of passive and active synthesis (Husserliana 11).

Høffding’s book is divided into three parts: “Meeting the Danish String Quartet”, “Comparative Perspectives”, and “Phenomenological Underpinnings of the Musically Extended Mind”.

Part One, which presents his empirical research, starts with an elaboration of the qualitative interview processes. We are guided through Høffding’s cooperation with four classical musicians (Asbjørn, Rune, Fredrik and Frederik Ø) and are presented with interesting quotes from Høffding’s interviews with them. Høffding gives a detailed description of his method of phenomenological interview, or PI. PI is methodologically inspired by the work of “Susanne Ravn and Dorothée Legrand in particular” (15), and is developed because “classical phenomenology, apart from phenomenological psychiatry, has not been engaged with interviews” (27). PI is also inspired by Dan Zahavi’s work and by Shaun Gallagher’s idea of phenomenological factual variations relying on empirical data. As a supplement to the established phenomenological practice of thought experiments through eidetic variation, the idea is that “real cases” might serve the same function, and “force us to refine, revise, or even abandon our habitual way of thinking” (See Zahavi 2005 on “real-life deviations”, in Høffding 27).

Høffding takes the musicians’ first-person perspectives seriously and tries to dispense with other theories, explanations, and beliefs about musical absorption, letting the descriptions speak for themselves. The musicians’ descriptions comprise what he calls “tier one” in PI. “Tier two” is the phenomenological analysis of the empirical material, where structures behind the experiences are disclosed (19). Høffding explains how the two tiers are linked and overlap; phenomenology frames the research but the empirical material also informs the phenomenological investigation. To ensure transparent access to his data and work methods, Høffding provides an extensive explanation of how to conduct a phenomenological interview (33), and of his specific work with the quartet.

The musicians are presented one by one. We get to know the violinist Frederik Ø as a complex musician, with an initial need for “a little control” (47) during the performance of concerts. However, after his father’s sudden death, he becomes “emotionally involved in a different fashion” (50) and experiences what we later learn is intense absorption. Rune is the other violinist in the quartet, he is also a folk musician (54). During performances he is “letting the body take over”, and occasionally he experiences extremely intense absorption (57). Asbjørn plays the viola in the quartet. He easily gets intensely absorbed and regularly finds himself in “the zone”, as he calls it, during their concerts. Fredrik is the cellist of the quartet. Like Rune, Fredrik has also experienced the kind of extremely intense absorption one could call an “artistic blackout” (66). Fredrik is intensely absorbed during most concerts.

After the musicians’ profiles, Høffding presents a chart to distinguish the different kinds of experiences Frederik Ø, Fredrik, Asbjørn and Rune have described. Høffding names the chart “a topography of musical absorption” (73) and defines its five main categories as standard absorption, mind wandering not-being-there, frustrated playing, absorbed not-being-there, and ex-static absorption (74).

Standard absorption is the default mode of performing, Høffding writes. The quartet is often in this state, and the state covers a wide range of experiences. Standard absorption includes feeling slightly bored, such as when playing a concert is “just another day at work”, and it also includes more concentrated absorbed playing. In general, the performance runs smoothly in this state – the musicians feel satisfied, are not intensely absorbed and not too challenged (76).

To be in mind wandering not-being-there is the experience of playing automatically while non-related thoughts and associations pop up in one’s mind simultaneously. The quartet calls it “going to Netto”, indicating the experience of leaving the performance mentally to think about what one might need to shop later (77). This is not a state the musicians find themselves in very often.

Likewise, they do not often experience the state of frustrated playing. This mode of performance is one of pure survival. During and after an obstacle, interruption, or other externally imposed experiences, the musicians are intensively focused on trying to get back to standard absorption (80).

Absorbed not-being-there is one of the two states of intense absorption. It is the rare experience of being “completely gone” or “lost in the music” during performance (81). Even if they subsequently cannot conceptually recall the experience, the musicians describe it as bodily pleasant, euphoric, and “of high emotional and existential value” (82). This experience has been described as “lack of awareness, blackout, trance, or even that it wasn’t the musician himself who played” (81).

The other, and more frequently experienced, state of intense absorption is called ex-static absorption. Høffding takes its name from the Greek and Latin description of “standing out from” (85), “not only in the sense that one perceives the world in a distanced, disinterested fashion, but also that this kind of “neutral registration” pertains to oneself”. Here, Høffding aims to capture the intensely absorbed experience a musician has “in the zone”, when his sense of self is altered by the absorption. There is “a heightened overall perception” (86) and the musician feels “invincible”, “powerful” and in “control” of the situation as a whole (84) in this state.

In the following critique, I shall return to the experiences and descriptions of some of these modes of absorption.

In Part Two, Høffding presents and discusses theories of interest for a comparative study of absorption. We are introduced to viewpoints in the expertise debate, material on artistic and aesthetic experience, theories of sleep and dreaming, and the theory of flow, in addition to the phenomenology of schizophrenia.

Besides debating Dreyfus, Høffding engages in the expertise debate through the works of John Sutton et al. and Barbara Montero (102). The former’s theory of Mesh shows how conceptual reflection and bodily coping overlap in skilful activity; while the latter’s argument against “the just-do-it” principle is that thinking does not interfere with acting and “should not be avoided by experts” (106). Høffding is open towards these philosophers’ ideas on how conceptual reflection occurs in musical absorption.

In the discussions on artistic and aesthetic experience, dance and art appreciation is taken into account, and Høffding makes use of theories by Dorotheé Legrand as well as Mikel Dufrenne to finetune his arguments.

In the chapter on dreaming and sleeping, Høffding looks at Evan Thompson’s work and compares lucid dreaming and dreamless sleep with the musicians’ experiences of ex-static absorption and absorbed not-being-there, respectively. In this part of the book, Høffding draws a line between standard playing, mind wandering and absorbed being there, and sees this as a development where “the intentional threads are slackening” (151) and the musician gradually detaches more and more from the situation and his self.

Through the study of theories on schizophrenia, Høffding finds traits of hyper-reflection (168) and self-intimation in the musicians’ experiences of ex-static absorption. Although, where schizophrenia is an ipseity-disturbance (171), Høffding sees a musician as having a robust sense of self (163).

In Part Three, Høffding discusses musical absorption in light of Husserl’s notion of passive and active synthesis and presents his own theory of performative passivity. Høffding defines it as the experience of “altered agency over the process of playing”, “of someone or something other than me causing the music to unfold” (188). The main assumption behind his theory of performative passivty is that musical action is not primarily generated by active egoic consciousness but by a passive enlarged sense of subjectivity (188). The enlarged subject can easily include levels of egoic consciousness, though; there are constant and fluid shifts between passivity and activity (188). In this way, he sees no dichotomy between reflection and pre-reflection in absorption.

According to Høffding, a well-trained body schema is necessary to achieve intense absorption; only experts with thousands of hours of practice behind them can enter these states (215). The music itself and “letting loose of one’s emotions” can boost the opening of the passive dimension (215), and the unfolding of the music through one’s instrument and the bodily we-intentionality and interaction with other musicians are all intertwined with the passive, enlarged self (244).

Høffding closes with a chapter on how playing together feeds the musicians’ sense of passivity. We learn of musical we-ness, partly through Merleau-Ponty’s notion of intercorporeity; the shared and anonymous body (241).

According to Høffding’s findings, there is a path from ordinary absentmindedness and daydreaming, past the state of mind wandering whilst performing, to the most absorbed state of performative passivity (70). In passivity, Høffding claims, the musicians’ body schemata afford the musicians to perform automatically and enable them let go of attending to the technicalities of the performance (199). To Høffding, musical absorption “is a question of “happening” rather than “doing”” (252) and he ends the book by claiming: “Pleasure, beauty, meaning, and encounters with others, in addition to being something we create, is something to which we must be receptive” (255).

Critique

Introduction

In his book, Høffding is open about not having had first-person experience of intense musical absorption (13). He also shares his inability to hear the difference between absorbed musicians’ performances and their performances under stress: “I find myself unable to detect whether a particular performance instantiates standard playing or playing under unusual stress” (100). He writes that intense absorption and its seemingly contradictory experiences of being “more conscious/present”, on one hand, and “less conscious/not present”, on the other (85), generates “a fundamental inability to understand and adequately express the nature of this experience” (85). At the same time, he rejects theories from peers with first-person experience of intense absorption (178). These facts are not necessarily problematic. But in light of them, it is difficult to see, prima facie, how Høffding is entitled to see his own work as “a paradigmatic case” – “the first of its kind” – and to claim that his conclusions will “serve as universal” within his field (30). In other words: he has never experienced x himself, he cannot perceptually detect x in others, he claims that x resists coherent description, he rejects the theories of those who have themselves experienced x – and, nevertheless, he declares his theory of x to be “paradigmatic” and “universal”. But let us not prejudge this. Let’s have a closer look at Høffding’s work and see whether it lives up to its own expectations.

