I’m giving another talk on Monday (9/29) on psychedelics (the last one was at Burning Man) as part of a panel discussion for the Entheogenic Research, Integration, and Education (ERIE) student group at CIIS. This one will focus on the psychedelic roots of philosophy, particularly as they relate to the Eleusinian mystery rites. I’ll paste some of my notes below.
Abstract: Since its origins in ancient Greece, Western philosophy has sought out solutions to psychological, cosmological, and ontological problematics. Nowadays, philosophical problems and their solutions tend to come in the form of written formulas. There is no doubt that language can have a profoundly mind-manifesting effect on its speakers and listeners, but ancient Greek philosophers did not limited themselves to alphabetic solutions: they also partook of chemical solutions. In this short presentation, I’d like to revisit the pharmacological roots of the philosophical tradition in ancient Greece, unpacking its still relevant insights into the nature of the human soul, the origin of the universe, and the ground of being.
My goal is to initiate an anemnetic revival of the long repressed psychedelic dimension of Western philosophy. Building on the work of scholars like Michael Rinella and Peter Kingsley, I’ll argue that the West, too, is historically rooted in a unique sort of shamanic practice that has been excised from our origin story in order to serve the dominant political narrative about the rise of disembedded Enlightenment rationality. Psychedelics are perhaps the most important spiritual technology available to philosophy, opening the doors of perception so as to allow for profound experiential insights into cosmogenesis and our human potential to become creative participants in its ongoing evolutionary expression.
I. What are psychedelics?
They are alchemical substances that, when smoked, snorted, chewed, injected, or transdermally absorbed, make human beings conscious of the Divine Imagination.
Terence McKenna on Divine Imagination: “I think of the Divine Imagination as the class of all things both possible and beautiful in a kind of reverse Platonism. The attractor is at the bottom of a very deep well into which all phenomena are cascading and being brought into a kind of compressed state. This is happening in the biological realm through the career of the evolution of life. It’s simultaneously happening in the world as we experience it within our culture, in history. History is the track in the snow left by creativity wandering in the Divine Imagination.” Terence equates Divine Imagination with Chaos, which he says “is not the enemy of order, but the birthplace of it.” (p. 7)
Reversed, inverted, or psychedelic Platonism?:Reading Plato in the context of the Eleusianian psychedelic rituals reveals that the standard reading of “Platonism” has it exactly backwards. What does it mean to say we are living inside a cave? Psychedelics reveal the play of images upon the cave wall to consciousness, they make us aware of illusion, of the aesthetic basis of experience. Can they also show us the way out of the cave? Are they just mind-altering chemicals that confuse the normal dualities of rational subjectivity, or can they also become alchemical solutions that infuse divine creativity into human souls, that awaken us to our highest human potential as conscious participants in cosmogenesis? I think they provided exactly this to the fathers of philosophy, Plato and Socrates. Psychedelics need philosophy, lest they allow us to rest in confusion. The West has its own shamanic, indigenous tradition. We can learn a lot from other cultural traditions, but we should not forget our own lineage in the process (I assume here that my audience is mostly White, or at least was raised within the context of Western civilization).
Psychedelics transform the phenomenal content of our rational, waking, daytime consciousness into a play of images upon a cave wall. They call the very idea of “Reality” itself into question. What’s real? What’s virtual? How are we to tell the difference? They also throw the idea of the “Self” into question—not just the phenomenal surfaces of experience (sensory objects), but its transcendental depths (subjective concepts and intuitions unified by the apperception of the I). Psychedelics initiate us into the creative polarity of experience, revealing the way self and world, mind and reality, remain always in tension, never settling accounts so as to provide for some fixed foundation or taken for granted ground. Psychedelics make manifest to consciousness the groundlessness, the abyssal Chaos, that lies more or less hidden at the base of all things: (now)here we meet our maker, our mother. Such psychedelically induced auto-revelations of the origins of reality forces those initiated to become metaphysicians, doctors of the soul, who seek not to cure death (as physicians do), but to contemplate it endlessly. Philosophers (mistaken sometimes for claiming it to be a tomb) make a temple of the body, as though its very purpose and design was to manifest psyche, to make soul. Philosophy is Wisdom’s response to love. Love is what birthed us, it is our womb. Philosophy, then, is learning to die, which means learning to turn the body from a tomb into a temple. This was Socrates’ most important instruction to all lovers of wisdom, uttered at the birthplace of philosophy in an Athenian prison cell. Socrates, an initiate into the Eleusinian mystery religion (a lysergic acid fueled ritual), inaugurated the Western philosophical tradition while awaiting a heroic dose of hemlock. He was well aware that it was going to be a very intense trip.
