Henri Bergson: Freedom – Lectures at the Collège de France, 1904-1905

Freedom – Lectures at the Collège de France, 1904-1905 Book Cover Freedom – Lectures at the Collège de France, 1904-1905
Henri Bergson. Edited by Nils F. Schott and Alexandre Lefebvre. Translated by Leonard Lawlor
Bloomsbury Publishing
2024
Hardback
272

Reviewed by: Kynthia Plagianou (Royal Holloway, University of London)

Introduction

This edition marks the first in a series of three English translations of lectures that Henri Bergson (1859-1941) presented from 1901 to 1905 at the Collège de France. As the editors of the series, Nils F. Schott and Alexandre Lefebvre, mention, the complete list of courses Bergson offered during his fourteen-year appointment at France’s most prestigious academic institution remains unknown (Schott & Lefebvre 2024: ix). Intriguingly, from the eleven known delivered courses, only four were preserved in writing out of sheer coincidence: Charles Péguy, a dedicated attendee of Bergson’s lectures, hired two stenographers to keep verbatim notes when a scheduling conflict prevented him from attending the lectures for four subsequent years. These four transcriptions, the only records of Bergson’s teaching style and material, eventually appeared in print by the Presses Universitaires de France between 2016 and 2019. With the first book on The Evolution of the Problem of Freedom (1904-1905) published in 2024, the other two of the four courses are scheduled to appear in English translation by 2027: The History of the Idea of Time (1902-1903) and The History of Theories of Memory (1903-1904).[1] Since the current edition introduces the series to prospective readers, I want to briefly comment on the project’s specifics before I provide an overview of Bergson’s lecture on the problem of freedom. It is worth noting that, for curious reasons, the English translations do not follow the courses’ chronological order. However, the editors do clarify why the fourth preserved course on The Idea of Time (1901-1902) is not included in the series: only the last sessions were transcribed, and the French edition is based on a reconstruction of the course thanks to surviving students’ notes (Schott & Lefebvre 2024: xiii).

The translations arrive in good time as the revived enthusiasm for Bergson’s thought has peaked in the past few years. In the English-speaking world, Bergson Studies flourishes, with new publications on different aspects of his thought and life appearing almost annually.[2] Edited and translated by leading Bergson scholars, the lectures at the Collège promise to attract a wide readership. For philosophers and intellectual historians, especially those working in the continental tradition, the lectures manifest the richness of Bergson’s philosophical vision. Perhaps the most important philosopher of the early twentieth century in France, Bergson revolutionised metaphysics and developed rigorous reflections on many topics relevant to contemporary philosophy, such as the nature of time, the relation between memory and perception, types of causality, and, of course, the possibility of freedom. Luckily, not only do we have the preserved transcripts, but these are devoted to the three central themes of Bergson’s thought until the 1910s: time, memory, and freedom. In his course material, Bergson recapitulates or anticipates the ideas developed in his three major works, Time and Free Will (1889), Matter and Memory (1896) and Creative Evolution (1907). The lectures read complementarily to the published works as they follow the historical evolution of each theme, looking at cardinal moments in Western philosophy when a thinker or a school of thought shifts the problem in a new direction. This engagement with the tradition in the lectures corrects the impression Bergson’s writings sometimes evoke, “that he springs from the ground as if without any predecessors at all” (Schott & Lefebvre 2024: x). Importantly, the lectures offer an accessible way into the Bergsonian universe for a general audience interested in philosophy and the history of ideas. Designed to appeal to specialists and non-specialists alike, the courses at the Collège were open to everyone without academic requirements, registration, or fees. In this regard, Bergson’s lectures can still play their part in disseminating complex ideas while conveying to the general audience the pleasures of “thought in the making”.

The Freedom Lectures

  1. Necessity and the origin of the idea of freedom in antiquity

Bergson’s course on the problem of freedom unfolds in twenty lectures over a period of five months (from 6 December 1904 to 20 May 1905). In the first lecture, instead of defining freedom directly, thus “favouring a particular theory and prejudging the solution”, Bergson sketches the constitution of freedom “as a problem” in the history of philosophy. Perhaps anticipating impatient listeners, he downgrades this introductory exposition, characterising it as invoking “vague generalities”, but in truth, it sets the tone for the entire course (Bergson 2024: 12, 21). His opening lines, “[…] no matter what theory (people) advance on the subject of freedom, there’s one point on which everyone agrees: freedom is a certain characteristic that is inherent, or that seems to be inherent to our action such as it immediately appears to us, such as it’s given to our immediate consciousness” (Bergson 2024: 12), condenses several assumptions, which Bergson unpacks into the following interrelated claims.

First, there are two primary faculties that differ in nature and function: “immediate consciousness” and “reflective thought”, reigning over “action” and “speculation” respectively. Second, freedom arises as a problem in the encounter of these two mutually exclusive faculties: “[i]t is the problem that our action poses for our speculation” (Bergson 2024: 12). Why is this so? Precisely because they work differently. Any voluntary act, Bergson continues, is “self–sufficient”: it exists in the thrust of a single intention. The intellect, on the other hand, operates through pairs of terms. While the will is expressed in one single tendency that translates into action, the intellect oscillates between two terms and, by establishing a causal relation, makes a synthesis for reflection. Even so, it is still unclear why the problem of freedom arises at this stage, and Bergson deepens his explanation, marshalling the concepts of time and duration. His third claim is that, while action necessarily unfolds in time, time “absolutely escapes the grip of reflective thought”. Summing up the gist of themes that appear in Time and Free Will and Matter and Memory and the drafts of Creative Evolution, Bergson makes a fourth claim: immediate consciousness proceeds via intuition and becomes the site for the unfolding of inner life, while the intellect proceeds via understanding, and has an altogether different role and relation to time. The intellect evades duration or the passage of time. It merely registers the results of this passage arrayed in fixed positions in space. Even if we introduce movement to simulate duration, this is composed of spatial elements, and as much as we narrow the intervals between points, we will not capture the flow of time.

According to Bergson, science and intellectualist metaphysics, relying precisely on a spatial conception of time, grasp only “what is already made” and eschew what exists “in the making”, namely action. Historically, they constantly upgrade their methods, advancing all the more sophisticated theories to determine causal relations and uncover natural laws, committing to an all the more rigorous determinism. However — with this point being the crux of this introductory exposition — the tighter our deterministic outlook becomes, the more the dissonance between our intellectual faculties and intuition increases. The inner feeling of agential freedom we experience when we act, and to which intuition testifies, persists despite our intellectual progress. Even though the will, with its practical orientation, harnesses the intellect and its capacity to establish necessary connections to navigate through a chaotic world, the intellect remains oblivious to the will’s freedom. Evolutionary speaking, action precedes speculation, and our intellectual faculties have developed to facilitate action. Increasingly, these faculties gained independence and instituted their own proper scientific and speculative domains. When the question of freedom is posed from within these domains, we necessarily adopt the deterministic framework that renders freedom a mere illusion. By contrast, starting from the practical domain of action and the perspective of the will, both freedom and determinism are rendered effectively explainable.

Turning to history, Bergson notes that there are good reasons why determinist views predominate and the freedomists are “always on the defensive”. Since all habits of thought, logic and even language conform to necessitarian thinking, the freedomists are “forced to appeal to an inner feeling”, which they can only articulate through ready-made concepts and in opposition to determinism. In that respect, notwithstanding the course’s title, “Evolution of the Problem of Freedom”, it is deterministic theories that have evolved, properly speaking. An early conjecture of necessity as a “rhythmic movement” that periodically brings back the same events is found in the Ionian philosophers. With the Stoics, the grid of causal connections tightens, and what was understood as a “vague regularity of nature” turns into a cosmological doctrine “of the universal interdependence of all things” (Bergson 2024: 19). Later, Plotinus, while rejecting the Stoic doctrine, refines it further. Deterministic thinking, as Bergson relates, evolves throughout the Middle Ages and the Renaissance until it finds its most rigorous expression in modernity. While in antiquity necessity was understood in qualitative terms, the effect manifesting a qualitative change induced by the cause, with the advent of modern science and the mathematisation of nature, causal relations become quantifiable, that is, relations between magnitudes expressed by functions. The scientific mechanisation of necessity will first enter philosophy with the Cartesian system and culminate in Spinoza’s and Leibniz’s absolute determinism.

If the idea of necessity is naturally prompted by our intellectual tendency to structure reality according to causes and effects, the idea of freedom arises in an altogether different manner. Stemming as a sentiment accompanying action, freedom grows and strengthens primarily outside philosophy. Progress in the ideas of freedom never occurs from speculation or science but rather “by an intrusion into philosophy of certain sociopolitical elements”, which are products of collective intuition. Bergson’s interesting thesis accounts for the discontinuous manner in which ideas of freedom surface and claim validity throughout intellectual history. The first “explosion” of the freedomist sentiment, according to Bergson, took place in the fifth century BCE in Pericles’s Athens, where social changes shifted notions about citizenship and ethico-political life. The collective experience of social upheaval found expression in Socratic thought. Even though Socrates did not explicitly interrogate the possibility of human freedom, his thought is impregnated with a latent intuition of freedom, which will become explicit in Plato and Aristotle.   

The lectures between December 16, 1904, and March 10, 1905 — the second to twelfth lectures in the current volume — present the evolution of determinism in antiquity: from early Greek thought to Neoplatonism, through to the Stoics and Epicurean atomism. As mentioned, Bergson argues that the ancient stream of necessitarian doctrines was disrupted by themes of freedom rooted in Socrates’s moral considerations. Bergson’s originality is easily seen in his interpretation of the Greek canon. Despite Socrates being treated by historians — including Aristotle — as a psychological and ethical determinist, Bergson argues that he is evidently a nascent freedomist: his focus on human action, his questioning of the scope of natural science, his resort to inward experience, and his propensity to mysticism are all traits of freedomist thinking. According to Bergson, the Socratic intuition of freedom is manifested in the possibility of choosing knowledge leading to virtue over ignorance. Plato dramatises this theme through his mythical and allegorical imageries: in the fall of the soul and the allegory of the cave, the good is a kind of light, and freedom consists in the choice of enlightenment. However, Platonic freedom is a concept that is not easy to circumvent, either. Depending on which dialogue we consider, Plato’s reflections on the human soul oscillate between determinism and freedom. In fact, in Timaeus, he posits two forms of necessity: one that guides action towards the good aligning with reason, and a blind, physical necessity of bare chance (anankē). The possibility of freedom lies between these two distinct causal orders in choosing the middle ground of aretē (virtue). As Bergson notes, Plato, like every great thinker of freedom, reveals its problematic nature: “[….] the moment we’re about to grasp it, we say to ourselves that now free will must be explained, that if we choose, we do so for a reason and for something. Then, as we articulate the choice, we see it vanish into thin air” (2024: 57-58).

Next, Bergson moves on to make some interesting remarks about Aristotle’s general methodology insofar as it takes the problem of freedom into an altogether new terrain. For Bergson, Aristotle is not a systematic thinker in the sense of constructing new problems; rather, he is a great analyst: his speciality is analysing existing ideas to their elements, clarifying them and pushing them to new ground. Regarding freedom, we will not find a definition or a theory in Aristotle, but rather a meticulously developed network of concepts, “chance, randomness, a general theory of contingency and the relation of the soul and pure intellect (nous)” that are all components of the problem of freedom. For Bergson, Aristotle is the first to acknowledge that the idea of contingency frustrates the mind’s attachment to necessary conditions, and he discusses in detail Aristotle’s solution to the problem of future contingents. The latter was originally formulated by the Megarian School, and then reconstructed by Aristotle in his Peri hermēneias (On Interpretation) in the following way: “out of two opposite propositions relative to the future one is (already) necessarily true; thus, there is no contingency and future is fully determined” (2024: 73). Aristotle rejects this formulation because experience and common sense inform us otherwise: logic cannot foreclose the actuality of the future, and tukhē (chance) remains open in the present. Instead, what qualifies as the truth of two opposite future propositions in the present is a disjunctive proposition that poses the two as alternatives (“Tomorrow there will be or there will not be a sea battle”).