Absorption as Phenomenon

The main goal of Høffding’s book is to investigate absorption. So, how does he understand the term absorption and the experiences behind it? Etymologically, the term absorption has developed from the Latin word absorbeo, which means “sucked or swallowed up”. The musicians’ experiences of being absorbed in terms of being “swallowed up”, are categorized by Høffding as absorbed not-being-there and ex-static absorption. These two are collectively referred to as intense absorption throughout the book.

According to Høffding, musicians are absorbed during all the five states in his topography, including frustrated playing and mind wandering not-being-there (73). But are these two states genuine experiences of absorption?

In frustrated playing, mind wandering not-being-there, as well as in standard absorption, Høffding includes the merely habitual activity of doing what one has learned by heart as an example of musical absorption. What does this all-embracing attitude do to Høffding’s theory of absorption?

Everyone experiences habitual activities, so let’s have a look at a plain example from our everyday lives. Learning how to bike demands conceptual reflection. As soon as you’ve mastered the skill, though, the task is engrained and will be experienced pre-reflectively. You can chat with your friends or listen to music while biking without being disturbed in the performance of the task. The same goes for artists and the elaborate skills they master. There is a level of performance where one is merely doing what one has memorized, and where random reflections and perceptions easily come and go on top of the execution of the activity itself, which has become second nature.

The question is: does this level of habitual mastering of skills qualify as absorption? As a practitioner of performing art, my answer is no. And so, as a philosopher, I find the dilution of the term absorption rather confusing. It is not clear how, for example, standard absorption is distinctly different, consciousness-wise, from situations like my biking example. Musical absorption is initially presented as “a self-transforming experience” (5), and the opening questions of the book: “Who is playing?” and “What kind of self is present when the musician is intensely absorbed in his music”? (2), are supposedly asked in order to investigate these altered experiences of the self. But only two out of Høffding’s five states of absorption constitute actual self-transformation and appear distinctively different from everyday experiences of consciousness; namely, absorbed not-being-there and ex-static absorption. That Høffding draws evidence from the musicians’ experiences of (what are quite plausibly) non-absorbed states in order to make his final points about what absorption as such amounts to, is a basic flaw in the argumentation that weakens the final theory.

That being said, seen as an overview and topography of musical performance, Høffding’s categorization chart nicely distinguishes different experiences musicians may have during practice, rehearsal and concert playing, and as such it is highly applicable.

Distance, Disinterest, and Detachment

In the construction of his arguments, Høffding appears to favour certain interpretations of the musicians’ statements, interpretations that emphasize occurrences of distance, disinterest, and detachment in absorption.

In one of his early interview sessions, Høffding categorized his transcriptions of the interviews in groups, one of them being “distance in absorption” (41). In his theoretical comparison chapters, he discusses how phenomenological psychopathology points to the existence of “unnatural” self-distance (8) in schizophrenia and finds parallels to this in the musicians’ experiences (162). He states that the musicians have “a superior bodily self-coinciding and self-reliance” (170), though, and sees the juxtaposing as a tool to understand how the “empirical foundation of ordinary consciousness (…) is prone to variation” (171). In a similar way, Høffding compares the musicians’ alleged experiences of self-distance in intense absorption to experiences of deep sleep (absorbed not-being-there) and lucid dreaming (ex-static absorption) (145).

Ex-static absorption “consists in a distance to oneself, one’s actions, and one’s body” (167), Høffding claims; whereas absorbed not-being-there is “entirely vacuous” (83), “followed by an almost total amnesia” (81). But how are the musicians phrasing these experiences?

Frederik Ø shares how he changes after his father’s sudden death and plays a concert where he lets go of his previous need to have “a little control” (47). During the concert it is “as if everything just disappears (…), I am not really there (…). Everything just is. So it is exactly both being present and not being present simultaneously” (50). He continues: “It is like… the feeling of looking over a large landscape (…), you cannot see the individual parts, you just know that all of it contributes to the being, and that you actually could affect the little things (…)” (51). Høffding sees Frederik Ø as being at a “distance from his own mental life” here (146).

Asbjørn tells us about the same experience of being “both less conscious and a lot more conscious (…)” (60). In his ideal absorption he is “this commander just moving the pieces and making the perfect phrase without trying, just because it is there and I can do anything I want” (62). In the same quote he talks about his ability to be aware of many musical elements at the same time, through his “hive mind” (62). We learn how he is “neutrally registering” the audience, not like a co-player but “looking at the set-up” and feeling like “a commander deploying the troops and control it (…)” (84). Høffding interprets Asbjørn’s experiences as “disinterested observation” (84).

Through his investigations of spatial experiences in schizophrenia, sleep, dream, and intense musical absorption, Høffding finds that they share traits of detachment (151), distance (85), and disinterest (192). Høffding takes these disconnections to the self and to the situation very literally. He compares the musicians’ experiences of being “a commander” and “flying over a landscape” with experiences of physical distance. In ex-static absorption one is thus too far away to have any agency, Høffding claims, “sitting in an airplane high up in the sky” perceiving from a great distance ”a very large landscape without parts” (147). When in absorbed not-being-there, the experience is of being too close to the music” to “perceive it well” (148). It’s like “looking at a large Monet from very close up” (147).

Høffding is referring to the altered perception of objects in the intensely absorbed states and offers us a discussion on the matter and a thorough explanation of his view. But is this the best way to interpret what the musicians experience?

Artists in general seem to claim that intense absorption is their ideal state of performing and the quartet is no exception. They stress how being intensely absorbed makes them “listen in a better way” (59), feel “powerful” (81), in “very deep control” (61), and feel “intense euphoric joy” (66). This sounds more like descriptions of total involvement – not like disinterest, distance or detachment. Is there an alternative to Høffding’s interpretation which captures the presence, engagement, and interest the musicians indicate they experience in intense absorption?

One way of describing it would be that in intense absorption the musician’s focus shifts from being on particular objects to embracing the situation as a whole. This does not indicate distance; on the contrary, it describes the integration with something larger than oneself that often happens in these states. As there is no experience of distance or disinterest in one’s bodily and affective self, but rather an increased focus through the body, intense absorption could be seen as a state characterized by bodily and affective agency. Høffding’s understanding, as well as the most common way of understanding agency, is based on the traditional dualistic and hierarchical idea that the self equals the mind, and that the bodily self is “automatic”, “pre-egoic”, and without the ability of agency – an understanding that often falls short in matters of art.

One could say that in intense absorption the mind is put on hold or is participating in a sparse manner; at that stage, judgments and objectifications are not needed to perform the activity. The bodily self has full power and control over the musical performance, works hard, and enjoys it.

Just like it is possible to be totally engaged in the analysis of a philosophical text, only to later to “wake up” and realize one is hungry or that one’s leg is “asleep”, one can shift focus from an everyday consciousness in performance to an utterly engaged bodily and affective focus.

Some of the above mentioned aspects seem close to what Høffding finds in his theory of performative passivity: the “blurring of the subject/object distinction” (215), “a powerful change in the deepest layers of subjectivity” (175), the opening to something larger than one’s self, for instance “musical interkinesthetic affectivity” (246), and the reliance upon the bodily (195). But Høffding favours the understanding of passivity and a receptive self in intense absorption and finds ways throughout the book to emphasise this.

In his theoretical investigations, Høffding occasionally uses quotes outside of their intended contexts. Referencing Evan Thompson, Høffding writes: “Lucid dreaming is essentially marked by a phenomenal distance to oneself (…)” (154). But on the page referred to in Thompson’s book “Waking, Dreaming, Being” (2015), there is no mention of distance in lucid dreaming. Thompson elaborates upon the I as dreamer and the I as dreamed in this manner: “These are not two entities or things; they’re two kinds of self-awareness, two modes of self-experience” (Thompson 2015, 140).