Terence McKenna again on illusion and divine imagination: “ Psychedelics somehow change our channel from the evolutionarily important channel giving traffic, weather, and stock market reports to the one playing the classical music of an alien civilization. In other words, we tend to tune to the channel that has a big payback in the immediate world. It seems obvious to me that there are channels of the imagination that are not so tailored for human consumption…The Divine Imagination is the reality behind appearances. Appearance is simply the local slice of the Divine Imagination.” … “What psychedelics reveal is so intense and extreme an example that it argues strongly that the imagination is not the human imagination at all…The psychedelic experience at its intense levels goes beyond the terms of human motivation. It seems rather to enter an ontological reality of its own, one that the human being is simply privileged to observe briefly. A deep psychedelic experience says no more about a person’s personality than it does the continent of Africa. They are, in fact, independent objects. To my mind, the Divine imagination is the source of all creativity in our dreams, in our psychedelic experiences, in the jungles, in the currents of the ocean, and in the organization of protozoan and microbial life.” (p. 14-17)
Psychedelics direct our attention away from the instrumental concerns of survival (masses, positions, dimensions, etc.) and refocus it on the aesthetic dimensions of experience so we might learn not just to survive but to thrive.
II. What is the eucharist?
By invoking the eurcharist, I’m attempting to put psychedelics (which for much of the modern era have been displaced into the recreational arena) back into a ritual context. Re-ritualization is relatively straightforward, since we need only return to the models provided us by the ancient mystery religions. I’m going to focus on Eleusis since its mysteries are intimately bound up with the origins of philosophy. The precise nature of the annual rites at Eleusis were secret, but we can reconstruct a good deal of their meaning. They are thought to be a recapitulation of older, pre-Olympian goddess-worshipping rituals originating on the island of Crete. The major difference is that the older Cretan rites were celebrated publicly. Eleusis was an attempt to preserve these rites secretly, so as to protect them from the onslaught of patriarchy, which was uneasy, to say the least, with the implications of their psychedelically-induced revelations. These revelations offered insight into the mysterious death-rebirth cycle of plant life. The Eleusinian mystery rites were based on the myth of Demeter, mother earth, and Persephone, her daughter, who would become queen of the underworld after dining on a few pomegranate seeds while in hell with Hades. The myth is a symbolic representation of the seasonal shifts in vegetation (or perhaps these seasonal shifts are symbolic of the myth?).
Homer on this myth (a summary): “Persephone, playing in a meadow, came across a large and wondrous narcissus. As she reached for it, the ground gave way and the dark lord of the underworld, Hades, appeared on his golden chariot. He carried her off screaming to Zeus and the gods for help. Demeter heard her and rushed to find what had happened. For nine days she wandered the earth. On the tenth she appealed to the Sun who sees all in his daily travels. He reported that Zeus had given Persephone to his brother Hades to be his wife. Demeter, filled with grief, was angry. She removed all signs of her divinity and as an old woman walked the earth in quest of her daughter. At Eleusis she sat on the outskirts of town near a well; Clement of Alexandria noted that sitting on a well “is even now prohibited to those who are initiated, lest they should appear to mimic the weeping goddess.” Keleos’s four young daughters wanted to help her, and with their mother’s permission brought her home. Stepping onto the threshold, the old woman touched the roof beam with her head and a heavenly light filled the room. The family was filled with amazement and fear, but no one guessed she was a goddess. The girls’ mother, Metaneira, offered her fine chair, but Demeter waited in silence. Finally a waiting-woman offered a stool covered with white fleece. Demeter sat down, covered herself with her veil, and waited in silence, pining for her daughter. This refers to the silence of the mysteries and the fleece-covered stool on which the initiate sat. The waiting-woman induced Demeter to smile. Metaneira brought a goblet of sweet wine, but the goddess refused, requesting instead a drink of barley, water, and mint, referring to the mystery-drink. Later Metaneira gave Demeter her baby to rear. Demeter secretly fed the boy only the ambrosia of the gods, and at night concealed him in the embers of the fire, like a log. In this way he grew like a god, but Metaneira spied one night and shrieked at the sight of her son in the fire. Furious, Demeter snatched him out and exclaimed that he would have become ageless and immortal. Revealing herself as a goddess, she requested the people of Eleusis to build a