According to Bergson, Aristotle’s analysis of the Megarian syllogism reveals the fallacy behind any form of determinist argument. Specifically, the rejection of contingency results from an arbitrary and illusionary negation of truth’s temporal character. Tricked by the intellect’s natural tendency to think mathematically, strict determinists understand all possible truths to be similar to mathematical propositions, namely eternal truths (the fact that even mathematical truths are discovered does not alleviate the fallacy). The intellect cannot accept a truth’s semi-eternity, the fact that it comes into existence: “[…] it seems to us that (a) proposition, which became true, has been true for all eternity. It’s one of the characteristics of truth, as soon as it appears to us as truth, to leap outside time and appear to us as timeless” (2024: 76).

Moreover, for Aristotle, contingency is an inherent defect of nature introduced by hylē or matter, which is a principle of indetermination. Freedom is a human privilege, precisely because it refers to a choice: to reverse the movement of nature towards indetermination, ascend towards nous or the pure intellect, and reconnect with what is essential and the immutable. This is contrasted with the modern humanist idea of freedom, which maintains absolute necessity with respect to matter, while contingency pertains only to questions of ethics and human agency (2024: 78). Prefiguring the conclusion of the course, Bergson challenges both accounts, arguing that contingency and freedom, understood as the “creation of certain unforeseeable actions” and “indetermination in relation to causes” are found “everywhere there is consciousness, and de jure, everywhere where there is organic life” (2024: 78).

The next school of thought discussed by Bergson is Stoicism, which introduced the doctrine of universal fatalism in its “most powerful expression” (2024: 93). For Bergson, the Stoic doctrine exemplifies the absorption and assimilation of ideas of freedom into deterministic presuppositions commonly found in history: “[w]e have here the first example of a fact we find throughout the entire history of philosophy. […] what I’d call the necessary chocking of the doctrines of freedom by speculations concerning the whole of nature” (2024: 93). Stoicism, in particular the Greek founders of Stoicism, aiming to “democratize” philosophy, modified certain aspects of Platonic-Aristotelian thought to make it more accessible. The most critical of these transformations is the substitution of the single principle of logos spermatikos (generative reason) for the duality of matter and form or Idea (hylē and eidos). The Greek word logos has different meanings (speech, discursive reasoning, theatrical practice), but they all designate “the idea or image of a double-sided reality”, “something that as multiple, as unrolled, as slackened or as extended, is material, and that, when considered as one, as taut in itself, as undivided, is something rational, intellectual, and even intelligent” (2024: 104). In Stoicism, the universe is at once matter and intelligence, both corporeal (all that is, is a body, sōma) and rational or intelligent.

According to Bergson, ancient philosophies tend to agree that if things were perfectly rational, there would be no place for contingency, indetermination and, consequently, human freedom. For Aristotle and Plato, things are not as they ought to be: the world is subjected to movement and change, and these processes degrade it. Movement is the tangible proof of imperfection in the world. For Aristotle, the fact of contingency makes human freedom possible, whose purpose is to compensate for the disruption of the rational order: “[t]he function of our will is to put things back in place, as much as that’s possible” (2024: 106). By contrast, in Stoicism, things are as they ought to be insofar as change and movement are not understood as imperfections; their very explanatory principle, logos, is something essentially mutable and in a constant state of unfolding. The principle of logos spermatikos entails movement, change and transformation; it is an intelligent and rational principle, and yet mobile. For Bergson, the Stoics do not perceive any breach between things as they are and things as they ought to be. The world is exactly as it should be (“sympathy of everything with everything”), and its perfection and absolute coherence exclude contingency and, consequently, freedom in humans.

Bergson devotes considerably less time to conceptions of freedom and necessity derived from ancient atomism, developed by the Epicureans and solidified by Lucretius. While he dedicates two lectures to all the other ancient doctrines, his discussion of Epicurus and his legacy is cut short to almost half a session. This is because, as he argues Epicurean “ideas on the subject of freedom did not evolve” (2024: 119). Nevertheless, Bergson emphasises the radical character of the atomistic theory of necessity, which is indeed close to modern and contemporary mechanistic determinism based on the idea of the material universe as an abstract field of mathematical points. Ultimate units or atoms, indestructible and unchanging, separated by the void, yet mobile, combine in different aggregates, changing their relative positions and generating all natural phenomena. Whereas in Stoicism universal interdependence posits a rational necessity that proceeds from the whole of the universe to its parts, like the image of an organism, in Epicureanism, necessity has no overarching meaning, and the universe emerges as the sum of the primary elementary necessities of the atomic combinations. Despite its deterministic kernel, Epicurean philosophy accounts for contingency and freedom through the notion of paregklisis (the Latin clinamen). To allow for the accountability of human action, Epicurus endows atoms with the ability to deviate slightly (paregklinein) from their preordained course, from the ‘path that destiny assigns to it’ (118).

Bergson concludes his discussion of ancient doctrines with Plotinus’s “synthesis of all ancient thought” (2024: 127). As Bergson states, Plotinus’s doctrine of freedom is “by far the most complete, the most highly constructed of what the ancients have bequeathed to us on this question” (2024: 127). Plotinus’s corpus, in general, is the most systematic philosophy in antiquity, and it has reached us intact. He produced a “perfectly coherent and unified” synthesis of all Greek thought, aiming to insulate it from the ideas of his time (third century CE), which he considered “barbaric”. This is particularly evident, for Bergson, in Plotinus’s theory of freedom, which integrates Platonic-Aristotelian and Stoic elements. Even if “he fought the Stoics, and the Stoics’ fatalism in particular”, Plotinus’s starting point, according to Bergson, is distinctly Stoic, for he accepts the “perfect regularity of the course of nature” (2024: 129). Bergson cites several of Plotinus’s descriptions, all of which are reminiscent of Stoic themes: for example, his conception of the universe as a living being composed of parts, separated in space yet contiguous, fulfilling a universal sympathy or intention; or his comparison of the material universe to the harmonious complexity of a dance, where “the dancer is not conscious of the multitude of movements”, but s/he simply wants to dance (2024: 129).

As Bergson notes, Plotinus articulates the quest for freedom with the greatest precision: “[i]t suffices to find a solution, that, on the one hand, preserves the principle of causality […] and that, on the other hand, will allow us to be something” (2024: 130). For Bergson, Plotinus’s particular novelty is to present the problem of freedom as a question of the origin of life, specifically human life. Extending the Platonic-Aristotelian teaching on the body-soul relationship, he provides a theory about how the human being both enters the order of nature as a living body and “breaks” it in exercising her will. Plotinus argues that, even if we can overcome the natural order and secure for ourselves the realm of action, true freedom rests on detaching from nature and retreating to the plane of the Intelligible (kosmos noētos). As Bergson explains, the Neoplatonic teaching that “freedom does not reside in action but in the intellect” and “[h]umans produce action when they are too weak for contemplation, action being only the shadow of contemplation” is the ultimate expression of the Greek belief that the faculties of action are inferior to the intellect. In modernity, under the influence of Jewish and Christian theology — Bergson mentions the debate between Scotus and Aquinas over the primacy of the will — this hierarchical relationship will be reversed: beginning with Descartes, modern philosophers acknowledge and affirm the miraculous power of the will to prevail over understanding, to multiply its power, and, in certain cases, to be the source of the intellect.

The first (thematic) half of the course ends with Bergson demarcating ancient and modern assumptions pertaining to the problem of freedom. So far, his discussion is systematic rather than simply historical and follows the interpretational lines announced in the first lecture: freedom marks the limit between the speculative and the practical domain. Occasionally, Bergson indulges in small digressions, which enrich the main exposition without affecting its structure and lucidity. For example, when he explains that necessitarians do not oppose theories of freedom but rather “absorb” them to assimilate freedom with necessity, Bergson does so with a comparison from geology: every intuition about freedom is a “geological eruptive force”, while theories of necessity are forces of “disintegration” and “sedimentation” that act upon intuitions and reshape them (2024: 21); or, when, in an illuminating digression, he discusses the ideas of moira (fate) and anankē (necessity) in ancient non-philosophical literature — from tragic and epic poetry to Herodotus — with the aim of elucidating the emotional and affective roots of fatalistic thinking (2024: 25-27).

2. Determinism and the problem of freedom in modern philosophy

The second thematic half of the course comprises seven lectures, from 17 March to 20 May 1905 (lectures thirteen to twenty in the volume). Bergson here follows the intertwining of necessity and freedom within the framework of Western modernity. As it was prefigured in the first lecture, the new parameter defining the relationship between the two notions from the early seventeenth century onwards is the advent of modern science. According to Bergson, the scientific framework mandates, on the one hand, that causal relations pertain to physical laws and that, on the other hand, the reality of these relations can be fully grasped by mathematics. In that respect, Bergson’s discussion follows the way in which philosophy grapples with scientific determinism, beginning with Descartes, Spinoza and Leibniz, through to Kant’s Copernican Revolution, with the discussion concluding with a brief but suggestive preview of Bergson’s position (introduced in “The Introduction to Metaphysics” (1903) and fully developed in Creative Evolution (1907)).     

While philosophical notions of necessity evolve vis-à-vis developments in science, philosophy always turns to questions of freedom when forced by developments in the social domain, and always via intuition. In the dawn of modernity, the second “eruption of freedom” is traced back to the transformations Christianity and Judaism initiated in social and psychical life. These themes, which persisted throughout the Middle Ages, were incorporated by Descartes’s voluntaristic philosophy and, from there, spread across modernity. The third explosion emerged from ‘ideas and feelings’ related to the 1789 Revolution as they appear in Rousseau and more thoroughly in Kant.

Bergson highlights several key aspects of Cartesian philosophy, the first of which refers to the “incontestable and profound influence” of Christianity in Descartes’s system. The most obvious influence is Duns Scotus’s ideas on the subject of divine and human will. Descartes’s freedomist doctrine rests on a series of creationist theses: God not only created the world but also created the truth and the good, and the criteria to judge his creation, by a “decree of his free will” (2024: 152). The idea of a creative God, a willful and active deity intervening in the world, is absent from ancient thought, in which contemplation and the intellect are superior to action and everything appetitive (2024: 151). By contrast, Descartes affirms that the human will is infinite, similar to the divine, and he ascribes to human beings an absolute faculty of choice. The difference between human and divine will is that, in humans, even if in principle infinite, factually the will is restricted by the intellect, which imposes its own time to judge and evaluate. Bergson sees as underlying Descartes’s voluntarism a theological motivation. Error and sin result from a lack of coordination between the will, infinitely invested in every act and operating fully in the present, and the intellect, which takes its time to deliberate. Thus, Descartes can account for the existence of evil through this discordance of the faculties, without tracing it directly back to God.