In another example, Høffding discusses the experience of objects in passive intentionality with Dan Zahavi. He mentions Zahavi’s “recent, comprehensive work on Husserl” (184), and glosses Zahavi as making a point about passivity (184). But the actual page concerns “the world annihilation” thought-experiment from Husserl’s “Ideen 1”, and says nothing about passivity.

Another example of biased use of theoretical evidence is Høffding’s references to the Kantian notion of aesthetic disinterest. He interprets this disinterest as “not soliciting engagement, but mere distanced observation” (124) and compares it with the quartet’s experiences of “observation as neutral” and not being “part of the set-up” (125). Though I’m far from being a Kant scholar, it is clear enough that Kant’s notion of aesthetic disinterest differs from our everyday understanding of the term disinterest. The Kantian term covers an interest in the aesthetic object as experienced in its own right – the immediate, direct perception of the aesthetic object. The lack of interest is a lack of interest in the object’s utility and determinate meaning. Høffding seems to understand and use aesthetic disinterest in a different manner – as an experience of observing from a distance without engagement.

Performative Passivity

Høffding interprets Husserl’s theory of passive and active synthesis as holding that passive and active are opposing ends of a smooth continuum. As such, Høffding repeatedly mentions that the theory “fits like hand in glove” (178) with the altered state of the self found in intense absorption; characterizing this type of absorption as that of extreme passivity and differing from other types of absorption mainly in degree. Taken together with his lack of patience for the expertise debate’s dichotomy between reflection and pre-reflection (113), one gets the impression that passivity and activity in passive and active synthesis must be experiences of consciousness that are altogether different from reflection and pre-reflection – a Husserlian gem unknown to most of us, presented in this book as the resolution of dualistic thinking about artistically absorbed subjects. But a more thorough look at Husserl’s theory, in parallel with Høffding’s book, shows that even though the distinction between activity and passivity is not the distinction between reflection and pre-reflection, we are not faced with a distinctly alternative description of subjective experience. The theory of passive and active synthesis is Husserl’s further investigation into how the deepest pre-reflective layers of subjectivity influence and cooperate with the subject’s active and intentional acts, being it on a pre-reflective or a reflective level. Musicians are, doubtlessly, undergoing passive and active syntheses during their concerts. We all are, every day. There is nothing extraordinary in experiencing passive and active syntheses. Husserl’s theory is rather an extraordinarily profound description of our consciousness structures (as far as this author understands Husserliana 11).

I agree with Høffding, though, that describing intense absorption “as a certain relationship between reflective and pre-reflective awareness, or as a specially trained form of reflection or pre-reflection” (176) is insufficient. This terminology is based on an out-dated, dualistic hierarchy where mind reigns over a body, upon which it simultaneously depends. Yet, Høffding still seems to buy into this hierarchy by describing a bodily and affectively active subject as “passive” – just because the subject’s mind is passive. By calling one of the intense states absorbed not-being-there – when his qualitative material states that it is an experience of “really being there” (57) and of being “immensely present” (67) – Høffding seems to ignore the fact that there are parts of us that are indeed there in intense absorption, even when “the head is completely empty” (57). To be fair; Høffding does not entirely deny this in his conclusions. But his semantics, and what seems to be his overall view of what a subject is, contradicts his evidence.

So, how does Høffding see passivity as compatible with absorption? Does it make sense to say that musicians get increasingly immersed in their work by means of a path from absentmindedness to mind wandering, past daydreaming to intense absorption – all during habitual playing? (70) It sounds rather vacuous – and Høffding actually labels absorbed not-being-there as “vacuous” (83). What would be one’s drive and motive, as a musician, then? Høffding’s answer is that music as a structure affords cooperation and absorption (252) – one is simply drawn to it.

When asked how the “primitive phenomenality” of a passive self can produce “complex and beautiful music”, Høffding answers that the musical work performed through the body schema and the musicians’ “emotional engagement” is sufficient for that purpose (250).

Perhaps this process of random perception of impressions from one’s life-world, combined with “letting loose of one’s emotions” during the performance of one’s memorized work is enough for some performing artists. I am not able to tell. But when it comes to creators of art, this theory’s applicability seems even more limited. Improvising performers are creators, alongside painters, composers, choreographers, sculptors, poets and others. Creating and producing art from scratch cannot be explained as habitual activity and haphazard receptivity.

Many creators, like many performers, experience their artistic activities as a kind of “conversation” with the world and their fellow human beings – just like Fredrik does (64). There are things you want to express and share through your art. “In the same way that I do not think about the technicalities of talking, so do I not think about the technicalities of playing”, Fredrik says (64), and divulges that these processes are not necessarily conceptually reflective – neither are they passive and anonymous.

Trusting the body schema in order to “let go” and get absorbed, might prove to be problematic for creators and performers of improvised art. Høffding claims that “if those micro movements are not in perfect place, the necessary trust will not be relegated and the distanced or ex-static view of one’s own body will not be enabled” (171). In improvised dance, in much jazz music, and in the performance of classical Indian ragas, for example, there is no way of preparing “every micro movement” – these art forms are created and performed simultaneously.

It is, therefore, not clear to me how Høffding’s theory of performative passivity could serve as universal within the field of musical absorption. Besides, I am far from convinced that this theory accounts for the active body in sufficient detail. That being said, I find Høffding’s qualitative research and cooperation with the four musicians intriguing and inspiring.

What Høffding writes is of importance. We are not often made aware of our possibilities of mere receptivity, of “letting go” (of the mind’s activities), of “being open” and “one with the world” in the way radical passivity allows us. Høffding’s book reminds us of these possibilities. Undergoing these aspects in passive and active synthesis is necessary in order to become absorbed in artistic and aesthetic activity and experience. I don’t find the theory of performative passivity sufficient as an argument for what absorption amounts to, but I appreciate the book. It bears evidence of a hardworking, passionate, insistent, and thorough philosopher and researcher.

References:

Husserl, Edmund. 1966. Analysen zur passiven Synthesis: Aus Vorlesungs- und Forschungsmanuskripten 1918-1926. Nijhoff: Den Haag.

Thompson, Evan. 2015. Waking, Dreaming, Being. Self and Consciousness in Neuroscience, Meditation, and Philosophy. Colombia University Press: New York.

Zahavi, Dan. 2017. Husserl’s Legacy. Phenomenology, Metaphysics, and Transcendental Philosophy. Oxford University Press: Oxford.

Günter Figal: Philosophy as Metaphysics: The Torino Lectures, Mohr Siebeck, 2019

Philosophy as Metaphysics: The Torino Lectures Book Cover Philosophy as Metaphysics: The Torino Lectures
Günter Figal
Mohr Siebeck
2019
Paperback 24,00 €
IX, 177

Jorella Andrews: The Question of Painting: Re-thinking Thought with Merleau-Ponty

The Question of Painting: Rethinking Thought with Merleau-Ponty Book Cover The Question of Painting: Rethinking Thought with Merleau-Ponty
Jorella Andrews
Bloomsbury
2018
Hardback £76.50
352

Reviewed by: Nikoleta Zampaki (National and Kapodistrian University of Athens,
Greece)

The Question of Painting. Re-thinking Thought with Merleau-Ponty offers a unique and refreshing perspective on fields including visual studies, phenomenology, ecophenomenology, inter-artistic relations, and studies of Merleau-Ponty’s philosophy. By developing an inter-artistic approach, Jorella Andrews demonstrates how phenomenology is relevant for painting. The title indicates the central thesis: perception and experience are aesthetic, so that there is an art of painting and an art of perception. Perceptual experience is open to interpretation in a way that is analogous to works of art.

The book is organized around a chronological account of Merleau-Ponty’s works and thought and its connections with art, highlighting how painting, as a way of exploration and artistic expression, articulates its contents and discourses on many aspects of daily life. Indeed, in the Visible and the Invisible, Merleau-Ponty points us in this direction: “Essence and existence, the imaginary and the real, the visible and the invisible, painting blurs all our categories in unfolding its oneiric universe of carnal essences, of efficient resemblances, and of silent significations”. (1) The instauration of appearing as such in painting is interpreted extensively through Andrews’ book. Painting represents but at the same time paints the invisible visibility of the visible. The focus here is on Merleau-Ponty’s later works, especially The Visible and the Invisible, Eye and Mind, and the Notes de cours 1959-1961. Andrews’ aim is to illuminate and trace a new ontological perspective as it emerges in these works.