great shrine in which she would instruct them in her rites. When the temple was finished, Demeter sat there pining for her daughter. Spring came but fields produced no growth, for heartbroken Mother Nature kept the seeds unsprouted in the ground. The human race would have perished, but Zeus took notice and one by one sent the other Olympians to summon her, but she spurned them all, inconsolable until she saw her daughter. Finally Zeus dispatched Hermes, guide of the souls of the dead, to entreat Hades to release Persephone. Hermes led her to the world above and Demeter ran to her, asking: “While you were in the underworld, surely you didn’t eat anything? For if you did, you’ll return for one-third of the seasons.” Persephone admitted she’d been tricked into eating some pomegranate seeds, and therefore had to spend one-third of each year as queen of the underworld and two-thirds among the rest of the gods. Demeter released the power that caused seeds to sprout, grow, and produce blossoms and harvest. And before returning to the ranks of the immortals she instructed the leaders of Eleusis in the sacred mysteries.” (http://www.theosophy-nw.org/theosnw/world/med/me-savage.htm)
This myth is suggestive of a correspondence between the death/rebirth cycle of plants and the death/rebirth cycle of human beings. Just like plants move from seed, to stem, to bud, to flower, to fruit, and back to seed again, human souls grow from birth, through infancy, adolescence, adulthood, and senility until death, at which point the soul leaves its temporary embodiment to become the seed for some future reincarnation. Like plants, human souls share in an immortality of sorts. In dying to our individual bodies, we live forever in the soul of the world. Eleusis (Eleuseos) literally means “the coming.” The child that Demeter was feeding ambrosia and placing in the fire to “grow like a god” is a hint of the divine child to come. In fact, there is more than a hint of the incarnation in the Eleusinian myth. It is a myth about the mystery of mortality, about the path through death to what lies beyond it.
The mystery rites at Eleusis took place over 9 days, symbolizing the 9 months of human gestation. Stages of major mystery ritual are symbolic of the archetypal perinatal matrices (Neptune—>Saturn—>Pluto—>Uranus).
Ingesting a psychedelic turns the world inside out, such that the soul extends beyond the skull to encompass us, while the seeming solidity of matter dissolves into the infinite plasticity of energy.
The Eleusinian ritual was an early form of the rite later celebrated by Christians as the Eurcharist. Demeter represented grain or bread for the Greeks. The annual rites also included invocations of Dionysius, another vegetation god, representing grapes or wine.
Terence on the psychedelic eucharist, the kykeon: “It has to be understood that psychedelics are a way to the Gaian mind. They are not metaphors for sacraments, they are real sacraments, and their efficaciousness can have political consequences.”
“Pharmakon” in Greek can mean both poison and remedy. In this sense, psychedelics are poison, in that they tend to catalyze ego death; on the other hand, they are remedies, in that it is only through the death of the ego that human beings are initiated into the true meaning of life and so are healed of the alienation that plagues the rational mind, which perceives itself as separate from the body, from earth, and from the wider cosmos.
Alphabetic technology and Alchemical technology: Plato was living amidst a crisis in consciousness brought about by a mutation in his media ecology: the older analog technology of speech was being augmented by the more recently invented digital technology of alphabetic writing. Psychedelics make both the limits and the power of oral or written language very apparent…
Chaos, Creativity, and Cosmic Consciousness (trilogues of McKenna, Sheldrake, and Abraham).
Plant Intelligence and the Imaginal Realm by Stephen Harrod Buhner
Darwin’s Pharmacy: Sex, Plants, and the Evolution of the Noösphere by Richard Doyle
Pharmakon: Plato, Drug Culture, and Identity in Ancient Athens by Michael Rinella
Below is the introductory lecture of a 10-week undergraduate course called “Mind and Nature in German Idealism” that I’m hoping will run this coming Fall (2014) for the University of Philosophical Research. If you’re an undergrad looking for an independent study, let me know.
I’ve just submitted my dissertation proposal for review. Click on the title below for the PDF.
I welcome suggestions, critiques, sources, and/or extensions.
Basically, I’m doing a comparative study of the philosopher Friedrich Schelling, the esotericist Rudolf Steiner, and the mathematician and cosmologist Alfred North Whitehead. In particular, I want to interpret their respective “etheric” ontologies (Schelling’s “world-soul/universal organizing principle,” Steiner’s “etheric formative forces,” and Whitehead’s “evental ether/Creativity”) as typical of the process-relational imagination.
The plate above, a painting of the Philosopher’s Tree, is from Splendor Solis, an alchemical treatise published by Solomon Trismosin in 1582.
