"Intelligence and Spirit" - pg. 48. Reza Negarestani
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"Intelligence and Spirit" - pg. 48. Reza Negarestani

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The tale/storyteller (Berger) vs the novel (Sontag), or Benjamin vs Sartre.
“The conditions of possibility of psychoanalysis become visible, one would imagine, only when you begin to appreciate the extent of psychic fragmentation since the beginnings of capitalism, with its systematic quantification and rationalization of experience, its instrumental reorganization of the subject just as much as of the outside world. That the structure of the psyche is historical, and has a history, is, however, as difficult for us to grasp as that the senses are not themselves natural organs but rather the results of a long process of differentiation even within human history.”
Fredric Jameson, The Political Unconscious
Grothendieck's strategies can indeed be understood, in a conceptual sense, as close to the relativistic modulations that Einstein introduced into physics. In a technical manner, both Einstein and Grothendieck manipulate the frame of the observer and the partial dynamics of the agent in knowledge. In Grothendieck's way of doing things, in particular, we can observe, firstly, the introduction of a web of incessant transfers, transcriptions, translations of concepts and objects between apparently distant regions of mathematics, and, secondly, an equally incessant search for invariants, protoconcepts and proto-objects behind that web of movements. [...] In topoi objects are no longer 'fixed' but 'unfold through time': We are dealing here with variable sets, whose progressive parametric adjustments allow us to resolve a multitude of obstructions that seemed irresolvable from within a 'punctual', classical or static mathematics. From this alone, one can intuit the enormous philosophical impact that such a relative mathematics might have - a mathematics attentive to the phenomenon of shifting, but with the capacity to detect invariants behind the flux, a mathematics that goes against the grain of supposedly ultimate foundations, absolute truths, unshakable stabilities, but which is nevertheless capable of stabilizing asymptotic webs of truth. pg 140 - 142. Fernando Zalamea - Synthetic Philosophy of Contemporary Mathematics

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" Life is a space of possibilities only when it is a form of life. I'm going to say something very wrong to give you a vague idea before correcting it. Can you think of a tree, the world it inhabits without a concept of tree? This comparison even though is useful, is fundamentally wrong to understand the concept of life or human. Life like the human does not pertain to classes, it literally can not be understood through attributes, properties or common denominators which can be added or subtracted from living beings. X and Y have no single property in common but they can both partake in a form of life such as the Human. Wittgenstein calls these concepts which are not closed under a definition or are open-ended, networks of family resemblances i.e., formal concepts as webs of similarities which overlap and sometimes criss-cross.
Such network-concepts are ‘created by spinning a multiplicity of fibers that overlap with each other.’ Of course, the strength of this thread is not affected by the fact that there is no single fiber that runs through its whole length. Here we can think of Peirce’s metaphor of the cable which is not a chain (like the chain of beings) ‘but a cable whose fibers may be ever so slender, provided they are sufficiently numerous and intimately connected’. This form of understanding the concepts of life and the human is not by any means underdetermined, it’s on the other hand healthy, anti-essentialist and anti-foundationalist. It allows us to imagine a lifeform as a community or a collective whose members don’t need to share a class of attributes or a property for them to be counted as representatives of that lifeform. Furthermore, this view of the concepts of the human and life enables us to finally see different classes of life as resting upon nothing more and nothing less than a form qua a field of possibilitiy which can be shared and transferred from one member to another but also be actively engaged with as an open-source construction, within which other lifeforms and worlds can be imagined and actualized."
Reza Negarestani
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Gabriel Catren and Meta-Transcendental Philosophy
Gabriel Catren's project (as well as the work of Francois Laruelle) represents a continuation and radicalization of the Kantian/Copernican turn in philosophy that can be called meta-transcendental. “[If we read Laruelle not as a “non-philosopher” but as a meta-transcendental philosopher], [i]t then becomes possible to re-interpret the term ‘decision’ in Laruelle’s work as a synonym for transcendental synthesis [...] In this regard, Laruelle can be interpreted as a kind of renegade Kantian whose internal subversion of transcendental idealism not only rehabilitates the possibility of transcendental realism but also provides Kantianism’s posthumous rejoinder to Hegelian idealism in all its guises [...]” Ray Brassier - Nihil unbound pg 134.If Kantian transcendental philosophy is an account of the conditions by which experience and knowledge are possible, then meta-transcendental philosophy is an account of not just the genesis of the conditions by which experience is possible but the genesis of all possible conditions of experience. Insofar as the practicalist Aristotelian/Fichtean/Kantian orientation subordinates intelligibility to sensibility and roots experience in sensible intuition and apperception (rather than the Hegelian account of the self-determination of normativity, in which sensibility is subordinate to intelligibility), it then follows that possible experience is concomitant with possible sensible intuition, and given that the conditions of sensible intuition cannot be self-determinate, experience can be determined in the last instance by an external entity or unilateral immanence rather than a self-determinate universal totality and thus engender a multiplicity of possible forms of experience in which human experience is but one transcendental perspective among many.