What is striking about Descartes, in Bergson’s view, is that he combines a rigorous determinism with the quest for freedom. While Cartesian metaphysics follows the mechanistic principles found in physics and analytic geometry, his moral intuition affirms the inner feeling of freedom manifested in action. In Descartes’s disciples — Spinoza, Leibniz, and the eighteenth-century physicians and scientists inspired by Cartesianism — the rational component of Descartes’s thought prevails. Specifically, Bergson sees in Spinoza and Leibniz a “partial return to the Greeks” as they seek “to provide a unified and simple, consistent and logical explanation of the totality of things” (2024: 175). Christian influences are superseded by an intention to unify Cartesianism, eliminate its subjectivist presuppositions, and provide a metaphysical ground. In doing so, Bergson holds that, even if not deliberately, they return to Aristotelian and Neoplatonic themes. Spinoza, for example, assumes the Aristotelian ideal of athanatizein, of allowing the human intellect to reconnect with what is purely intelligible and eternal. The difference is in the execution of the plan towards immortality. Broadly speaking, for the ancients, the essential, eternal forms or genera, the source of pure knowledge, lie more or less in “a beyond”, while in Spinoza’s metaphysics, which conforms to the new science, the intelligible, that is, natural, physical laws, are immanent to nature.

For Bergson, Spinoza transforms Cartesianism “from a doctrine of freedom that it was into a doctrine of necessity, and of the most radical and least flexible necessity that has ever been formulated” (2024: 178). Nevertheless, Spinoza’s interventions resolve Descartes’s inconsistency or discontinuity, as Bergson calls it, that is, the influence of the soul on the body, which remains inexplicable in Descartes and which disrupts the order of universal mechanism. Bergson focuses on the first two parts of the Ethics, and his discussion of the key moment of Spinoza’s doctrine is lucid and insightful: the difficulty with explaining the status of the attributes, the type of distinction pertaining to modes, and the symmetry of order between modes of different attributes. Bergson argues that everything in Spinoza’s system leads to a single goal: beatitude, what Spinoza calls true freedom as the liberation from servitude, an aspect of which is the illusory belief in free will. Rather, we partake in “the absolute freedom of God” when we apprehend what is necessary, the eternal reasons inscribed in nature expressing God.

Similarly, Leibniz aimed to eliminate the Cartesian rift between determinism and freedom, and he did so in the extreme. Bergson calls Leibniz a “pure intellectualist” much more assiduous than Spinoza: “he is convinced that reality can be fully resolved into ideas” (2024: 187). Both epistemological and metaphysical aspects of Leibniz’s determinism are equally inflexible and result from the reworking of ancient doctrines, modifying them to fit the new scientific framework: “[t]hus, by starting from the Aristotelian […] conception of science and by eliminating hylē, we arrive more or less at the doctrine presented in the Discourse on Metaphysics, just as, by taking Plotinus’s doctrine, his theory of the Intelligibles, and by eliminating hylē, we arrive at a doctrine analogous to the one presented in the Monadology” (2024: 192). First and foremost, Leibniz aims to erase the troubling idea found in Descartes that the soul can, somehow, interact with the body and change its movement. Developing this criticism, Leibniz will abandon the idea that matter is essentially extensive because extension results from an abstraction, a homogenisation of a fundamentally heterogeneous reality. From there, Bergson explains, Leibniz is led to posit indivisible elements that are “dynamic points”, or mathematical points, the center of forces that he calls monads or souls. Monads are isolated from each other, and each is a “state of mind”, a perception that fuzzily represents the totality of the universe and clearly only as a (point of) view of this totality: a “monad is a view of the universe; the totality of these complementary views make up the universe” (2024: 196). According to this theory, space is a projection made by the human mind, a symbolical order that allows us to represent the partial views or monads, that is, “purely qualitative differences, which alone are real”, as magnitudes (2024: 196).

Bergson maintains that, for Leibniz, this inelastic, fully saturated universe sustains not only human freedom in the Cartesian sense, but wholesale contingency. Leibniz breaks freedom down into three essential characteristics: spontaneity, intelligence and contingency, and he argues that, in his monadological universe, each substance maintains these three elements. Spontaneity characterises the monads to the extent that they are self-developing and self-determining, being totally insulated from each other. Intelligence as a condition of freedom “is realised by human souls”, and so the anthropomorphic notion of freedom is maintained. Finally, contingency is affirmed: even if actions are absolutely determined by the monads’ notion (its complete definition), these determinations are not logical necessities, since their opposite would not imply a contradiction. They are real possibilities, alternatives to what is actually the case. The latter, which “we call existence”, is akin to a highlighted contour among all the other possible sketches that remain unactualised. As Bergson remarks: “[f]reedom is power. An intellectualist like Leibniz cannot accept the idea of power, and so he spreads out all the possible actions, he turns them into so many accompaniments, as it were, of the action really performed” (2024: 211).

The last three lectures, on 5, 12, and 19 May 1905, comprise a second, much shorter semester. Bergson touches upon several important issues, but in places, due to the limited time, the discussion seems uneven. He begins with a summary of the main differences between ancient and modern notions of necessity, indeterminacy, causality and freedom, as they have been developed throughout the lectures. He also makes some interesting methodological remarks on how philosophical notions are displaced within scientific debates. For example, he sketches an acute criticism of reductive and eliminativist positions in psychophysiology, arguing that the misapplication of allegedly rigorous materialist commitments to mental phenomena results in a much less rigorous metaphysics, a weak variant and “simplification of Cartesian metaphysics” (2024: 219). This is why, Bergson stresses, “we have to distinguish very clearly between science and philosophy” and their respective methodologies, and that the philosophical question is “whether freedom can find a place” within the mechanistic explanatory framework. According to Bergson, this type of semi-scientific, semi-metaphysical determinism prevailed at the end of the eighteenth century, nourishing its own opposition as notably expressed in Rousseau’s moral and political philosophy. At the same time, in England, Berkeley’s immaterialist and nominalist ideas challenge the foundations of Newtonian and Cartesian science, based on the criticism that the mechanistic image of nature they presuppose is a mental or symbolic construction (2024: 228). While Rousseau’s motivations are moral, and while Berkeley’s are primarily theological, their criticisms halt the unbound mechanism prevailing at the time, creating a current of thought that puts freedom back in the discussion and prepares the third Kantian “eruption of freedom”.

For Bergson, “Kant’s stroke of genius” was that he realised that “if we put freedom in the very place of reality, we don’t for all that compromise scientific mechanism […]; on the contrary, we’re able thereby to found this mechanism, give it an unshakeable basis” (2024: 229). In the remaining one-and-a-half lectures, Bergson explains in what the Kantian solution consists, and how we should understand the notion of freedom that it entails. Already with Descartes, free will defies mechanism, and becomes a positive and creative power. Kant’s great invention, however, is to posit freedom’s creative power as the ground of the mechanistic, natural order itself. Beginning from a concept of nature that adheres to Newtonian science, Kant’s starting point in the Critique of Pure Reason is to establish the link between physics and mathematics: the problem of founding mechanism translates to a question of founding mathematics. Bergson provides an instructive summary of Kant’s transcendental epistemology, which renders nature coextensive with scientific consciousness and its transcendental apparatus, meaning that “nature and science are the same thing: nature cannot [not] be scientific because they’re the same thing” (2024: 233). As Bergson explains, the Kantian conception of nature, the realm of phenomena constituted by human intellect, becomes the seat of mechanism: “determinism exists, in short, only for our intellect, […], as a function of our knowledge” (2024: 234). Kant endorses freedom, but not as a possibility for the empirical self, locating it outside the causal order of knowledge. Kantian freedom, in Bergson’s description, refers to the transcendental perspective, from which the pure self initiates the unfolding of a moral character. Bergson stresses, that while our moral conduct is conditioned upon the transcendental position that the “intelligible self” creates for itself and occupies, yet it unfolds in a series of actions in time. It is questionable if such an unfolding of freedom can be integrated into the mechanistic order, as Kant claims it can. We must assume that our actions “carve out a surface from the rest of nature”, which necessarily depends on a certain flexibility granted by the causal order (2024: 236). For Bergson, this interdependence implies that the spontaneity and autonomy of moral conduct are compromised, and arguably, freedom, even if it is granted, cannot be sustained.

By the time the reader arrives at the final lecture, the problem of freedom arises as “the problem of the relationship between thought and action” (2024: 239). It is in the last lecture that Bergson speaks from the perspective of the present, and therefore, not as a historian but as a philosopher aspiring to transform the problem of freedom in his own right. For Bergson, Kant gave the modern problem of freedom its most precise and rigorous formulation, and consequently, any systematic intervention must begin there. Kant’s solution was so effective that, despite the nineteenth-century’s explosive developments in the sciences and in mathematics, there was no radical displacement of the problem of freedom. In this paradigm, knowledge is “a perfectly coherent system of mathematical relations” underlying natural phenomena, and action is a separate domain that precedes this order: “[a]ction is reality itself, and what we call science is something that gravitates around action”, which is “the foundation of science” (2024: 241). Therefore, freedom hinges upon how rigorously one upholds this primacy of action over knowledge. In Kant, the primacy of action is conditioned by universal consciousness, the impersonal, transcendental human mind that “insofar as it is free, it will launch phenomena into space and time that perfectly connect with one another, and insofar as it knows itself, it will present a nature in which everything is necessary” (2024: 242).

Bergson takes an issue with Kant’s solution based on universal consciousness because it renders philosophically irrelevant the inner feeling of freedom accessed by “empirical or psychological consciousness”. The latter, for Bergson, testifies to the complex conditions of action within what he calls “duration”. Kant does not, and could not, allow “jurisdiction” to empirical or immediate consciousness because he lacks an understanding of time as duration and treats time in spatial terms (2024: 244). Bergson’s critique of spatialised conceptions of time, as alluded to in the introductory lecture, concerns the discrepancy between the intellect’s spatial mode of knowing (giving coherence to distinct elements that remain external to each other) and intuition’s mode of access, which testifies to the qualitative change in the stream of inner experience, a type of knowledge that the intellect cannot register. Between the two, that is, “physical or discursive knowledge” and “intuitional knowledge”, Bergson sees intermediary forms, such as the systematicity corresponding to organic life (2024: 245). Between orders of knowledge, what changes is the density or tension of deterministic relations: “[i]n the physical world, causality means necessary determination, but to the extent that we go from the physical to the psychical, we see the connections between cause and effect becoming less and less tight. And when we reach the pure psychical, there’s almost no more connection at all, causality being not a relation but a being, a production […]. So we go by degrees, by an imperceptible transition, from what Kant called causality according to nature, physical causality, to what he calls causality by freedom, which is creation” (2024: 246). Bergson’s course on the problem of freedom ends with a statement of his philosophical project: to develop a kind of radical empiricism that is both scientific and takes into account intuition or internal experience, recasting thus the problem of freedom anew.

Conclusion

My aim in this review was primarily to inform potential readers about the contents of this publication. I offered some evaluations of the lectures’ general format and teaching aims, but I avoided criticisms of Bergson’s historical arguments as it would have necessitated an extensive reference to his monographs and other works. I want to conclude this task with some additional comments. First, the transcribed version of Bergson’s lectures might sound, at times, repetitive to the reader, but this serves perfectly the aims of the oral exposition, in which dramatising repetition creates cohesion and imprints the ideas on the audience. Ideally, Bergson’s lectures would be recited, perhaps, in the context of a study group, to reinvigorate the orality of this “thought in the making”. Second, readers interested in the history and historiography of philosophy should bear in mind that Bergson presents the ideas of the canonical thinkers in the form of a metanarrative, which serves the reconstruction of “the problem of freedom”. His reading is selective, and as he notes, sometimes he diverges from the standard interpretations and classifications of thinkers found in the scholarship. For example, Bergson’s presentation of Kant’s concept of freedom is based exclusively on the Critique of Pure Reason and its relation to transcendental idealism, and he omits the details of Kant’s moral theory. Finally, the contemporary reader cannot avoid noticing the patent Eurocentrism of Bergson’s discussion, which focuses exclusively on the Western philosophical canon. Without disregarding the time and context of the lectures, readers might think that Bergson could have acknowledged the limits of his presentation. But overall, and as I highlighted at the beginning of this review, both specialists and non-specialists will find Bergson’s Freedom lectures a rich and rewarding reading experience.