Andrews reads works of art, particularly paintings, as disclosing a certain mutation of man and being. Moreover, Merleau-Ponty’s phenomenology examines the embodied and interactive perception as well as the matter of experience. Phenomenological and artistic reflection are closely connected and this book clarifies how artistic standpoints ought to be examined in parallel with phenomenological investigation. In Merleau- Ponty’s thought aesthesis and aesthetics are intertwined. Embodiment has its own vitality and the feedback between artist and artwork represent the relation between body and world. Thus, Merleau-Ponty’s analysis of art centers on bodily presence, representation and feelings in the context of experience. The book also describes Merleau-Ponty’s aesthetic world as an opening contraction of the human world. Sensory experience is implicated in aesthetics and both are grounded in the body. The painter both experiences the world through the body and draws the world’s Totality. It is insofar as he or she is in contact with the realm of the visible that she or he is able to experience this Totality. This cosmic model of representation can be described as a Gestalt.

Andrews analyzes nature, rationalism, empiricism, dualism and behaviorism through the cognitive field that remarks the significance of Gestalt. In place of empiricism and intellectualism, Merleau-Ponty’s phenomenology offers a vision on the matter of subjectivity and world as an accommodation of thought. Merleau-Ponty’s critique of Cartesian representationalism and its consequences has been taken up within cognitive philosophy and the philosophy of mind. Cartesian rationalism was unable to overcome the central artistic dimensions of depth. Andrews describes all these fields deeply and thoroughly, and she frames and places Merleau-Ponty’s thought within an artistic context.

Drawing on the concept of aesthetics, the book focuses on the presentation of the cooperative relationship between being and environment, as well as the structure of being and its presence in phenomenological and artistic context. Indeed, in the act of reading this book, all of our senses are participating to realize Merleau-Ponty’s aesthetic experience. We can perceive its uniqueness, which can be described by Merleau-Ponty’s terms and experience. This books draws the visible invisibility to the visual field of phenomenology and aesthetics. Our nature is collaborating with the Gestalt to touch Merleau-Ponty’s thoughts on art, a goal to which Andrews contributes with her magisterial writing.

The first part of the book reinserts phenomenology and its eco-spirit into the critical and theoretical framework of phenomenology and painting. Every being has its own consciousness and exhibits the structure of itself. The matter of embodiment and embodied perception are central axis of Merleau-Ponty’s thought throughout his works. Paul Cézanne was the painter who remains the basic example in in Merleau-Ponty’s works, thought he also draws on other painters, including Paul Klee and Henri Matisse. The formal philosophical thought of Merleau-Ponty intersects with the works of Cézanne and other painters as if they express what in transcendental phenomenology remains a mystery. The analysis of flesh follows from Merleau-Ponty’s recuperation of Cézanne, Klee and Matisse in their effort to capture the primodial and perpetual a priori opening to the open and the power of sense making. Flesh is the primordial instituting linguistic power that opens the world sensibly and instituting the human being as independent into the experience of the world.

Andrews refers to the theoretical framework of the art 20th and 21st centuries and engages a wider and better vision of the artistic discipline in order to introduce Merleau-Ponty’s thought on painting. Her reading of Merleau-Ponty’s notion of flesh is relative to painting. There is a carnal ground binding into a style of particular differentiation between brushwork, coloration, and technical processes, for instance that of impressionism or expressionism. Many philosophical and artistic concepts cover and at the same time unfold the question of painting and its impact on Merleau-Ponty’s philosophy. Three basic phenomenological ideas are embodied perception, lived body, and visible matters. Perception relies on lived experience and requires the contribution of our body, making the embodied nature of cognition form our perception.

The second part of the book considers extended thought and draws an illuminating connection among the body, embodiment, and the matter of art. Andrews shows that embodiment plays a major role within art, enabling the artist to integrate the spatiotemporal features of the body’s environment. Perception amounts to the body’s engagement with the world and picture our reality, a co-constitution of the lifeworld and the brain. The subjective body (Leib) and the objective body (Körper) forms a dialectical unity. Andrews recalls that the subjective body is the background of all the forms of experiences and especially the artistic. Inter-corporeity is the basis of our experience and artistic dimension whereas objectification is secondary aspect.

In the third part of the book Andrews focuses on linguistic concepts and on the theme of representation both in Merleau-Ponty’s work and in art. The phenomenon of resonance between linguistic tool and art is investigated extensively. Discourse plays the major role in the expression’s tools and mechanisms of artistic references. For example, Merleau-Ponty’s metaphors, as Andrews makes clear, are used as expressions of the lived experience of the subject and show how his thought is formed around the aesthetic experience of the phenomenological process. His metaphors hide an experimental and experiential spirit. The author exposes Merleau-Ponty’s immanent expressivity and creation of meanings. Underlying Merleau-Ponty’s conviction that personal expression (speech) is more meaningful than the impersonal (sedimented language) is a fundamental naturalism.

The fourth part of the book focuses on Merleau-Ponty’s terms such as flesh, visible, invisible, and chiasm as the main points of reinserting painting and artistic discourse into phenomenology through an ontological perspective. The field of vision and its depth through being’s embodiment is given in a vivid spirit, through memorable examples. Merleau-Ponty holds that the perceiver is embedded in the aesthetic space and interacts with it through experiences and senses. Flesh is the bridge between Leib and nature. Andrews notices the linguistic frameworks that aim to take our lived experience and inter-corporeity into an account of art. Linguistic resonance is strongly at play in inter-affectivity and artistic responses and leads that involved the entire subject’s body.

The book demonstrates how deeply the phenomenological and artistic traditions are connected and draws a perspective through a prismatic discipline in the phenomenological context. Andrews presents and re-presents the matter of intra-corporeality in the sense that subjectivity and objectivity are in dialogue. The microscopic world of living is in dialogue with the macroscopic world of painting through the linguistic resonance of inter-artistic relations. Moroever, the picture of embodiment and embodied cognition that is developed here impacts debates concerning the dignity of the person and life. The accounts of perception and of art are organic, interdependent, and dynamic.

The whole book provides an overview of Merleau-Ponty’s thought. But it also offers new points of view on the fields described above and never loses sight of the phenomenological field of Merleau-Ponty’s eco-artistic perspective. Andrews reinserts the reader to Merleau-Ponty’s thought and way of thinking as living communication with the world. The book contributes significantly to the intense debate concerning oculocentrism in the 1980s and guided by phenomenology at every critical juncture. In conclusion, it addresses major topics and motivates readers to explore an interesting field of research, which is still open to new interventions. The book is a welcome affirmation of the fluidity and versatility of Merleau-Ponty’s thinking, and promises to open the door to new intellectual and phenomenological creativity.

References:

Merleau-Ponty, Maurice. 1964. Le visible et l’invisible, C. Lefort (ed.), Paris: Gallimard.

Friedrich Stadler (Ed.): Ernst Mach – Life, Work, Influence, Springer, 2019

Ernst Mach – Life, Work, Influence Book Cover Ernst Mach – Life, Work, Influence
Vienna Circle Institute Yearbook, Volume 22
Friedrich Stadler (Ed.)
Springer
2019
Hardback 124,79 €
XIII, 805

Jean Wahl: Philosophies of Existence, Routledge, 2019

Philosophies of Existence: An Introduction to the Basic Thought of Kierkegaard, Heidegger, Jaspers, Marcel, Sartre Book Cover Philosophies of Existence: An Introduction to the Basic Thought of Kierkegaard, Heidegger, Jaspers, Marcel, Sartre
Routledge Library Editions: Existentialism
Jean Wahl
Routledge
2019
Hardback £80.00
132

Shigeru Taguchi, Andrea Altobrando (Eds.): Phenomenology and Japanese Philosophy, Springer, 2019

Phenomenology and Japanese Philosophy Book Cover Phenomenology and Japanese Philosophy
Tetsugaku Companions to Japanese Philosophy, Volume 3
Shigeru Taguchi, Andrea Altobrando (Eds.)
Springer
2019
Hardback 103,99 €

William James, Carl Stumpf: Correspondence (1882-1910), De Gruyter, 2019

Correspondence (1882-1910) Book Cover Correspondence (1882-1910)
William James, Carl Stumpf. Edited by Riccardo Martinelli
De Gruyter
2019
Hardback 109,95 € / $126.99 / £100.00
364

Adam Y. Wells: The Manifest and the Revealed: A Phenomenology of Kenōsis

The Manifest and the Revealed: A Phenomenology of Kenosis Book Cover The Manifest and the Revealed: A Phenomenology of Kenosis
SUNY series in Theology and Continental Thought
Adam Y. Wells. Foreword by Kevin Hart
SUNY Press
2018
Hardback $80.00
206

Reviewed by: Nikolaas Deketelaere (Balliol College,  University of Oxford)

Radicalisation as Entmenschlichung

Notes on the credibility of a phenomenology of Scripture

Since the exegete exists historically and must hear the word of Scripture as spoken in his special historical situation, he will always understand the old word anew. Always anew it will tell him who he, man, is and who God is, and he will always have to express this word in a new conceptuality. Thus it is true also of Scripture that it only is what it is with its history and its future.