In Catren's rewriting of Christian trinitarianism, the multiplicity of transcendental perspectives or types, what he calls the transcendental landscape, is knit together into a collective patchwork subject by Eros, understood as a force of binding together and integration, which is primary over the force of Thanatos in Catren's inversion of Freud. "... the drive par excellence is no longer the death drive but the drive for life (Eros). The will to remain relegated to the impersonal life, far from taking the form of a death drive that pulls the individual back to the undifferentiated one, manifests as an erotic desire to engender and federate the separated living beings into higher forms of living unity." (Pleromatica -Pg 359) The weak point of Catren's book Pleromatica is that, due to Catren's yolking intelligibility to the sensible, the speculative import of the transcendental landscape is rendered absurd as alien transcendental types become empty abstractions we can know and say nothing about that mirror Hegel's description and critique of the thing in itself as "total emptiness, only described still as an ‘other-world’ the negative of every image, feeling, and definite thought".
Gabriel Catren on German Idealism
German idealism was the first philosophical movement to address the problem of deciding to what extent and under what conditions it was possible to construct a philosophy of the absolute capable of sublating the hyper-relativism of post-critical modernity. Let us then begin with a central question: what is the philosophical project that we have inherited from German Idealism? And let us resolutely assume the risks of a laconic response: German Idealism is the movement that began to develop the project of synthesizing Spinoza with Kant, that is, Spinozist immanentism (the thesis that we are born, live, and die both in and for the absolute [...]) and Kantian transcendentalism understood as a philosophy of the finite subject, of the transcendental conditions of possibility of its experience and the resulting limitations of this experience. [...] To synthesize Kant with Spinoza, to devise an immanental transcendentalism, means synthesizing a philosophy of the finite subject with a philosophy of the absolute, conceiving of a post-critical non-dogmatic absolutism [...] Gabriel Catren - Pleromatica pg. 20-21.
Loose notes vol. 2 (Nihil Unbound)
Extinction (being-nothing) is the unbindable trauma of determination in the last instance of transcendental decision (unilateral duality) as death drive/will to know (inorganic/organic, death/life, etc). Thought voids being by naming it and is the sacrifice/mimicry to/of the inorganic surrendered to insulate consciousness and life from trauma. Contra Badiou, naming being the void can only take place with the objectifying transcendence of thought as a thing. The thanatosis of enlightenment is the purposelessness of reason, in contrast to reflexivity, in its mimicking of the inorganic (death drive), as thought is already a dead inorganic thing. Bataille thought sacrifice was the necessity of waste caused by the excess of the accursed share; for Adorno, Horkheimer, and Brassier, sacrifice expresses the logic of the death drive as a primal attempt to bind the excessive unconscious trauma of extinction through the attempt to return to the inorganic through mimicry. Adorno and Horkheimer want reason to produce a sublation of culture and nature to overcome the destructiveness of the death drive, but the thanatosis of enlightenment reveals the death drive and its logic of imitation of the inorganic to be the basis of reason itself. Non dialectical negativity never reaches the concept and remains a thing or object; there is no subject of cognition. 1st level of repression: unilateral duality of inorganic/organic, dead/alive, etc. 2nd level: unilateral duality of noise/information and input/output. “… the void can never surface as such, it can never occur, never take place, for it is nothing but an empty name devoid of reference, a letter that fails to designate, a sign without a concept.” (Brassier, Stellar void or cosmic animal?) Informational reservoir > informational sponge > epistemic engine; much like monads, these are differences in degree rather than differences in kind. Reason/normativity determined in the last instance by nature/cause. Language and normativity are particularly advanced forms of global/transindividual information exchange. Information is a closed system (noise/information and input/output), but epistemic engines are (irreversible) open systems.