 

Bibliography: 

Bergson, Henri. 2024. Freedom: Lectures at the Collège de France, 1904-1905. Edited by Nils F. Schott & Alexandre Lefebvre. Translated by Leonard Lawlor. London-New York: Bloomsbury.

Alexandre Lefebvre and Nils F. Schott. 2024. “Series Preface” and “Introduction: Henri Bergson, Freedomist”. In Freedom: Lectures at the Collège de France, 1904-1905. Edited by Nils F. Schott & Alexandre Lefebvre. Translated by Leonard Lawlor, ix-xiv, 2-9. London-New York: Bloomsbury.

Alexandre Lefebvre, Nils F. Schott & Alan Shepherd. 2024. “Freedom Regained: Henri Bergson at the Collège de France, A conversation with Alexandre Lefebvre and Nils F. Schott”. In The Philosopher, Vol. 112, No. 2, 78-83. Available at https://www.thephilosopher1923.org/post/freedom-regained.


[1] See also ‘Freedom Regained: Henri Bergson at the Collège de France, A conversation with Alexandre Lefebvre and Nils F. Schott’, available at https://www.thephilosopher1923.org/post/freedom-regained.

[2] The most recent in publication order: Keith Ansell-Pearson, Bergson: Thinking Beyond the Human Condition, Bloomsbury (2018); Mark Sinclair, Bergson, Routledge (2019); Alexandre Lefebvre & Nils F. Schott, Interpreting Bergson: Critical Essays, Cambridge University Press (2020); Paul Atkinson, Henri Bergson and Visual Culture: A Philosophy for a New Aesthetic, Bloomsbury (2020); Mark Sinclair & Yaron Wolf (eds), The Bergsonian Mind, Routledge (2022); John Ó Maoilearca, Vestiges of a Philosophy Matter, the Meta- Spiritual, and the Forgotten Bergson, Oxford University Press (2023); Emily Herring, Herald of a Restless World. How Henri Bergson Brought Philosophy to the People, Basic Books (2024).

Jan Patocka: Introduzione alla filosofia fenomenologica, Editrice Morcelliana, 2023






Introduzione alla filosofia fenomenologica Book Cover




Introduzione alla filosofia fenomenologica




Scholé





Jan Patocka. Traduzione: Anna Maria Perissutti





Editrice Morcelliana




2023




Paperback 28,00 €




320

Roman Ingarden: Ce que nous ne savons pas des valeurs






Ce que nous ne savons pas des valeurs Book Cover




Ce que nous ne savons pas des valeurs





Roman Ingarden. Translated by Patricia Limido





Éditions Mimésis




2021




Paperback 14,00€




152

Reviewed by: Noëlle Miller (University of Vienna)

Dans sa préface intitulée « L’énigme des valeurs » la traductrice Patricia Limido contextualise cet essai dans l’œuvre de Roman Ingarden et résume son raisonnement avant d’en proposer la première traduction française. Bien qu’il développe sa théorie des valeurs à partir et souvent à l’aide d’exemples tirés du domaine esthétique (une de ses premières œuvres majeures est L’œuvre d’art littéraire) elle s’attache à juste titre à montrer que le réel enjeu de recherche d’Ingarden est toujours d’ordre ontologique. En effet Roman Ingarden se propose de démontrer que les conditions de possibilité des valeurs – esthétiques, morales, intellectuelles – existent objectivement. Car des valeurs dépendent la responsabilité morale de l’homme et ses exigences. Avant de qualifier les valeurs plus avant, trois problèmes se posent à une théorie des valeurs qui expliquent le titre Ce que nous ne savons pas des valeurs. D’abord il faut identifier les différents domaines de valeur pour en dégager des rapports de hiérarchie ou de conditionnement, ensuite leur structure ontologique, sont-elles rattachées à des objets porteurs telles des propriétés, auquel cas les valeurs seraient objectivement fondées et sinon troisièmement sont-elles objectives ou subjectives, c’est-à-dire relatives. Limido regrette qu’Ingarden réduise finalement les valeurs à deux domaines : les valeurs vitales et culturelles. Dans cet essai il se limite même aux valeurs esthétiques et morales et cherche à déterminer leur forme, leur matière et leur mode d’être. En particulier les valeurs possèdent « une valence » (Wertigkeit) qui excède la forme et la matière, et qui fait que la valeur a une pertinence et n’est pas une illusion ou une apparence. À côté des limites de l’analyse ontologique, la valeur est exposée au jugement et à la reconnaissance subjective. C’est pourquoi il commence d’abord par essayer de les identifier, à qualifier plus avant leur mode d’être spécifique. Les valeurs ne sont pas des objets, « mais des « quelque chose » individuels, plutôt apparentés à l’ordre des qualités individuelles »[1]. Pourtant elles ne sont pas des propriétés ni des caractéristiques, car elles sont inséparables d’un tout (unselbständig) qui rend possible leur survenance. Elles ne peuvent pas non plus être des propriétés dérivées, car c’est précisément sa nature ou son essence même qui en fait une valeur. Elles ne dépendent pas non plus des récepteurs, puisqu’elles valent en soi et pour soi. La valeur des yeux par exemple sera variable pour un musicien ou pour un automobiliste qui n’en font respectivement pas le même usage, pourtant la valeur des yeux est véritable. Ainsi y a-t-il des valeurs non perçues, mais qui conserve quand même leur réalité. Finalement il les qualifie de superstructure (Überbau), ni propriétés complètement indépendantes des objets, ni réductible à l’objet sensible lui-même. Elles apparaissent « sur la base d’un fondement dont elle dérive et qu’en même temps elle dépasse »[2]. Patricia Limido rapproche ce concept ingardien des philosophes Donald Davidson pour la notion équivoque de survenance. Comme Ingarden le philosophe analytique Eddy Zemach a la volonté de fonder objectivement les valeurs et conclue que « les propriétés esthétiques surviennent ou émergent des propriétés non-esthétiques »[3]. Elles sont donc réelles parce qu’elles dépendent de traits qui caractérisent objectivement des objets mais non réductibles à ceux-là. Le passage de la perception phénoménale au jugement esthétique ou moral s’opère par le désir ou tout autre relation intentionnelle telles les croyances et les émotions. Si les conditions d’observation sont les mêmes pour tous, alors cette relation intentionnelle est également objective pour Zemach. Ces conditions peuvent être l’apprentissage scientifique ou des connaissances spécifiques pour pouvoir juger d’une œuvre. Or Ingarden doute de cette relation invariante et attribue aux valeurs un mode d’être inédit.

Finalement c’est un rapport dialectique que Patricia Limido expose et souligne chez Ingarden : les valeurs sont des phénomènes observables, matériels et sont en même conditionné ontologiquement, des conditions de possibilité que nous constituons aussi, « la part d’activité et de passivité du récepteur »[4].

Ce que nous ne savons pas des valeurs

Dans son premier chapitre « multiplicité et contrariété des valeurs », Ingarden se pose le problème de la diversité des valeurs et choisit de les catégoriser en valeurs vitales et valeurs culturelles. Il soulève aussi dès le départ la difficulté de délimitation : une valeur morale comme le courage ou l’héroïsme peut être considérée une valeur esthétique et vice-versa. Il nous manque un principium divisionis qui nous permettrait de diviser les valeurs fondamentalement esthétiques de celles fondamentalement morales. C’est la détermination qualitative qui distingue généralement les valeurs. Intuitivement nous pouvons ordonner les valeurs apparentées, mais quant à ce qui constitue cette parenté, il est difficile d’en donner une définition conceptuelle. De plus, à l’intérieur même d’une qualité telle la « beauté », il existe différents types fondamentaux, telle la grâce ou la perfection et différentes significations. « Bon » n’a pas une signification morale dans tous les contextes. Les valeurs positives se délimitent aussi de leur corollaire négatif, qui a aussi une qualité spécifique. Ces contradictions font qu’il faut déterminer les conditions d’apparition des valeurs : un homme libre et psychiquement sain sont des conditions nécessaires mais pas suffisantes. Mais même si on arrivait à déterminer « la totalité des conditions nécessaires et éventuellement suffisantes pour la réalisation de telles valeurs »[5] rien ne peut remplacer l’intuition selon Ingarden. « Rien ne peut nous libérer du devoir scientifique qui nous incombe d’exercer la vision intuitive [der intuitive Erschauung] de la spécificité des valeurs, tout comme de l’effort spirituel qui lui est lié »[6]. Repérer la qualité d’une valeur est un moment indispensable, mais ne nous éclaire pas encore sur ce qui la détermine constitutivement. On peut encore chercher à déterminer les valeurs par rapport aux comportements qu’elle suscite, mais là aussi elle ne remplace pas l’appréhension conceptuelle d’une valeur. Car réduire une valeur à son vécu ou à l’attitude adoptée revient à dire qu’en réalité il n’existe que des ressentis subjectifs. C’est la conception des positivistes tel Leon Petrazycki qui n’autorisent aucune métaphysique des valeurs et rejette leur objectivité. Par rapport à une œuvre d’art par exemple il y aura autant d’états de plaisir que de récepteurs est pourtant la valeur unique de ce tableau existe bel et bien, indépendamment des admirateurs ou de ceux qui seront insensibles à sa beauté.

Malgré les difficultés donc Roman Ingarden refuse de capituler à définir les valeurs comme le fait Max Scheler par exemple[7] et tient au contraire à en démontrer leur scientificité. Il retient donc pour ce premier chapitre que ce qui distingue les valeurs sont leur matière, moment qualitatif qui se laissent abstraire, dont il existe deux cas de figures : A est inséparable unilatéralement de B, alors A ne se rencontrera qu’en présence de B. Ou alors A est dépendant de B équivoquement et apparaîtra avec un apparenté de B, Bn. Toute valeur individuelle présentant une qualité Bn appartiendra à l’espèce de valeur A. Les moments abstraits d’une valeur peuvent donc servir de principe de répartition à la formation de ses types individuels. Mais un principe qui distingue les types fondamentaux de valeurs reste encore ouvert.  La matière peut donc servir à différencier des types subordonnés de valeurs.

Quant à ce qui distingue les valeurs fondamentales, il semblerait que ce soit leur forme, dont traite le deuxième chapitre « La forme de la valeur ». Au premier abord il semble que la valeur soit la propriété d’un objet, elle est toujours valeur de l’objet auquel elle appartient. Cependant beaucoup d’objet, processus et choses physiques, ne sont pas doués de valeur, mais seulement de propriétés physiques, forme spatiale, densité etc… Il faut donc différencier les valeurs des « propriétés chosales de l’objet »[8], leurs caractéristiques physiques. Il existe alors deux éventualités : soit la valeur est une propriété secondaire, soit elle provient de la relation entre l’objet et la personne qui entre en contact avec lui. C’est parce qu’une chose a une certaine forme qu’elle est belle : la valeur « belle » tient à sa propriété physique de la forme. Dans ce cas la valeur serait une propriété dérivée, secondaire de la première, qui est sa caractéristique physique. Une autre manière de déterminer la valeur d’un objet serait de l’organiser selon l’utilité, les sentiments ou les désirs qu’il suscite pour la personne. Encore faudrait-il pouvoir retenir les propriétés qui entrent en ligne de compte pour constituer la valeur : Ce n’est pas parce qu’une lampe a une lumière utile à l’homme que cette utilité constitue la valeur de la lampe. L’utilité serait à son tour dérivée d’une autre valeur, accomplir un travail à l’aide de la lumière par exemple. Une autre conception constitue à dire que l’objet n’a de valeur que lorsqu’il est reconnu comme tel par l’homme ou la communauté humaine. Or toutes les valeurs ne sont pas relatives à quelque chose, telle que la « maturité » ou la « grâce ». Que la valeur viendrait de la relation reste donc très obscure.