Rudolf Bultmann, ‘Is Exegesis Without Presuppositions Possible?’, 296.[1]

Adam Wells’ new book, The Manifest and the Revealed: A Phenomenology of Kenōsis, is a provocative one. With Husserl, it takes up once more the dream of phenomenology as an absolute science, that is to say, a presuppositionless science that as such is able to ground all positive sciences. In doing so, Wells sees an analogy between the phenomenological gesture of reduction and Paul’s so-called kenosis hymn (Philippians 2:5-11). Exploring this analogy by operating a kenotic reduction, he sets up a phenomenology of Scripture in which the phenomenological method and Scripture mutually clarify one another (97-117). It is in this phenomenology of Scripture that contemporary Biblical criticism ought to be grounded, according to Wells, because it alone does not let itself be restricted by dogmatic presuppositions that arbitrarily impose limits on how and to what extent the experience of Scripture enters the field of inquiry. Only this phenomenology would be presuppositionless, thus forming an absolute science of Scripture, that is able to ground the scientificity of positive Biblical criticism. The thrust of the book is then made up of an intriguing critique of contemporary Biblical criticism, the problem with which, Wells suggests, “is not that it is overly scientific, but that it is not scientific enough” (150).[2]

To those of us shaped by his most significant critics, Heidegger and Derrida, Husserl’s dream of an absolute science sounds more like the stuff of nightmares. Wells is all too aware of this and admits from the outset that there are very good reasons to be suspicious of the very idea of absolute science “as a modernist, metaphysical ideal” (1), pointing to the calamities of the twentieth century as an example. Yet, he says, entirely abandoning the dream of absolute science would amount to giving up “any ability to ground the sciences, to determine the boundaries of scientific inquiry, and to provide answers to meta-theoretical questions about the ethical status of the sciences. (…) For that, one needs absolute science; one needs a way to ground the sciences in the broader context of the life-world” (2). Returning us to the foundational need that was felt so urgently in the first decades of the last century—embodied philosophically by Husserl and theologically by Barth—, the “‘dream’ of absolute science is not a metaphysical ideal,” for Wells, “but a practical necessity” (2). Of course, this simply ignores the fact that said dream could very well be both a metaphysical ideal and a practical necessity at the same time: as it was for Kant, for whom the moral God is needed to make the scientific endeavour meaningful whilst remaining himself outside the scope of that endeavour, which secures the very nature of ethical reasoning as distinct from science and thus able to ask such questions about science.[3] Kant’s insight is precisely that even though something may be practically necessary, that does not make it theoretically possible; it is a question of making this impossibility into an asset rather than an obstacle (as Derrida knew all too well). Nevertheless, Wells intends “to dream Husserl’s dream again, to reopen the question of absolute science, navigating between the practical necessity of such a science and the temptation to universalize it” (2).

Aware of how this sounds, however, he is quick to note that both absolute and science will “lose their mundane imperial connotations when transformed phenomenologically” (7). The first half of the book executes that phenomenological transformation by spelling out what Wells means by absolute science. Throughout its three chapters, Wells tracks the radicalisation of phenomenology and its reduction from Husserl’s early static phenomenology, through his later genetic phenomenology, and up to the constructive phenomenology developed by Eugen Fink and Anthony Steinbock. This exposition perhaps contains little that would be new to anyone familiar with the basics of phenomenological philosophy and its transcendental method, but it is remarkably clear and—unlike much Husserl scholarship and to Wells’ great credit—avoids any self-indulgent revelling in the immense technical complexity of Husserl’s philosophy: like all good phenomenology, this is a constructive work.

The phenomenologically transformed conception of absolute science Wells ends up with is then the following. Starting with science, he says that whilst “mundane sciences are concerned with that which is given in the world; phenomenology is concerned with how the given becomes given” (60). In other words, unlike the positive sciences, phenomenology is not a science of innerwordly objects; as an absolute science, it considers the constitutive source of these objects as unities of meaning and is operative within the new ontological field that Husserl calls transcendental subjectivity, which is opened up by the reduction: “Absolute science must, therefore, be a science of transcendental subjectivity” (20), for “as the source of all objectivity,” it is “the proper subject matter of absolute science” (21). So far, so Husserlian. For his understanding of the absolute, then, Wells turns to Fink, who defines the absolute as the synthetic unity of the whole of transcendental life, not merely the constitution of objects, but also the transcendental act of phenomenologising itself. That is to say, phenomenology is absolute because it maintains itself in a circular self-referentiality: the transcendental reflection on the constitution of objects itself leads to a transcendental reflection on the phenomenological method, which then in turn renews the transcendental reflection on constitution. “In the phenomenological reduction,” as Wells puts it, “transcendental subjectivity investigates its own constituting activity. Consequently, if phenomenology is going to be complete, if it is going to investigate all aspects of transcendental subjectivity, then it must investigate its own investigation, in the form of a transcendental theory of method. (…) The ultimate ‘object’ of phenomenology is the transcendental subject” (57-58).

As such, Wells believes to have seen off the modernist imperialist connotations of the notion of absolute science: “Consequently, phenomenology is not a universal science even if it is an absolute science. As a scientific practice on the part of transcendental subjectivity, phenomenology is within the process of genesis even as it evaluates the generation of givenness. (…) Phenomenology has no right to the phrase ‘once and for all’” (46). Indeed, precisely because, as caught up in its own circular self-referentiality, phenomenology exists in an infinite hermeneutic circle that it cannot escape to define the absolute ‘once and for all’: since it is itself absolute, “phenomenology cannot transcend the Absolute in order to offer a final objective account of the absolute” (71). This is an impressive and sound argument. However, at the same time, if “phenomenology guarantees its absoluteness only to the extent that it is self-referential” (51), the conception of the absolute offered is merely a formal one that lacks any material content. Wells, as it were, gives us no entry into the hermeneutic circle.

Yet, this is entirely the point, for it is here that absolute science becomes an absolute science of Scripture, that phenomenology becomes a phenomenology of Scripture, which follows from the radicalisation of phenomenology as such. For, Wells remarks, “while Fink’s ‘theory of method’ goes a long way toward radicalizing Husserl’s concept of absolute science, it remains incomplete inasmuch as Fink never connects the theory of method to any particular phenomenal element. Fink never performs absolute science” (150). In virtue of phenomenology or absolute science’s circular structure, the absolute cannot be defined in advance, but only takes shape within the practice (the performance) of phenomenology, within the phenomenological analysis of phenomena: “absolute science only becomes absolute in concrete application. That is to say, the method of absolute science cannot be specified in advance; it must be derived from concrete engagement with phenomena” (2). The material element chosen by Wells to make the formal notion of absolute science substantive is Scripture: “the phenomenological idea of absolute science,” he says, “gains real content inasmuch as theoretical phenomenological reflection exists in a ‘synthetic unity’ with scripture itself” (156). That is to say, following Fink, Scripture is a positive phenomenal element, transcendental reflection on which leads inevitably to transcendental reflection on the phenomenological method itself and thus fleshes out that method (makes it leibhaftig). As such, it is indeed the case that “Scripture and phenomenology elucidate one another within the circular hermeneutic of absolute science” (3).  However, insofar as Wells seems to imply more generally that “if scripture requires phenomenological clarification,” it would be the case that “phenomenology requires scriptural clarification” (2), he seems to be taking this a bit too far: Scripture is but one possible material element amongst many capable of clarifying the formal method, even if phenomenological reduction and the kenosis hymn are analogous in structure.