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Loose notes vol. 1 (General concepts of psychoanalysis)
Three theories of the unconscious: 1) Natural/vital/energetic unconscious: Nietzsche, Spinoza, Bergson, and Deleuze/Guattari (theories of the will, Phusis, force, or Conatus); 2) Traumatic unconscious: Freud in BPP (oedipal or existential trauma whose repression is the unrepresentable core that consciousness is organized around) and Brassier in Nihil Unbound; 3) Symbolic unconscious: middle period Lacan and Zizek (the unconscious as gap or unsublatable remainder left behind by the development of consciousness that cannot be admitted into retroactive history or memory, ex: Schelling in The Ages of the World); “There are three modalities of the Real: the “real Real” (the horrifying Thing, the primordial object, from Irma’s throat to the Alien), the “symbolic Real” (the real as consistency: the signifier reduced to a senseless formula, like the quantum physics formulas that can no longer be translated back into, or related to, the everyday experience of our life-world), and the “imaginary Real” (the mysterious je ne sais quoi, the unfathomable “something” on account of which the sublime dimension shines through an ordinary object).” (Zizek, Organs Without Bodies, pg. 92) Land is somewhere between 1 and 2, and Schelling is somewhere between 1 and 3. There are many parallels between Freud and Nietzsche, superego and the theory of guilt/debt in the Genealogy, but they diverge insofar as: 1) Freud is a masochist (health as minimal necessary neurosis) and Nietzsche is a sadist, and 2) the psychoanalytic theory of trauma is a kernel of negativity that has no place in Neitzsche's affirmative positivity (Deleuze expunges trauma from his reading of Freud ex: death in Difference and Repetition is a productive shock that forces us to think, and in Anti-Oedipus death is a vacuole of lack necessitated by anti-production).
There are two poles of desire: Freud: psychosis and neurosis (ordinary psychosis is introduced by the late Lacan and Miler as a third pole); Lacan and Zizek: drive and desire; and Deleuze and Guattari: paranoia and schizophrenia.
I'm gonna start posting my notes on here. I have a ton of stuff saved that I don't really want to put in essay form. I started this blog to get feedback and start a dialogue with other people interested in theory. I hope notes will be a little more approachable and if nothing else clear some things up.
《惊闻90后青工诗人许立志坠楼有感》 "Upon Hearing the News of Xu Lizhi's Suicide" by Zhou Qizao (周启早), a fellow worker at Foxconn
每一个生命的消失 The loss of every life
都是另一个我的离去 Is the passing of another me
又一枚螺丝松动 Another screw comes loose
又一位打工兄弟坠楼 Another migrant worker brother jumps
你替我死去 You die in place of me
我替你继续写诗 And I keep writing in place of you
顺便拧紧螺丝 While I do so, screwing the screws tighter
今天是祖国六十五岁的生日 Today is our nation's sixty-fifth birthday
举国欢庆 We wish the country joyous celebrations
二十四岁的你立在灰色的镜框里微微含笑 A twenty-four-year-old you stands in the grey picture frame, smiling ever so slightly
秋风秋雨 Autumn winds and autumn rain
白发苍苍的父亲捧着你黑色的骨灰盒趔趄还乡 A white-haired father, holding the black urn with your ashes, stumbles home.
Itemization: Stream of Consciousness After the Death of the Subject
We have, in postmodernity, given up on the attempt to ‘estrange’ our daily life and see it in new, poetic or nightmarish, ways; we have given up the analysis of it in terms of the commodity form, in a situation in which everything by now is a commodity; we have abandoned the quest for new languages to describe the stream of the self-same or new psychologies to diagnose its distressingly unoriginal reactions and psychic events. All that is left is to itemise them, to list the items that come by. [...] They have not been transformed, or lent some higher meaning; they remain what they were before, transient and of no particular interest. Nor are they lifted into the timeless eternity of classical literature, posterity and the canon: you can dip into them wherever you like and they will not be any more quotable or Virgilian; they will, in fact, remain quite as nondescript as before. But Knausgaard has written them, and written about writing them, and this is the story, not of his own experiences, but of the writing of these non-reflexive sentences, about which we do not even feel his writer’s cramp or his aching shoulder, his blurred vision.
Itemised - Fredric Jameson
Though some photographs, considered as individual objects, have the bite and sweet gravity of important works of art, the proliferation of photographs is ultimately an affirmation of kitsch. Photography’s ultra-mobile gaze flatters the viewer, creating a false sense of ubiquity, a deceptive mastery of experience. Surrealists, who aspire to be cultural radicals, even revolutionaries, have often been under the well-intentioned illusion that they could be, indeed should be, Marxists. But Surrealist aestheticism is too suffused with irony to be compatible with the twentieth century’s most seductive form of moralism. Marx reproached philosophy for only trying to understand the world rather than trying to change it. Photographers, operating within the terms of the Surrealist sensibility, suggest the vanity of even trying to understand the world and instead propose that we collect it. Susan Sontag - Melancholy Objects
A perfect example of not only what Lyotard famously called an "incredulity towards metanarrative", but also how an anti-metanarrative is still a metanarrative.