Ainsi toutes les tentatives de donner une forme a la valeur soulèvent des doutes et ne permettent pas de la définir positivement. La valence d’un objet est son essence et semble être un mode d’être complètement nouveau, incomparable à une caractéristique. Ingarden met donc en doute l’identité selon laquelle les valeurs seraient des propriétés des objets, car c’est la valence qui fait qu’on privilégie la réalisation d’une valeur plutôt qu’une autre. Sa forme, appelée objectité [Gegenstandlichkeit], est structurellement différente de l’objet[9]. La valence excède la forme est la matière et constitue le mode d’être spécifique de la valeur. C’est elle qui exprime l’essence de la valeur et qui lui donne sa dignité. Elle n’est pas rajoutée de l’extérieur, sinon elle ne serait pas véritablement, authentiquement une valeur, mais émerge de l’objet auquel elle revient, elle est l’expression de son essence. Il appelle qualité-de-valeur ce qui détermine la hauteur, la négativité ou positivité et le mode d’être de la valeur.

Il va ensuite chercher à déterminer « le mode d’être de la valeur ». Les valeurs d’utilité et esthétique dépendent respectivement de l’outil et de l’œuvre d’art qui les portent. Le mode d’être des valeurs morales est complètement différent : elles n’existent pas réellement à la manière d’un événement ou d’un processus dans le temps, mais elles sont inséparables de leur porteur ou dérivées de leurs propriétés. Elles ne sont donc ni objet idéal, immuable, puisqu’elles peuvent se réaliser dans l’action d’un homme, ni objet réel, ni intentionnel. Les valeurs valent, c’est-à-dire qu’elles ont la forme du « devoir-être », qui peut ou non se réaliser. Quant aux critères des valeurs, lesquelles doivent ou non être, ceux-ci nécessitent un nouveau terrain de recherche. Ceci dépend en partie de la hauteur des valeurs.

Ce qu’Ingarden entend par « la hauteur » des valeurs signifie sa supériorité hiérarchique. Beardsley affirme qu’elle n’a de sens qu’à l’intérieur d’un type fondamental de valeur, à savoir qu’on ne peut comparer une valeur esthétique à une valeur morale, mais seulement des valeurs esthétiques entre elles par exemple. Qu’est-ce qui nous permet d’affirmer qu’une valeur morale est toujours plus haute qu’une valeur esthétique, même très haute ? Là aussi nous ne savons pas en quoi consiste exactement cette valeur, s’agit-il de son mode d’être, de sa qualité-de-valeur ou de son devoir-être. Les théories absolutistes affirment que la valeur d’un objet doit être strictement distinguée de son prix. « La hauteur de la valeur, au contraire, est déterminée de manière univoque et invariable par sa matière et seulement par elle, et elle reste indépendante des variations de prix »[10]. La hauteur relative résulte de la comparaison des objets doués de valeur entre eux, mais présuppose la valeur absolue. Les théories relativistes affirment que la valeur d’un objet dépend des circonstances, de la loi de l’offre et de la demande comme des innovations sur le marché qui font qu’une valeur devient « plus mauvaise ». Il n’existe donc pas encore de « critère » bien défini de la hauteur de la valeur.

Dans le prochain chapitre il s’attaque au problème de « l’autonomie des valeurs ». Lorsqu’Ingarden parle d’autonomie, il entend par là la séparabilité des valeurs entre elles, puisqu’on a vu que les valeurs étaient inséparables des objets auxquels elles appartenaient.  Si une valeur n’apparait sur un objet qu’en présence d’une autre valeur du même ou d’un autre type alors elle est « non-autonome ». Cette distinction entraîne aussi des conséquences sur la théorie de l’art, car pour nombre de théoricien et Platon lui-même l’Idée la plus haute est celle de l’identité du Bien, du Beau et du Vrai. C’est-à-dire qu’il ne suffit pas à une œuvre d’art d’être « belle », encore faut-il qu’elle serve des valeurs morales et la vérité soit en montrant des hommes moraux, soit au contraire en dépeignant des valeurs négatives comme le fait le courant réaliste. Ce formalisme repose justement sur le fait qu’il ne reconnaît pas, contrairement à la théorie de « l’art pour l’art », de valeurs esthétiques intrinsèques à l’art. Cette querelle est dû à l’insuffisance de distinction sur le caractère spécifique des valeurs. Une autre source de confusion entre les types de valeurs, leur dépendance ou indépendance sur un objet, est dû à notre expérience et sensibilité faussée. Ceci est dû aux modifications que les valeurs subissent mutuellement de manière bilatérale ou unilatérale. Dans une œuvre architecturale par exemple la symétrie peut apparaître sur fond d’asymétrie ou dans une œuvre littéraire le lyrique après le tragique. Ces valences peuvent s’harmoniser comme elles peuvent annuler leur effet et partant ne pas être perçues.  C’est pour cela que l’étude de l’autonomie et de l’indépendance des valeurs est d’une grande importance pour l’analyse des objets esthétiques.

Le dernier chapitre « La fondation des valeurs » interroge le problème de l’objectivité des valeurs à proprement parler. Quelle est la relation entre la valeur et son objet et comment celle-ci est-elle fondée dans celui-là ? Il expose alors les deux positions opposées qu’il qualifie chacune de dogmatique. Soit on admet une coordination nécessaire des propriétés qui permettent l’apparition d’une valeur dans un objet, soit on la réfute et décide par-là que les valeurs se montrent de manière tout à fait contingente. Pourtant les valeurs se montrent sur le « visage » des œuvres d’art et on est porté à croire qu’il existe des fondements théoriques à une science de l’art, comme à une science de la morale.

En conclusion, Ingarden, on l’aura vu, définit les valeurs presque entièrement de manière négative, par ce qui nous manque et ce qui nous reste à savoir quant à leur nature, ce faisant déployant en même temps un vocabulaire susceptible d’en rendre compte et toujours mû par la conviction intrinsèque à son intuition, que les valeurs, ou leur possibilité, existent. C’est ce rappel justement qui, pour la traductrice, fait la « valence », pour reprendre ses termes, de cet essai aujourd’hui. Nous saluons la traduction française de cet essai, paru d’abord en polonais puis en allemand, pour avoir trouvé des équivalents adéquats à la terminologie très technique d’Ingarden et du courant phénoménologique en général.


[1] Roman Ingarden. 2021. Ce que nous ne savons pas des valeurs, préface et traduction française par Patricia Limido, p. 26. Sesto S. Giovanni: Editions Mimesis.

[2] Ibid, 32.

[3] Ibid, 35.

[4] Ibid, 43.

[5] Ibid, 58.

[6] Ibid, 60.

[7] Ibid, 66.

[8] Ibid, 74.

[9] Ibid, 81.

[10] Ibid, 116.

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.

James G. Hart: Hedwig Conrad-Martius’ Ontological Phenomenology






Hedwig Conrad-Martius’ Ontological Phenomenology Book Cover




Hedwig Conrad-Martius’ Ontological Phenomenology




Women in the History of Philosophy and Sciences, Vol. 5





James G. Hart. Edited by Rodney K. B. Parker





Springer




2020




Hardback 90,94 eBook € 71,68 €




XII, 272

Reviewed by: By Kevin M. Stevenson (PhD, of the Irish College of Humanities and Applied Sciences, ICHAS)

Before one reads Hart’s work, an introduction to Conrad-Martius’ (henceforth: CM) method which is also the title of the book, Ontological Phenomenology, it is important to bear in mind that it was originally his doctoral dissertation from the 1970s. This is important if we are to consider that much reflection most likely occurred between the time of the dissertation completion and the revisiting and further publication of this work. Not only does this allow the reader to consider the expertise Hart might have on CM, but also the importance of Hart’s academic career in further developing his dissertation into its final form.

In the Introduction, the book is informed to essentially aim to do four things in relation to CM’s ontological phenomenology. It provides a clear and concise message to the reader that the work is an interpretive summary of this phenomenological method. The four points that are to come across in the book are a) the context of CM in philosophy in general, b) why her work is pivotal for phenomenology as a method and discipline (but also why as a historical figure she is so important in the realm of phenomenology), c) the influences she has received and given to others in the field in the history of philosophy, and finally d) CM’s relationship with Natur Philosophie, in which potency and possibility are considered real ontological states of affairs.

Hart’s road map at the start of the book allows the reader to know what to expect throughout the text and provides an important background for understanding why Conrad’s (CM’s) ontological phenomenology developed in the way that it did. Being aware of her influences, standpoints and personal situation is important for this understanding, such as the debate between Goethe and Newton, being against post-Cartesian cosmologies and the reduction of nature to mathematical equation, phenomenology of colours, her attempt to give Christian cosmology ontological-cosmological foundations, and on a personal level, her financial and health difficulties (4). Throughout the book, Hart implicitly focused on the distinction between theology and philosophy within CM’s work, and on how CM would have interpreted the two, in order for the reader to consider CM as more of a philosopher than a theologian. Afterall, the series in which the book is part is based on ‘Women in History of Philosophy and Sciences’. At the same time, Hart’s omission of focusing on a label for CM, informs the reader of the context within which CM was living, where science, philosophy and theology were more alchemized together than in comparison to today.

From the beginning, Hart emphasized the importance of space for CM, and how its interpretation can be skewed by mathematical, technical, and quantifying approaches to cosmology; for her such bias orthodoxly follows a positivist faith. The mathematization of nature to be considered as the ultimate theoretical explanation for nature is not a possibility for CM. Our interpretation of nature is thus important for our understanding of the world and therefore ourselves; hence, Hart informs of how theology through grace (which allows us to ‘see better’) fills the gap that appears to be missing in the interpretation of nature by positivist approaches. Disclosing the eidetic structure of the cosmos is essentially what Conrad’s ontological phenomenology aims to do through meta-methodological questioning that departs from positivism. Hart eloquently summarizes this notion within Conrad’s method that considers the world as being double-featured, stating: “One can speak of the essence of the world as it is immediately given to us on the level of felt-meaning, an essence-intuition in which we participate with the totality of our existence (5).” We can therefore ‘speak’ of the world in physical terms through essence-intuition but also in more difficult foundational terms which is characterized as metaphysical.

For Hart, CM’s ontological phenomenology essentially aims to explore the experience of the things themselves which is important for both ‘speakings’ of the world. According to Hart, CM does this in a way that does not merely repeat a Husserlian approach, despite the fact Husserl was her teacher. Rather her approach propounds that phenomenology is the ‘true’ positivism by attending fully to the given, which leads to two by-products as a result of undermining positivism: a) a qualitative rather than quantitative study of nature which considers the manner in which nature appears as inherent in realontological structure and b) the importance of the noesis and noema within the Husserlian excessiveness of particular experience. These by-products reinforce a spiritual attitude which equates with a phenomenological being-in-the-world, in turn cohering with the excessiveness of experience which Hart stresses is so important for CM’s later work. Hart thus allows his book to represent an excellent resource for first time readers of CM, not only to understand the content within his book, but other works of CM or on CM.