Having made the bridge between phenomenology and Scripture—namely that, to be a properly absolute science, phenomenology must be performed or applied to particular phenomenal elements, in this case Scripture—, we can now consider how Wells performs phenomenology, how he develops his phenomenology of Scripture as an absolute science of Scripture in the second half of the book. He proceeds by reading the kenosis hymn phenomenologically in order to argue that it “operates as a type of phenomenological reduction—a kenotic reduction that is, in the end, far more radical than Husserl’s reduction” (97), which means, given the circular structure of phenomenology, that phenomenology is itself in the end kenotic. This kenotic reduction is a bold but perhaps flawed idea. Its original sin is perhaps that it is based on an extremely uncritical reprisal of Fink’s understanding of the reduction that links it to divine cognition, the formulation of which Wells repeatedly cites throughout the book: “already in German idealism,” Fink says, “there was the recognition that the traditional antithesis between ‘intellectus archetypus’ and ‘intellectus ectypus’, which constituted metaphysical difference between human and divine knowledge, in truth signified the antithesis between human and un-humanized (entmenscht) philosophical cognition,”[4] which would mean that “phenomenologizing is not a human possibility at all, but signifies precisely the un-humanizing of man, the passing of human existence (…) into the transcendental subject. (…) Before phenomenologizing is actually realized in carrying out the reduction there is no human possibility of cognizing phenomenologically (…). Just as man is the transcendental subject closed off to its own living depths, so too all human possibilities are closed off to the inner transcendentality of the subject. Man cannot as man phenomenologize, that is, the human mode of being cannot perdure through the actualization of phenomenological cognition. Performing the reduction means for man to rise beyond (to transcend) himself, it means to rise beyond himself in all his human possibilities.”[5] It is here, Wells says, that “the analogy between reduction and the kenosis hymn becomes clear. By bracketing the world, and all being in the world, the human ‘I’ of the natural attitude calls into question that which it fundamentally is. The human ‘I’ relinquishes its ties to the world, emptying itself of its own humanity” (104). Kenosis, for Wells, is thus not the divine emptying itself of its divinity and in doing so becoming human; but, somewhat bizarrely, the human being emptying itself of its own humanity (being-in-the-world) and in doing so achieving transcendental (un-worldly) consciousness, which is then identified with the divine: “what is ‘emptied’ is not Christ’s divinity, nor his status vis-à-vis God, but the status of the cosmos as the primary source of truth and value. The kenotic reduction opens up the possibility that worldly authority and value are not primary but derivative,” namely of transcendental, un-humanised, un-worldly, even divine (!) processes of constitution; indeed, “in the kenotic epochē, the cosmos is bracketed as the ground of truth and value, and the world is revealed as a new creation, which is renewed and sustained by God’s infinite love and power. Kenōsis, in this reduced sense, is not an ‘emptying out’ but an ‘overflowing’ of God’s love unto creation” (3).  The kenotic reduction, then, is a “reduction from cosmos to ‘new creation’” (107). The rest of the book is then spent outlining the structure of this ‘new creation’ through a critique of Husserl’s phenomenology of time-consciousness, which, by the standards of the kenotic reduction, Wells considers not yet fully reduced (131). By way of an eloquent discussion of Lacoste and Fink, he shows how “the kenotic reduction brackets the cosmos, and discloses a new creation, in which space-time is a horizon whose essential horizontality is [divine] represencing” (147).

However, Wells’ conceptualisation of both kenosis and reduction strikes me as problematic, precisely because of the uncritical way in which it assumes Fink’s conception of the reduction and the related primacy of transcendental subjectivity understood as a transcending of finite being-in-the-world. First of all, Husserl’s notion of transcendental subjectivity has received its fair share of criticism, even Wells himself calls it “problematic” (9). It is therefore odd that this further radicalisation of transcendental subjectivity as explicitly un-humanised is taken over by Wells without reflecting on it critically at all (even though, as I said, the quotation returns multiple times, giving him ample opportunity). What does it mean to say that in doing phenomenology we would somehow transcend our humanity as such? What could possibly be left of me, or of any consciousness, once I have transcended my humanity?[6] What comes to mind here is Kierkegaard’s constant mocking of the thinker who—in his attempt to be sub specie aeterni, in forgetting to think everything he thinks along with the fact that he exists—simply ends up thinking something unreal, illusionary and irrelevant. Not even reduction can lift us out of our humanity, for even the reduction must first surely be initiated by finite human beings existing in the world: even the phenomenologist as phenomenologist is finite; Husserl is dead. “When one has abstracted from everything, is it not the case then that, etc.,” Kierkegaard sighs, “Yes, when one has abstracted from everything. Let us be human beings.”[7] Perhaps Fink and Wells have a counter-argument that refutes this exasperation at such overzealous use of the reduction; however, if they do, it is never offered and the critique—which nevertheless seems somewhat obvious—is not pre-empted. In the absence of a persuasive reason for why I should un-humanise myself in order to do phenomenology, it seems more worthwhile to remember Kierkegaard’s warning that “one who exists is prohibited from wanting to forget that he exists.”[8]

This Entmenschlichung can also be questioned theologically, this time not in terms of the reduction, but in terms of what functions here as its analogue, namely kenosis and its incarnational character. As we know, for Wells, “what is ultimately emptied in the kenotic epochē is not Christ’s divinity (…), but the status of the cosmos as the ultimate ground of truth and value; Christ’s kenotic act—whether one emphasizes the incarnation or the cross—turns worldly hierarchies upside down. The very idea that one who is equal to God (…) would choose to become human and become crucified is completely at odds with worldly notions of divine power and authority. From the worldly standpoint, it makes little sense to forgo divine power in favour of human existence and slavish death. One would never choose to die like a slave when given the option to be Caesar; to do so would be inhuman” (105, see also 114). This, in my view, gets it precisely the wrong way round: that it is a human being doing something inhuman is precisely the point. If it were simply God who chose to die as a slave, would we really be all that bothered? After all, for God, all things are possible­. It is a human being, in which God has emptied himself of his divinity and taken on the full existential reality of the human being,[9] who chooses to do something in-human—precisely that is what makes up the scandal of the Christian story and its power: worldly hierarchies are turned upside down from within the world itself by an event that transforms the structure of the world, opening it up from within unto the kingdom that is coming. That God’s power is completely at odds with ‘worldly notions of divine power and authority’ is likewise precisely the point of his power, namely that it is, as John Caputo puts it, “madness from the point of view of the ‘world’.”[10] Indeed, Caputo’s weak theology, which thinks God’s power precisely as his weakness, forms a much needed nuance to the disconcertingly strong theology of power that seems to be underlying Wells’ phenomenology: the divine is not reached by way of the impossible, by transcending the human (what on earth would this even mean?); rather, it is a question of being able to entertain the im-possible humanity of the un-human, the im-possible possibility of the impossible (Derrida).[11]

If uncritically relying on an un-humanised transcendental subjectivity is problematic, it surely is even more so when this transcendental subjectivity is identified with God. Yet, this seems to be the final move in Wells’ formulation of the kenotic reduction: “In reduction, the transcendental subject achieves that which is impossible for human subjectivity, namely, un-humanized or ‘divine’ philosophical cognition of the world (…). In reduction, man rises above the world as the pre-given ground of truth and value, and therefore exceeds worldly possibilities. The world, the cosmos, is revealed as the end product of the constituting acts of transcendental subjectivity; or to put it theologically, the cosmos is created” (107). This extraordinary claim, which amounts to a theologisation of the reduction in which transcendental cognition is identified with divine cognition and the transcendental field itself with divine creative activity, strikes me as unprepared by the argument and therefore unwarranted phenomenologically (in spite of the language Fink uses). In other words, a theological leap is performed here that must be resisted by phenomenology precisely as phenomenology until its legitimacy can be established phenomenologically. Without this, I see no reason again to follow Wells in his expansion of Husserlian notions of transcendence and subjectivity “by integrating the transcendental subject into the divine life” (117).