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Mikhail Lifshitz: Marxist Aesthetics and a Critique of Modern Art
What is important to me is to mark the main features of the worldview we are offered as the lodestar of the future art – the renunciation of realistic pictures, which Picasso sees as an empty illusion, that is, deception, and the affirmation of a wilful fiction, designed to spark enthusiasm, that is, the conscious deception of mythmaking. [...] Let’s just say that the main inner goal of such art lies in suppressing the consciousness of the conscious mind. A flight into superstition is the very minimum. Even better is a flight into an unimaginable world. Hence, the constant effort to shatter the mirror of life or at least to make it muddy and unseeing. Any image must now be given qualities of ‘unlikeness’. In the way, pictoriality recedes, eventually becoming something free of any association with real life. [...] Once it was enough to present a few geometrical figures on the canvas to avoid any associations. Now this is too little. The self-defences of consciousness are so refined that even abstract forms are reminiscent of something real. That requires an even greater degree of detachment. Hence, there appears anti-art, Pop Art, which largely consists of the demonstration of real things, enclosed in an invisible frame. In a sense, this is the end of a long evolution from real depictions to the reality of bare facts. It might seem we’ve already achieved that goal: the life of the spirit has ended, the worm of consciousness has been crushed. Still, that is an empty illusion. The ailing spirit’s attempts to jump out of its own skin are senseless and hopeless. When reflection revolves around itself endlessly, it only gives rise to ‘boring infinity’ and an insatiable thirst for the other. [...] Yes, ‘modern art’ is more philosophy than art. It is a philosophy expressing the dominance of power and facts on lucid thinking and poetic contemplation of the world. The brutal demolition of real forms stands for an outburst of blind embittered volition. It is the slave’s revenge, his make-believe liberation from the yoke of necessity, a simple pressure valve. If it were only a pressure valve! There is a fatal connection between the slavish form of protest and oppression itself. According to all the newest aesthetic theories, art’s effect is hypnotic: it traumatises or on the contrary blunts or calms a consciousness that no longer has any life of its own. In short, it is the art of a suggestible crowd at the ready to run after the emperor’s chariot. Why am I Not a Modernist? - Mikhail Lifshitz
Lifshitz's critique of modern art and its "hypnotic effect" targets modernism's romantic heritage and its animating desire for art to redeem what it sees as a fallen world through acts of a sovereign will possessed by a singular genius (hence the reference to the "emperors chariot"). Its no coincidence the notion of the genius is a quintessentially Roman notion that Walter Benjamin found in the works of none other than Goethe that entailed "the patriarchal idea that every culture, including bourgeois culture, could only thrive under the protection of and in the shadow of the absolute state." (Benjamin - Goethe: the Reluctant Bourgeois) Hitler's status as a failed artist, by now such a trite fact as to be included in the encyclopedia that is middle-brow pop historical consciousness, is a testament to the prevalence of this desire for a despot-as-artist that romanticism, among other things, has left in its wake. Fredric Jameson's antidote to the culture of the crowd seeking a new art school Ceasar is “a pedagogical political culture which seeks to endow the individual subject with some new heightened sense of its place in the global system…” (Cultural Logic of Late Capitalism. pg. 54). Lifshitz and Jameson endorse a realism that attempts to allow the masses to understand the world so they may one day change it.
Itemization: Stream of Consciousness After the Death of the Subject
We have, in postmodernity, given up on the attempt to ‘estrange’ our daily life and see it in new, poetic or nightmarish, ways; we have given up the analysis of it in terms of the commodity form, in a situation in which everything by now is a commodity; we have abandoned the quest for new languages to describe the stream of the self-same or new psychologies to diagnose its distressingly unoriginal reactions and psychic events. All that is left is to itemise them, to list the items that come by. [...] They have not been transformed, or lent some higher meaning; they remain what they were before, transient and of no particular interest. Nor are they lifted into the timeless eternity of classical literature, posterity and the canon: you can dip into them wherever you like and they will not be any more quotable or Virgilian; they will, in fact, remain quite as nondescript as before. But Knausgaard has written them, and written about writing them, and this is the story, not of his own experiences, but of the writing of these non-reflexive sentences, about which we do not even feel his writer’s cramp or his aching shoulder, his blurred vision.
Itemised - Fredric Jameson