Throughout the book Hart does a good job at highlighting the importance of CM’s work for not only philosophy but the social sciences. This is particularly the case with the epistemological notions set out within the book which are of such importance for the social sciences. Perhaps one of the most important terms to be considered within the book, besides her realontology, is intuition. Hart emphasizes how CM countered the positivist notion that intuition is derived from inference, as the concept of an object’s body-face, in Hart’s words, is conceptualized as the totality of an objective content from self-presentation within intuitive vision’s realm (11). To comprehend CM’s approach, Hart is true to CM’s style in that he includes phenomenological experiments, such as thought experiments, in order help the reader understand her thought. His snail analogy for example challenges the reader to participate in phenomenological investigation in order to deepen one’s understanding of CM’s methodology and in this case of the snail, the aspectival presentation of body-face as intuition. This served as an excellent backdrop to understand CM’s realontology, which aims to bridge gaps between nature’s qualitative appearances and its scientific explanations (18).

The methodology for CM’s realontology involves essence-analysis, which essentially analyses that which exceeds the concretely given perceptual reality: excess which is characterized as a) immediately sensed body-face, b) materiality, c) meaning, and d) categorical foundations of things (substance/reality). The analysis of excess thus aims at a non-reductivist approach to nature without idealism. In this respect, Hart sizes CM up against Husserl to not only emphasize the influence his work on phenomenology had on CM in terms of maintaining a fresh philosophy free from scientific positivism, but also to place her within the great players of phenomenology and its intellectual historical trajectory at the time of her writings.

Hart is successful at pinpointing the important influences CM had received from other philosophers of phenomenology for clarity’s sake, such as how within the bracketing of the epoché there involves the eidetic reduction that is most influential for CM amongst the other conceptions of the epoché. The other two conceptions being bracketing epistemological questions and the transcendental reduction. The eidetic reduction is more important for CM because of its movement from the factual to the essential via essence-analysis or in other words, the search for essentials; the investigation which encapsulates CM’s ontological phenomenology. The eidetic reduction is a leading back to the essence or fact structure or in other words, the full phenomenality structure to essence on its own, which is a turning from actual concrete existence to an idea through bringing essence to its full bodiliness via ideation (23). Hart thus characterizes CM’s work as an ‘essence hunting’ that undermines the incidental, factual, and concrete. And Hart stresses that the best manner in which to conceptualize such essence-analysis is through the ideation involved in the eidetic reduction (20). The suspension involved in the epoché is crucial for understanding CM’s ontological phenomenology because not only does it cohere with the eidetic reduction which she values, but also because it highlights the importance of intuition in our analysis of nature. Intuition, as mentioned above, is important for considering immediate experience in which essential meaning can be detected without categories or systems; concepts that require reductions to objects rather than essentials.

Hart shows that CM was important for the social sciences by not only countering the positivism of her day, which believed or even still believes itself to be with the true original and immediate givens of experience as sense data and facts (21), but by showing how ideation can allow for reflection on the implicitly or intuitively known criteria of things found in nature. Hart uses his own terminology to help the reader understand this, by informing that ideation (essence-intuition) involves the know-how and the know-that of inquiry. Hart does not consider her as merely dovetailing on Husserl’s work, since though he also considered such positivist notions as the superstition of facts (21), she however did not embrace Husserlian intentionality. Hart rather frames her as a phenomenologist who was driven to discover the things themselves, and within her historical context, was brave to do so. Phenomenology was a passion for her since essences within the phenomenological method are considered immediate as well, not just the positivist criteria mentioned above is immediate therefore. To elucidate this, she originally considered there to be an intuitive essential realm in contrast to an intuitive factual realm.

The power of intuition thus lies at the heart of positivism and phenomenology for CM, though for her sake, essence-intuition requires phenomenology, since such essentiality involves the process of ideation, disciplined perception (such as in the case of the epoché) and an artistic sense of difference. Phenomenology’s principle of all principles is original intuition, as phenomenological essence does not lie simply on the surface of appearance as may be the case in positivistic approaches to nature. Hart characterizes CM’s method of ontological phenomenology as a reflexive cosmology, countering the forceful and direct approach of positivism on nature for an essence-analysis that permits the essential meaning of nature’s experience to emerge; an analysis that approaches that which in itself is considered inexhaustible and so irreducible. CM thus aims to expose the a priori laws and regions of nature through her realontology as her phenomenological ontology. Hart focuses on CM’s notions of this and the human challenge to do so, as the importance of fiction, thus the imagination and creativity, which are uniquely human attributes considered of utmost importance for CM’s approach. Essential meanings, alike those found in Husserl, are akin to ‘’horizons of indeterminate inklings’’, as peripheral inklings change our knowledge into essence-intuition. Analysing vague wholes into elements that bring forth essences, as a role of phenomenology, makes phenomenology a method more than mere language analysis (25). Hart is able to show CM’s Continental ‘feel’ by extracting concise information from the works that inspired CM, like Husserl, the Munich and Gottingen Circles, and Hering, without losing the importance and originality of her work.

Rather than get caught up in ‘works of meta’ which any work in philosophy can be guilty of committing, Hart is able to outline the relevance of CM’s work through its practical implications. This can be shown under the subtitle 2.3 ‘The Essence of Essence’, in which essence is considered something that discloses itself to the method of essence-intuition which avoids getting caught up in ‘meta-works’. Essence is thus taken to comprise of unique characteristics of objects’ fullness. Such fullness becomes understood to mean that essence requires a bearer and thus is always a reference for something else. The practical use of ideation thus becomes known to reveal if objects have core essential essences or if such elements are merely accidental. Hart emphasizes that object(s) is a broad concept and can even refer to practical issues we face in human life and experience. Hart thus informs how CM would inform of the utility of ideation in everyday life. The concept of promise was an example of a practical issue or what Hart considers as ‘states of affairs’ in contrast to the immutability of essences through a physical example involving a house, with the latter considering the notion of how its physical changes might not change its essence (27). The former example reveals the importance of CM’s work for practical ethical matters whereas the latter informs of unresolved philosophical issues since the ancient Ship of Theseus thought experiment.

CM’s method which takes the notion of essence belonging to objects themselves, in which the object’s idea remains separate from the object itself (as a result of ideating or objectifying an object’s essence leading to the object having it ideally in spite of the fact that the essence of the object is inseparable from the thing itself) has consequences for both physical scientific and social issues alike. Hart shows that the method is thus able to graft phenomenology and ontology together, echoing CM’s background in phenomenological concepts such as the Lebenswelt. CM’s Phenomenological Ontology clarifies the notion that the process of ideation leads to the idea that an object’s essence or whatness or morphé (such as the essence of an issue like promising for example) has a second separate existence to itself as an object, through a process of subsumption; a process that is often overlooked in the sciences but which CM brings to light. Although Hart could have brought in terms such as mereology or even Gestalt psychology to consider for the reader to investigate to assist in understanding CM’s method at this juncture, Hart appears to be aware of the danger of getting off topic and straying from the initial task of explaining CM’s approach from bringing in such concepts. One example however of when introducing other notions into the work could have been beneficial is with Hart quoting on CM and Hering (as one of CM’s influencers) on the importance of phenomenology’s consideration of: “relations of an object to its whatness is different than its relation to its properties (29).” Considering Gestalt psychology and even Cartesian dualism as additional notions to investigate could have been beneficial to the novice reader in philosophy or social sciences if introduced, however, we are aware of the limitations of Hart’s task at hand.

Understanding CM’s method thus requires the awareness of an object’s ‘what’ as taken to be the phenomenological basis of talking about ‘being-what’ or ‘being-such’. The concept of eidé is important here as it represents the essentialities of philosophical importance for both CM and Hering (as CM’s essential essence derives only from a comparison with Hering’s eidé). Eidé is a concept contrasted with objects which cannot be object realizable as eidé can. Here Hart does bring in Ancient philosophy to assist in considering how CM and Hering are disciples of Plato, perhaps in the sense of committing to the universality of ideas or in Plato’s terms, Forms. This helps in understanding that the eidé are not akin to whatnesses which need a bearer, since the eidé rest in themselves and are thus required for phenomena like objects (or social issues) to manifest their essences. Essences can thus be taken as eidé as that which are behind all essential essence.

Informing the reader of CM’s influences throughout the work does not lead Hart to simply consider CM as someone who chronological falls after Hering in terms of philosophical history, rather he frames their relationship as one that is akin to Husserl and Heidegger. Both relationships of their works can be said to contain an essence or spirit that does not replicate the other but rather challenges, reinforces, contributes and reciprocally builds on each other, which is perhaps why Hart was interested in nominating CM as a candidate for contributory women in philosophy and science. Her realontology in Chapter 2 is thus introduced by Hart in a manner in which we see it flowering out of the philosophical history of CM’s time. To emphasize the uniqueness of CM’s method, Hart does not hesitate to contrast it with positivistic approaches to reality. In CM’s ontological phenomenology or realontology, ideation subsumes an object’s eidos, so that eidos can be made concrete to a whatness or morphé. This is not an empirical process, but rather values more the idea that essential essences of objects are never realized in a concrete sense as a positivist would claim. Instead, an intuition or sense of an object is to be considered more fundamental than the empirical experience of an object. This is due to the fact that that which is presented to consciousness does so ‘as’ something. The object therefore bears the morphé (whatness or form) which is what is mediating the eidos (31).

In CM’s work, the eidos are juxtaposed to the universality of an idea and Hart gives the example of ‘redness’ being eidos instead of ‘red’ itself; hence the role of philosophy is to search and expose eidé as the meanings in themselves or intelligibility’s ultimate dimensions. The practicality within questioning or searching for eidé lies in the fact that such a task involves limit questions which involve reaching intelligibility’s foundations. The eidé provide objects with their essential meaning as via eidé the essence of ideal and real things can be understood which shows the epistemological implications of CM’s work. The eidé’s realm is important because it is the kosmos noetos, the latter term in this phrase related to noema and thus meaning, in turn considering a meaning-cosmos.

In order to keep in mind the fact that Hart is writing on a person of history, Hart does justice to CM’s cultural upbringing throughout the book in his analysis of the manner in which the term ‘meaning’ is taken by CM. He emphasizes that CM takes it with the German definition ‘Sinn’, which involves an objective meaning, one which is capable of disclosing itself to the intention of consciousness, thus a meaning that announces its essence through self-speaking objects (36). This unveils the ordering of CM’s approach to the experience of nature and all it entails, as essence, in its immediacy, is primary within the order of cognition, being first within knowing’s order, whereas eidé require an attachment to meaning to be cognized, since meaning realizes eidos. Ideation (the imaginary objectification of eidé) essentially brings eidé to givenness in order to get deeper into essence as the immediately given, so within the order of ontology, meaning (eidos) as defined as Sinn, is what holds as fundamental primacy within ontology. Hart informs that for CM, meaningful-topos is the terminology used to encapsulate the referential process of meaning making.