The problem becomes particularly acute, I feel, when this kenotic phenomenology is applied to Scripture in Wells’ absolute science of Scripture: for reading Scripture “in a kenotically reduced way,” would mean heeding the kenotic reduction’s instruction “to bracket the cosmos as the source of truth, validity, and meaning. No language or mode of reason derived from the cosmos should predetermine our reading of scripture” (108). We have now thus achieved Wells’ absolute science (or phenomenology) of Scripture, in the sense of an inquiry that “places no dogmatic restrictions on the experiences and contexts of scripture; every mode of scriptural givenness is, in principle, open for phenomenological investigation” (25). Though Wells stresses that this absolute science does not negate but instead underlies empirical Biblical criticism (23), it is worth noting that this does nevertheless appear to lay waste to immense parts of the tradition of said criticism: “So, for instance, Heidegger’s Dasein, restricted as it is to a worldly conception of finitude, cannot determine our phenomenological hermeneutic in the way that it determined Rudolf Bultmann’s strategy of ‘demythologisation.’ More importantly, in bracketing worldly modes of reason and language, huge swaths of Platonic and Aristotelian philosophy (…) are ruled out” (108). When reflected back, in virtue of its circular or absolute character, on the phenomenological method itself, we find that there too a conceptual purification (reduction) should be performed: Husserl’s idea of monadicity, for example, is simply declared “not relevant here,” for “divine life is the source of infinitely overflowing power and love, while ‘monadicity’ is a concept derived from worldly finitude” (117).

Yet, after so much reduction, after such a thorough cleaning out of our conceptual apparatus, what remains when the dust has settled? Not much of interest to anyone actually living their life, Kierkegaard might answer, which should worry us. Indeed, according to Wells, we would be left with the unadulterated “experience of scripture” (24). Yet, at no point does he provide a description of what this experience might be. Though again, as I discussed, this is of course entirely the point: he does not provide us with an a priori entry into the hermeneutic circle in which this experience takes shape, precisely because it only takes shape within or as that circle. However, one wonders if Wells has not closed that circle in on itself to the point of the experience having no worldly subject, and thus being inaccessible to us as human beings (hence, perhaps, Nancy and Derrida’s emphasis on the ellipsis, rather than the circle, that all writing and thinking completes).[12] For in reducing, if we reduce too far, it is very possible to reduce away the very structures that make appearance possible (say, human finitude), thus causing appearance to disappear in its own impossibility. Here again, Wells’ account fails to address or at least to pre-empt a powerful objection that is easily raised by someone like Caputo: “the truth is gained not by approaching things without presuppositions—can you even imagine such a thing?—but by getting rid of inappropriate presuppositions (frame) and finding the appropriate ones, the very ones that give us access to the things in question. (…) ‘Absolute’ knowledge absolves itself of the very conditions under which knowledge is possible in the first place. Presupposing nothing results in knowing nothing.”[13] Note that this critique is directed against absolute, rather than universal knowledge: it is not a question of the scope of the epistemic domain, but of the conditions under which the judgement is valid. As Kant might have said, absolute anything is simply nothing. Wells is often quick, like Husserl, to dismiss “dogmatic restrictions” placed on the field of inquiry by presuppositions; however, like Fink, he never considers whether it is perhaps these presuppositions that might be what opens up that field of inquiry (as opposed to reduction), what provides an entry into the circle absolute science completes (and which reduction closes off), for us as human beings in the first place: precisely because we are finite human beings living in the world, we are limited; “but that limit also gives us an angle of entry, an approach, a perspective, an interpretation. God doesn’t need an angle, but we do. Having an angle is the way truths open up for us mortals.”[14] To pretend that we are anything but mortals, that we could somehow transcend our finitude and humanity, is to disregard the problems that confront us as such. If we continue radicalising phenomenology (be it with Husserl, Heidegger, Fink, Marion, or Henry), instead of practicing phenomenology, we risk losing sight of what show itself as such.[15]

This is not merely, it should be said—and this is particularly evident in the work of Lacoste—, an atheist humanism speaking the language of phenomenology; but equally entails a theological imperative: indeed, “it is necessary to read Lacoste,” Emmanuel Falque argues, “probably above anyone else, in order to see and to understand the degree to which theology itself actually insists upon and does not contradict finitude as such (understood as the limiting horizon of our existence).”[16] The seriousness of this problem should not be underestimated, for it essentially concerns the question of who the Bible is for, who it speaks to, who can access the experience of Scripture. A distinction, borrowed from Nancy, that Falque makes in relation to the Eucharist, might be helpful here as well: the Bible “is not only ‘believable’ (by giving faith), it is also ‘credible’ (with a universalisable rationality)—in which the present work maintains the pretention of addressing itself to all,” for the Christian message “is not simply one of conviction, but also one of ‘culture’, or of pure and simple humanity.”[17] Instead of being absolute but not universal, perhaps the phenomenology of Scripture should be universal but not absolute: addressing itself to all (opening itself up as universally credible)—and thus doing so in the language of the human and worldly finitude we all share (whether the message is believed or not)—, without the violent insistence of being true for everyone (absolutely). Indeed, if no language derived from the world can be used to read or make meaningful the Christian message as it is found in Scripture (108), that message shrivels up in itself and dies, for there is no other language available. Essentially, the distinction between the transcendental or absolute (phenomenological) and the empirical or positive (historical) science of Scripture is simply not tenable: “the science of history goes to work on all historical documents,” as Rudolf Bultmann argues, “there cannot be any exceptions in the case of biblical texts if the latter are at all to be understood historically. Nor can one object that the biblical writings do not intend to be historical documents, but rather affirmations of faith and proclamation. For however certain this may be, if they are ever to be understood as such, they must first of all be interpreted historically, inasmuch as they speak in a strange language in concepts of a faraway time, of a world-picture that is alien to us. Put quite simply, they must be translated, and translation is the task of historical science.”[18] Readings of Scripture are always predetermined by some presuppositions shared by a particular community, otherwise there simply could not be any reading (or experiencing). Falque summarises this nicely by saying that it is above all a question of culture: “It is incumbent on each of us to decide on this, and it is also a matter for all of humanity, at least in the doctrine and tradition of Western culture that we inherit. (…) My basic argument (…) is not put forward so as to convert or transform others. It comes down to an acceptance or recognition that Christianity has the cultural means, as well as the conceptual means, to touch the depths of our humanity.”[19] In other words, it is a matter of securing for Christianity its credibility, the means by which it can continue to be meaningful to us and today, universally yet not absolutely, to all but not therefore believable in just whatever situation: “the issue at stake in philosophy, but also in the theology of today, is to envisage the meaning, including the cultural one,” of Christianity, for it forms “the condition for God himself to continue to address himself to man.”[20]

Wells’ absolute though not universal science of Scripture, because it is a closed circular system (the absolute), cannot account for how God could still address himself (credibly) to man as man, how Scripture could speak across traditions, engage humanity as such in its community of being (universally): “This brand of radical phenomenology may well apply outside of the Christian context,” he says, “but only to the extent that there are concepts analogous to kenōsis operating in other traditions (as there surely are)” (157). What these analogous concepts would be, we are left to guess. Ironically, if this were indeed to be true—and hopefully it is—, it would detract from Wells’ argument: if different religious traditions all have analogous concepts, that means that those concepts themselves are not theological, but precisely concepts belonging to the world and originating in human finitude. Having rejected monadicity, different traditions (or phenomenological ‘homeworlds’) seem to function very much like Leibniz’s ‘monads without windows’ for Wells. Simultaneously, whilst Christianity, or at least its Scriptures, would lack the means to speak meaningfully to non-Christians (because the science of Scripture is not universally credible); it risks—and I say risks, because Wells is unclear about whether intra-Christian differentiation counts as different phenomenological homeworlds—suppressing all interpretative difference within the Christian tradition itself (because the science of Scripture is absolutely to-be-believed). However, precisely because, as Bultmann puts it, “historical knowledge is never a closed (…) knowledge,” to the degree that it maintains a reference to the knower’s ‘life-relation’—unlike Wells’ transcendental or absolute science which is circular and thus only self-referential—, it is better at avoiding the modernist pitfall: “For if the phenomena of history are not facts that can be neutrally observed, but rather open themselves in their meaning only to one who approaches them alive with questions, then they are always only understandable now in that they actually speak in the present situation. (…) It can definitively disclose itself only when history has come to an end.”[21] I am therefore not sure whether Wells is justified in concluding that “kenotically radicalised phenomenology brooks none of the modernist hope for universal science” (157), for his absolute but not universal science still has the distinct flavour of a localised modernity: believable, within a particular tradition, and perhaps even to-be-believed (absolutely valid or grounded within a particular homeworld); even if it is not universally credible, outside of that tradition, in the human community of being where it has lost all meaning because it has transcended what that community has in common—human finitude.