Within Chapter 2, Hart further elucidates the role of phenomenology within CM’s phenomenological ontology. Phenomenology is an investigation of essence that enters the realm of eidé, thus it is a ‘walking around’ of essence in order to find relations and properties of the meaning-topos of objects. Hart is critical of CM’s approach here, in that he believes that CM lacks an explanation of the causal categories she uses as that which is bounded to the metaphysics of participation, which is so crucial for meaning making. He highlights that Hering and CM founded phenomenology as essence analysis within meaning’s ultimate dimensions, which are apparently definite yet inexplicable. Eidé therefore cannot be merely grasped objectively, as any transcendental act of objectification of eidé in a positivistic sense distorts their essence. CM thus supports the indirect experience of objects through the concretization of eidé through ideation. Found within this notion is the practical implications of applying CM’s approach to nature and consequently science. The effort of objectification always leads to a distortion of the pure meaning of that which is objectified, so for CM, the purity of something is a realontology as essence-analysis, which involves a dialectic that is without pre-judgements and without any sort of Hegelian historical contradiction of truths. Hart explicates that for CM, it is the destined quest for meaning that is already and always intended within a horizon of meaning that is important; understood before any sort of cognition to be known through a kosmos noétos (which is juxtaposed to a reality cosmos which cannot unite with such a meaning cosmos). The horizon of meaning that is already set up for discovery and which ontology’s task is to illuminate through eidetic reduction and ideation is a study of the essence of that which presents itself. The Husserlian supported transcendental reduction on the other hand which as mentioned above CM does not adopt, purifies phenomena from the conferrals of reality. It is within these reductions that Hart highlights that CM, much like Heidegger, considered Husserl to be too subjective from the start, but she later revisited and supported his approach only to be finally contrasted with Husserl in his support for transcendental phenomenology whereas CM held onto an ontological phenomenology in which what is considered to hold meaning is actually a real being. The ‘really real’ is grounded in itself not in any sort of noema. Husserlian transcendental reduction does not involve the possibility of grasping fundamental structures of the ‘really real’ as such for CM, which allows her to refrain from supporting such a reduction.

Hart further outlines CM’s three senses of phenomenological attitude in Chapter 2, which further distances her approach from Husserl. These are a) Husserl with a purified world version, b) primacy to the eidetic reduction in order to allow for epistemological questions, and c) a realontological attitude. Essentially, CM’s realontology considers that it is only the method of essence-analysis that allows for transcendental elements to reach their givenness through the performance of the epoché bracketing. Essential analysis thus involves critical philosophy and theory of knowledge (epistemology), in turn allowing for transcendental phenomenology to correspond to realontology and the world-constitution ego without limiting itself to a transcendental reduction. Hart sums up the difference between a Husserlian approach and CM’s as the former thematizes the metaphysical-egological object of the world whereas the latter thematizes the metaphysical-transcendental actualization of the world via a realontological reduction which presents the factual and actually given. Hart emphasizes that CM’s approach can thus be considered a shift (a cosmological turn) from the finished to the pre-finished cosmological dimensions of reality. Realontology’s role can thus be considered a philosophy of nature via essence and horizonal analyses, provoking an examination of the full phenomena of nature.

The realontology thus reconnects the context within which rich concrete phenomena exits; phenomena which science essentially removes from context. In Chapter 3, the present context is considered to involve seeing the kind of being an idea possesses. Horizon-analysis increases the scientist’s awareness of the blind-spots, attitudes, and habits which they may involve towards nature. Hart stresses that this does not make CM anti-scientific nor embracing a romantic return to nature, rather her realontology involves a three-fold nature of a) a philosophy of nature, b) essence-analysis, and c) horizontal-analysis. Both a) and b) involve a reconnaissance (a unifying intuition akin to an unthematic felt-solution to issues), which Hart characterizes as looking at one’s surroundings in order to improve our perception of the immediately given, with b) involving specifically the seeing beyond of borders to see precise essence (topos) (50). Both b) and c) involve speculation, with b) having the character of seeing things within limits and c) involving the speculation of the limits we set on objection perception.

Commencing Chapter 3 by bringing an end to Chapter 2, Hart can be said to bring back the importance of the concept of the Lebenswelt. We see that for CM, any reductive mechanical interpretation of life would not be possible due to life-essences’ givenness of living creatures and the machine-ness of all that mechanical. This sort of contemporary view of CM’s work allows us to see her work as not a mere arm-chair phenomenology according to Hart (53), as the realontology intends to rescue the appearances of nature in order to thus grasp appearances’ essences and in turn disclose appearances which can be taken as mere appearances. We have seen that such analysis of essence is not of that just found in reality, but with social issues as well, which in turn gets the arm-chair phenomenologist to stand to their feet and engage with the social world around them, armed with the realontology as a method for living.

In Chapter 3, the foundation of the realontology is thus further elucidated and Hart informs of the realontology as a method aiming to show meaning objects as presented with ontological moments that are immanent, and this is framed by Hart as echoing Frege’s objects of thought with a third realm with a reality that differs from that of things. As mentioned above, promises, as states of affairs, involve objective dimensions in which judgements are considered intentional acts that must involve psychological adjustment. It is here that it is considered that the presentation of objects to consciousness does not suffice it to be a state of affair; categorical intuition (essence-intuition) thus immanently involves grasping something as such a thing that it is, which is a state of affairs through an ontological moment. It is ontological since our mere thinking of something includes us in being; a notion that must include the importance of time. Realontology’s fundamental movement is founded on the notion that that appearing in itself via out of itself in accordance with modalities of the rootedness of self involves three movements: a) substantial (bearer), b) essential (what), and c) existential (presenting object as union of a) and b)).

It is from these movements of the realontology that we consider that essence exists independently and prior to objects as things. Hart informs of the dichotomy between eidé (pure qualia, Logos, meaning) and meaning-being (objects which come from eidé) as important to understand this. The eidé are akin to Platonic Forms, and can exist without the physical world, as it is only when we speak of them that they transform from objects to subjects because they exist independently of knowing subjects. Eidos, as entities without references to anything else are thus distorted when they are objectified by human contact, as they become reduced to hypostases. Hart emphasizes here that for CM, it is phenomenology’s task as the study of the real and essence’s pure investigator, to disclose eide’s inexhaustible realm as pure meaning. For CM, reality is something that stands over nothing, a nothingness with a mode of being present which therefore allows for the possibility of eidetic analysis. Being’s essential level of present objects is through essential analysis as there is a three-fold sense of being a) pure, b) really existing, and c) existential movement linking the ideal and real. In 3.3, Hart informs that phenomenological experience which is synonymous with eidetic experience considers a potential mode of being. Any non-being involves a power in terms of emergence, as it allows for the consideration of a being grounding its own being whilst being the ground itself. This leads to the human capacity of not being confined to the present moment as the human being can ‘make present’ via the past and present; an intentional possession of time.

It is from this backdrop of connecting the essence-analysis of CM’s realontology to inspecting the emergence of essence that Hart considers CM’s transcendental-imaginative intuitive time which is grounded in fact through ontological means. The human being is thus not known empirically (as flowing in temporal time) nor transcendentally (holding a position that is outside of self and the empirical world). CM’s transcendental-imaginative time involves a z-fold motion which stands at the head of her realontological understanding of time which has important consequences for human understanding. For CM, the past therefore is the form of intuition that is transcendental imaginative, which Hart considers to be noughted (76). Time thus involves a founding process that is not within time itself, as the present holds its own kinetic. In terms of the future, it is incorrect for CM to consider it dictated by a forward motion of actuality for existence nor as moving forward into a distant future. Rather, the transcendental-imaginative temporal movement as a mere passing in the Aristotelian sense coheres with CM’s concept of time. Substance therefore involves a standing under of its own being, thus as self-grounding of itself whereas imagined objects are non-substances. Here, Hart informs that in relation to substances, there are two modes an object can stand in itself: hyletic (a being posited outside of itself) and pneumatic (substance free from essential constitutive form, thus pure essence of existing itselfness e.g. archonal being own self). The importance for this dichotomy is it allows for an understanding of how nature is able to realise itself within its own actuality.

For Hart, CM’s work over her lifetime was to inform of the speculative vision of the hyletic and pneumatic, as her realontology not only aims to link ontology and the philosophy of nature, but involves nature’s appearing in relation to metaphysical foundations; establishing the basic regions of nature through an analysis of nature in qualitative and concrete forms. Nature is taken as a symbolic whole revealing fundamental categories of the entire cosmos, which again involves the importance of her work for aesthetic and Gestalt psychology. CM thus aims to provide an analysis of nature which achieves what the idealistic tradition hopes or has hoped to do, as her involvement of retrocendence (reverse transcendence) is a spirituality that illuminates thought’s essence from the character of this mode of being itself without being limited to subjectivity. Throughout the book therefore, Hart continually informs of the importance of realising that CM’s approach is anti-Cartesian and anti-Augustinian, in the same sense that she does not adopt a transcendental reduction in a Husserlian sense. These three approaches in her view might limit themselves to either hyper-subjectivity in the case of the latter or a reduction of mind to matter in the former through hyperbolic internalization. Pneumatic substance allows her approach to hold, since it is a substance free from essential constitutional forms of itselfness, thus a substance that is being its own self, emerging as an archonal being. CM’s support of emergence reveals an underlying pragmatic essence that never completes itself.

Hart shows Heidegger’s influence on CM at this juncture on an emerging sense of substance, as the concept of care, as an ontological rather than psychological category, is existential. Such a conception of care allows for a hypokeimenal being which is thrown onto itself to be considered. This being is pneumatic and archonal as it projects beyond itself, finding itself in alterity through objectification and projection. Hart allows us to see CM’s reconfiguration of Heidegger’s being-in-the-world, as the pre-possession of the world is considered a pre-grasping of cosmic-meaning-being. The epoché is eternally in the background and such a conception of existence has implications for the manner in which space is conceptualized as well. Space that is intuited is not empty for CM, and so the essence-analysis through her realontology on apeiric space (the aperion being the infinite totality) holds great importance as it provides for this space’s ontological existence. The phenomenological experiment for CM in the sense of space is informed by Hart to involve the consideration of the qualitative change that occurs when apeiric space is aimed to be grasped. Such a task leads to a distortion and in turn the space loses its infinity as such a pure space in turn becomes a metric surface space. The concept of gestalt is important here, in that within such an experiment, the limits of dimensions’ definitions are considered and a dichotomy between a real surface space and a transcendental surface space are to be reckoned with. Heidegger again peaks his head into CM’s work at this point, as uncanniness becomes a concept to understand the ontological consideration of apeiron space. Such space is considered as an unmasking of space as something that goes beyond the limits of the human body. The real ‘now’ cannot be experienced thus a metric peiric space is taken as a ‘here’. Space thus has for CM an intuitive medium of continuity in which limits are established through essence which assists in the understanding of nature’s self-formation in the next chapter.

Chapter 4 begins with a consideration of the phenomenology of life as involving a subjectivity that discloses itself within matter. The concept to elucidate this is entelechy; a soulish potency to be realised, which is conceived psychologically. Hart informs how this put CM’s ideas against Driesh, as despite the latter’s rejection of phenomenological essence-intuition, the latter’s support of entelechy coheres with CM’s phenomenological notion of essence as having a unique character which makes it what it is. Hart informs that this consideration of the potentiality of the entelechy is important for the discipline of art, as the artist’s role is to explain the entelechy, as essence-entelechies do not equate with ideas but rather present them. And so art can assist in working out the notion of species found in nature. Hart informs that these notions coalesce into CM’s intuitive qualitative essential level which is juxtaposed to the modern causal-genetic level. This allows us to see the continental flavour of CM’s approach to nature which refrains from applying cybernetic models of machines to living organisms. Machines are given their selfness since their interiority is objective, and so Hart clarifies this with machines/computers as having subjective objectivity (subjectivity objectively), unconscious living things with objective subjectivity, and conscious living things with subjective subjectivity. Hart does not want the reader to lose sight of the view supported by CM that cybernetic perspectives for understanding the human being, just as we saw above with the mathematization of nature, are not possible for CM. The natural scientist will always involve a prejudice that considers intuitive understanding within nature’s realm to be intimately and concretely linked to physical extension and so causality; a physicalism that CM would consider dangerous for understanding nature.