There is no virtue in radicalisation when it amounts to Entmenschlichung—perhaps only within the dry vocabulary of transcendental philosophy could these words somehow appear innocent. Simply observing that securing an absolute ground for the sciences is a practical necessity does not make it theoretically possible, which is a lesson we should finally learn after having witnessed one attempt after the other fail over the course of what is now more than a century since Husserl first articulated this ambition (though, of course, it predates him). Instead, we need a discourse that “learns to appreciate the groundlessness of what is happening”[22] (Caputo), making the best of it in a “practical conversion of the theoretically ‘impossible’” that has “the objective reality of the task (Aufgabe)”[23] (Nancy), to be performed in the world itself as world. We must avoid that this ever-continuing radicalisation of phenomenology turns Husserl’s dream into a nightmare, whilst the coextensive desire for a scientific (be it a phenomenological or theological) grounding of Biblical criticism obfuscates the outrageous and life-transforming message of Scripture, or at least its worldly direction and medium: the result of a phenomenology of Scripture cannot be that the message found therein loses its credibility.[24] 


[1] Rudolf Bultmann, ‘Is Exegesis Without Presuppositions Possible?’ in Existence and Faith: Shorter Writings of Rudolf Bultmann, trans. by Schubert M. Ogden (London: Hodder and Stoughton, 1960), 289-296 (296).

[2] Wells also formulates this critique theologically, though less prominently, by saying that “modern biblical criticism (…) lacks a theological grounding” (81). In that sense, Wells’ phenomenological account of an absolute science of Scripture is similar to Darren Sarisky’s recent theological account of a theological reading of the Bible (published just two months after Wells’ volume) in that they both reject naturalistic readings of Scripture in an attempt to ground Biblical criticism. For Sarisky’s account, see his Reading the Bible Theologically (Cambridge: Cambridge University Press, 2019).

[3] This is also the experience taking shape in those critics of Husserl that are dismissed by some as ‘nihilists’ because they would somehow have done away with very notion of an absolute. However, in reality, the exact opposite is true. Derrida, for example, expresses this well when he says that “there is a want for truth (il faut la vérité)” (see Jacques Derrida, Positions (Chicago: University of Chicago Press, 1981), 58n32 (trans. modified)): there is a need or a want for truth, precisely because truth is lacking; deconstruction is indeed motivated by the absolute, namely by its presence as absence in its constant displacement, which forms the very movement of différance.

[4] Eugen Fink, Sixth Cartesian Meditation: The Idea of a Transcendental Theory of Method, trans. by Ronald Bruzina (Bloomington: Indiana University Press, 1995), 77.

[5] Fink, Sixth Cartesian Meditation, 120.

[6] It should be pointed out that the human being for Fink (and Husserl) is probably not the same as what Heidegger calls Dasein, but rather refers to worldly or empirical consciousness whilst transcendental consciousness is constitutive of the world. On this, see: James McGuirk, ‘Phenomenological Reduction in Heidegger and Fink: On the Problem of the Way Back from the Transcendental to the Mundane Sphere’ in Philosophy Today, 53.3 (September 2009), 248-264.

[7] Søren Kierkegaard, Concluding Unscientific Postscript, trans. by Alastair Hannay (Cambridge: Cambridge University Press, 2009), 97.

[8] Kierkegaard, Postscript, 256.

[9] In kenosis understood along incarnational lines, God does not simply empty himself of his divinity in order to come into the flesh (Verleiblichung); but, by coming into the flesh, he also takes on the whole existential reality of man, namely his finitude and facticity (Menschwerdung). On this, see: Emmanuel Falque, ‘A Phenomenology of the Underground’ in The Loving Struggle: Phenomenological and Theological Debates, trans. by Bradley D. Onishi and Lucas McCracken (London: Rowman and Littlefield, 2018), 45-75; Emmanuel Falque, The Guide to Gethsemane: Anxiety, Suffering, Death (New York: Fordham University Press, 2018).

[10] John D. Caputo, The Weakness of God: A Theology of the Event (Bloomington: Indiana University Press, 2006), 103.

[11] More generally, what one would not know from reading the book is that the theme of kenosis has gained remarkable currency within contemporary philosophy: not just in Caputo and Derrida, but also in Catherine Malabou, Gianni Vattimo, Jean-Luc Nancy and Emmanuel Falque. Though Wells has a chapter situating the kenosis hymn within contemporary Biblical criticism and theology, a philosophical consideration of the issue of kenosis is entirely absent. It seems wrong to me to identify the phenomenon of kenosis with Paul’s kenosis hymn. This is a missed opportunity and might lead one to wonder whether what this book provides is actually a kenotic phenomenology of Scripture, rather than a phenomenology of kenosis.

[12] For more on this, see: Jacques Derrida, ‘Ellipsis’ in Writing and Difference, trans. by Alan Bass (Chicago: University of Chicago Press, 1978), 294-300; Jean-Luc Nancy, ‘Elliptical Sense’, trans. by Jonathan Derbyshire in A Finite Thinking (Stanford: Stanford University Press, 2003), 92-111.

[13] John D. Caputo, Truth: The Search for Wisdom in the Postmodern Age (London: Penguin, 2013), 182.

[14] Caputo, Truth, 13.

[15] On this, see also Frédéric Seyler’s ‘Is Radical Phenomenology Too Radical? Paradoxes of Michel Henry’s Phenomenology of Life’ in The Journal of Speculative Philosophy, 27.3 (2013), 277-286.

[16] Emmanuel Falque, ‘The Visitation of Facticity’ in The Loving Struggle: Phenomenological and Theological Debates, trans. by Bradley D. Onishi and Lucas McCracken (London: Rowman and Littlefield, 2018), 195-219 (196). See also Jean-Yves Lacoste, Experience and the Absolute: Disputed Questions on the Humanity of Man, trans. by Mark Raftery-Skehan (New York: Fordham University Press, 2004), 194: “Man takes hold of what is most proper to him when he chooses to encounter God. This argument can now be made more specific: we can now assert that man says who he is most precisely when he accepts an existence in the image of a God who has taken humiliation upon himself—when he accepts a kenotic existence.”

[17] Emmanuel Falque, The Wedding Feast of the Lamb: Eros, the Body, and the Eucharist, trans. by George Hughes (New York: Fordham University Press, 2016), 43 (trans. modified).

[18] Bultmann, ‘Is Exegesis Without Presuppositions Possible?’, 292.

[19] Falque, The Wedding Feast of the Lamb, 10.

[20] Emmanuel Falque, ‘Spread Body and Exposed Body: Dialogue with Jean-Luc Nancy’, trans. by Nikolaas Deketelaere and Marie Chabbert in Angelaki: Journal of the Theoretical Humanities, 26.1/2 (February-April 2021) (forthcoming).

[21] Bultmann, ‘Is Exegesis Without Presuppositions Possible?’, 294-295.

[22] John D. Caputo, The Insistence of God: A Theology of Perhaps (Bloomington: Indiana University Press, 2013), 66.

[23] Jean-Luc Nancy, ‘Dies irae’ in La faculté de juger (Paris: Minuit, 1985), 9-54 (34).

[24] It is precisely this idea that forms the essential and lasting legacy of Bultmann’s work. David Congdon expresses it well in his ‘Is Bultmann a Heideggerian Theologian?’ in Scottish Journal of Theology, 70.1 (2017), 19-38 (38): “Translation is not the imperialistic removal of ideas from their native context; it is rather an act of intercultural communication. Translation is a dialogue between past and present that respects the cultural distinctiveness of both text and reader. It is actually the rejection of translation that is imperialistic, because that inevitably means denying the significance and value of some cultural context, whether ancient or modern.” Thus, even in asking valid and important questions like Wells does, “one must be careful not to criticise the act of translation as such, and thereby inadvertently undermine the capacity to facilitate genuine understanding across cultural barriers—thus undermining the possibility of theology itself.”

Ernst Cassirer: The Philosophy of Symbolic Forms, Routledge, 2019

The Philosophy of Symbolic Forms. Three Volume Set, 1st Edition Book Cover The Philosophy of Symbolic Forms. Three Volume Set, 1st Edition
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Routledge
2019
Hardback £150.00
1,184

Emmanuel Levinas: Husserls Theorie der Anschauung, Turia + Kant, 2019

Husserls Theorie der Anschauung Book Cover Husserls Theorie der Anschauung
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Emmanuel Levinas. Aus dem Französischen von Philippe P. Haensler und Sebastien Fanzun
Turia + Kant
2019
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230