Causal approaches to nature do not allow the essence of physical nature to unfold, and so the aim of phenomenology for CM is to bring forth new causal categories. Her realontology involves an essence analysis that is meant to discover the kinds of causes in nature; an ontological analysis of causality that analyses energy and potency and which reveals the two types of causality a) mechanical and b) conscious. Her essential ontological approach, however, is not to be confused with an intentional movement as a transcendental approach would support. It is within the entelechial potency that we are to discover essence-entelechy’s ontological nature. Here Hart considers the concept of actualization to encapsulate the potential energy and power that is so important for understanding CM’s view on the forces of nature. There is essentially no entelechial cause for CM, so there is no such epigenetic potency for CM as real potency (power) is always the ‘not yet’. It is from this potentiality that Hart informs of Heisenberg’s ‘Uncertainty Principle’ as coherent with the essence-intuition of CM’s approach of a potential ‘not yet’ essence of nature (its pre-actual dimensions). Aether becomes known as the elementary substance acting as a medium for a rigid and empty elasticity for substance in contrast to light as serving the ontological and consciousness. Aether discloses itself ecstatically and so it is no wonder that the realontology involves the thesis of physical energy resting on a presupposed substrate of an ontology that is definite and constituting through actualization via another dynamic that sets itself in motion and thus becoming a tendency for an accomplishment. The method of realontology involves a phenomenology that increases the visibility of the essence of the phenomenon derived from its appearing as a way of recovering the primordial movement of the cosmos as an ecstatic othering. The realontology thus describes nature as self-generating through a dialectic between essence-entelechy and essence-material.

Within CM’s system, energy contains an ontological foundation, and Hart emphasizes that for CM, energy does not equate with aether but rather energy and mass-hyle are to be taken as substrates. Energy is not a substance, however, all energy is founded on substance. The qualitative actualizing factor of nature is thus an existential moment; we take the world able to come to a pause only on the surface therefore, but this does not consider the cosmos as a hierarchy. The cosmos as Logos involves a continuing process of essence-entelechian expression. Nature is in constant revelation of essence-entelechy which is to be conceived as the complete logos of that which is in nature’s realm (AKA total essence), bringing the power of real potential into being. Within this philosophy of nature as essence-analysis disclosing essence-powers, the human being is conceived for CM as having a spirit rather than equating with spirit, with their emotions as being proper to them. The originating self in turn derives from the essence-entelechy using essence-material to configure individual Logos; an emergent essence from essence-entelechies and essence-material. Such emergence, as a philosophy of nature, is further elaborated in Chapter 5.

In Chapter 5 Hart aims to further CM’s approach as being understood as a non-empirical method. Time involves a motion that does not depend on empirical processes of change, but rather on an existential motion. The pure present in this sense is without a past and without knowledge of any real temporal motion, as CM is against any translatory motion. There exists thus the phenomenological experiment for CM of considering how the world does not change, and Hart here considers what change is for CM then, specifically if it is transcendental. If change is not empirical, then there is the consideration if nature and change involve a transcendental-empirical dimension. Hart informs of CM’s interest in Indian philosophy here, especially the transcendental character of the entity Vishnu, but also how Aristotle’s Physics had an impact on her. The latter’s notion of the world not being existent in space but rather constitutive of space is of importance for CM, as Aristotle considered that that circular motion is the only possibility of perfection. CM thus derives from these Aristotelian influences the transcendental concrete as the aethereal world-periphery (a sort of space-time), thus a cyclically moved reality as an aeonic motion. The circular motion is considered for CM the most accurate symbol of expression for the totality and trans-temporal presence. CM’s cosmos for Hart is thus to be considered as more of a tapestry than a ladder, which echoes the notion mentioned above that CM does not take the cosmos as a hierarchy. The cosmos emerges continually and aeonic space-time in turn renews the world in a constant fashion. The human being is the microcosmos existing within a polarity between the world-periphery (heaven) and the world-centre (underworld), the former characterized as an energetic potency.

Hart stresses that the human being can generate and creatively constitute things rather than create according to CM, and involves an existence with nothingness and death.  The world is expanding which makes temporal existence derive from the constant actualization of the world-event as a totality. The world-peripheral entelechies spark change and this unfolding nature is characterized as hominization for Hart. Such hominization allows for technology, abstract art, and other peculiarities of human existence. Here there appears to be a Hegelian historical development from human freedom, however without the dialectical nature of a Hegelian approach to culture. For CM, the horizon is the world background and context which is an unthematical constitution of thematic and objective experience. This echoes Hegel’s notion of zeitgeist, in which world epochs involve spiritual powers within the background as horizons. It is here that Christian spirituality is important for CM’s approach, as Christ becomes known as the final mystical body in which we understand animals as deriving from human existence not vice-versa. The Christian ‘Fall’ is commensurate for the disintegration of the organic whole of any space-time, in which the wheel can represent the symbol for the aeonic world’s continual actualization through a cyclical time. The end of temporal time through a Christian cosmic notion of time as a coming aeon allows for the realization of the potential for the great waves of aeonic time.

Despite the intellectual depth of CM’s conceptions of the cosmos, time, and space, Hart is still successful at informing the reader the significance of her work for practical matters. The thought of the schizophrenic patient not having a future is an example utilized to assist the reader in understanding just how the realontology could assist someone suffering from such a condition to cope or provide a practitioner an approach to such a condition (211). Towards the end of the book Hart taps even more into the less theoretical of CM’s work by informing of some of the historical notions important for CM’s academic trajectory. CM’s place between the two movements in phenomenology is important to keep in mind for Hart; that of the realist ontological and the transcendental idealist, both of which would play out within the Gottingen and Munich Circles of her day. CM’s support of Logos being found within human reason and her insight into the speculative movement of the Christian cosmological understanding of nature allows Hart to conceive of her with a unique phenomenological but also hermeneutical method that remythologizes the cosmos. In Chapter 6, Hart informs of how CM thought that her work truly uncovered personal powers, times, and objective mythical spaces, through the use of the aeonic world periphery which re-interprets in a unique manner the Christian cosmos. Myth therefore has three senses, that of a symbolic epistemological, a phenomenological through epoché, and the realontological through objective reference. Her remythologizing of the cosmos thus considers heaven as more than a theological concept, but rather an anthropological, cosmological, and religious one. Heaven essentially creates a heterogenous dimension which allows for fiction, schizophrenia, and love to exist, as heaven represents a constant symbolism for the human being as a ‘really real’, thus a phenomenological point which allows for the creation of the horizon and everydayness of life.

Despite the mythical nature of CM’s cosmos, Hart does an excellent job of bringing the reader back into the history of ideas which this book succeeds at highlighting throughout. The homogeneous Newtonian cosmos is at odds with CM’s cosmology of heterogeneity, the latter of which considers the existential meaning to be derived from the spatio-temporal emergence of nature. CM aims for a description of how the world presents itself before scientific understanding’s distortion. Such a contrast allows the reader to understand CM’s cosmos as taking heaven as a state, which is a phenomenological hermeneutical ontology and task. Chapter 7 furthers this exploration into heaven and phenomenology’s importance for such a concept, but also how as a method it can assist in understanding heaven’s implications for the philosophy of nature. The world becomes known as the ultimate horizon that accompanies objects, as objects in the present are not within a punctual time of ‘Nows’, but rather in a continuous stream. Human beings thus bring to perception a grounding which is characterized as a sedimentation of a historical-horizontal retention of meanings, as the world is constituted by this grounding retention, but also infinite possibility (protention) and anticipation; a horizon that is open and which stretches into the distance. Hart then connects this human experience to Heidegger’s Dasein, as he informs how Dasein’s fallenness into its everydayness leads to an anxiety that makes Dasein feel they are not at home with such unfamiliarity. Such unfamiliarity is related to CM’s remoteness found in the realm of heaven as the human being experiences alienation from the world-periphery.

In the Conclusion, Chapter 8, Hart reminds the reader of the fact that CM’s realontology does not embrace a transcendental reduction, as her method does not involve a disengagement from the natural attitude’s belief system within the reality of the world’s self-preservation as a Husserlian approach would accept. Rather, CM presupposes that the natural attitude is hypothetically valid which leaves room for the possibility of the explication of the natural attitude’s noematic correlation. For CM this a correlation that contains an essence of the ‘really real’ as the transcendental reduction does not provide the chance for an essence-analysis of the real; hence her ontological phenomenology is not just of perception, as it is not just an eidetic of a life-world existential analysis. Instead, Hart emphasizes that for CM, phenomenology involves a disclosure of Logos and that which shows itself. Phenomenology is essentially essence-analysis which aims to disclose and uncover the full sense and meaning of world-space through a discovery of its realontological status. Realontology considers the world as not in space, as time and space are considered aspects of the world’s mode of being; the trans-physical dimensions which realontology points to preserve the lived-experience of the cosmos which consists of the earth’s and heaven’s regions. And so Hart has shown that CM’s realontology is not just a method that can reinforce the experience of the life-world, but can be a way of life as well, unmasking the world-space’s antinomies in the process. It does this through a cosmological turn that brings us to the tradition of symbolizing the universe into a story through an affirmation of a holy physics which affirms objective mythical times, spaces and powers. The other worldly dimension that the realontology can bring to life echoes that of the grotesque in human experience, which makes it an existential method whilst maintaining a natural attitude to the world.  It is no wonder that Hart included an Appendix including a translation of an excerpt from CM’s Metaphysics of the Earthly, written only slightly before the ugliness found within the atrocities before and during World War 2.

In closing, Hart’s book placed the spotlight on a figure in the Western intellectual tradition who deserved such attention. Not only for the obstacles she faced in terms of her sex, race, and geographical living, but the contribution she provided particularly for the philosophy of science. In general terms, however, not only was the philosophical method of CM shown to be original and important for a plethora of theoretical disciplines, from theology to aesthetics, but it was also shown to provide practical implications that allowed her approach to phenomenology as realontology to bridge the gap between the real and the ideal, and the objective and subjective. Intentionality however, in the phenomenological sense, was a concept in the book that appeared to be a bone of contention for Hart. It appeared to be a concept that equates with Husserlian phenomenology, however, was it or was it not a concept supported within CM’s method? It can be left for the readers of the book to determine.

Dominique Pradelle: Intuition et idéalités: Phénoménologie des objets mathématiques, Puf, 2020






Intuition et idéalités: Phénoménologie des objets mathématiques Book Cover




Intuition et idéalités: Phénoménologie des objets mathématiques




Épimethée





Dominique Pradelle





PUF




2020




Paperback




744

Walter Hopp: Phenomenology: A Contemporary Introduction, Routledge, 2020






Phenomenology: A Contemporary Introduction Book Cover




Phenomenology: A Contemporary Introduction




Routledge Research in Phenomenology





Walter Hopp





Routledge




2020




Hardback £120.00




400

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






Husserls Theorie der Anschauung Book Cover




Husserls Theorie der Anschauung




Neue Subjektile





Emmanuel Levinas. Aus dem Französischen von Philippe P. Haensler und Sebastien Fanzun





Turia + Kant




2019




Paperback € 28.00




230

Helmuth Plessner: Levels of Organic Life and the Human: An Introduction to Philosophical Anthropology, Fordham University Press, 2019






Levels of Organic Life and the Human: An Introduction to Philosophical Anthropology Book Cover




Levels of Organic Life and the Human: An Introduction to Philosophical Anthropology





Helmuth Plessner. Translated by Millay Hyatt. Introduction by J. M. Bernstein





Fordham University Press




2019




448

L’ubica Ucnik, Anita Williams (Eds.): Phenomenology and the Problem of Meaning in Human Life and History, Bautz Verlag, 2017






Phenomenology and the Problem of Meaning in Human Life and History Book Cover




Phenomenology and the Problem of Meaning in Human Life and History




libri nigri Band 60





L'ubica Ucnik, Anita Williams (Eds.)





Bautz Verlag`




2017




Paperback €98.00




341