A college student emailed me with some questions about the technical details of Whitehead’s metaphysical scheme as laid out in Process and Reality. I figured I’d post my response to him here since I haven’t been able to blog much lately and don’t want anyone to think I’ve given it up, and because some of this may be clarifying for other students of Whitehead. I didn’t include his questions, but you’ll get the gist of them anyway from my responses.
1. From Whitehead’s perspective, the World-Soul, like every other actual occasion, has two poles, a mental/active and a physical/passive. Unlike every other (finite) actual occasion, the (infinite) World-Soul’s polarity is reversed, such that the mental precedes the physical. Whitehead refers to the mental pole of the World-Soul as the “primordial nature of God.” It is sort of like the cosmic genetic code, and can be thought of as the source of what physicists call the physical constants and talk about as though they were “finely tuned” just so as to make our universe, with its stars, galaxies, planets, life, and intelligence possible. This primordial genetic code is both mathematical and qualitative. Every last particle or bud of experience includes this genetic code within it, just like each of the cells in our body contains a complete copy of our genome. Whitehead also refers to this code as God’s (or the World-Soul’s) “initial aim.” This initial aim lures every last drop of experience in the universe toward that combination of as yet unrealized potentials that is most beautiful (as originally decided by the World-Soul). So yes, you might say the simplest particles behave as physicists say they do as a result of mathematical and qualitative comprehensions (or “contemplations,” as Plotinus put it) of the World-Soul’s initial aim/primordial nature.
2. I assume you mean to ask if “eternal objects” should be thought of as eternal Platonic forms or as universals or general norms that adjust with the universe’s evolution. For Whitehead, unlike for Plato (at least most of the time–Plato is hardly consistent in his dialogues), eternal objects do not strictly speaking “exist” at all. For Plato, eternal objects are the most real and contain the most existence. For Whitehead, eternal objects are “deficient in actuality,” and so are literally nothing outside of their ingression into actual occasions of experience. In other words, Forms without Facts are empty. As the physical universe unfolds, the way each of the finite actual occasions making it up decides to actualize itself determines which eternal objects ingress. Eternal objects characterize “how” an occasion experiences its world. Whitehead describes eternal objects as “pure potentials” awaiting actualization. In themselves, eternal objects have no agency; they can only be realized or caused to ingress by the subjective decisions of actual occasions as to “how” they will experience the other occasions they objectify.
3. The constituents of actual occasions are other actual occasions. This is the paradoxical way that Whitehead settles the age old question of the one and the many. In the concrescence (or “growing together”) of each actual occasion, “the many become one, and are increased by one.” In other words, each present actual occasion is “made up” of its “prehensions” (or feelings) of other past, already actualized occasions (including itself). Present actual occasions are subjects for whom all past occasions are objects. So a presently concrescing actual occasion is composed of objectifications of past actual occasions. It is a unified subjective “now!” composed out of a past multiplicity of objects, adding itself upon the completion of its concrescence back to the multiplicity as a new object.
4. The building blocks of the universe are actual occasions, which are no more exclusively physical than they are exclusively mental. They are polarities, temporary equalizations of two infinitely opposed powers which we might call the powers of habit and of novelty. This is something like Spinoza’s polar monism, something like Leibniz’s monads, perhaps most like Schelling’s actants.
5. God is unique as primordial/mental, but God’s “consequent nature”/”physical pole” includes the experience of every actual occasion in the universe. Whitehead doesn’t want to exempt God from the same metaphysical categories that apply to all other actual occasions, but he does want to differentiate God (who is infinite) from finite occasions. He does this by reversing the polarity of the divine occasion.
Here is the audio of my presentation at the IWC last week in the philosophy of religion section:
Here is a PDF of the paper I read, titled “Worldly Religion in Whitehead and Deleuze: Steps Toward an Incarnational Philosophy”
- 9th Annual International Whitehead Conference in Kracow, Poland (footnotes2plato.com)
Also, thanks to Leon over at afterxnature.blogspot.com for posting my presentation, as well.
Something of a response to Levi Bryant/LarvalSubjects on “hylephobia.”
I posted this on FaceBook in a thread about humanities departments needing to get over Aristotle’s biology and was told to stop spamming, so I suppose I’d better just post it here instead.
If contemporary biology is going to throw out “purpose” and “essence” as concepts, it needs to throw out correlate concepts like “accident,” as well. I’d want to affirm that individual organisms were not planned in advance by God’s envisionment of the eternal forms as divided into a particular array of genera and species. By definition, a unique individual exists in excess of any abstract universal, whether at the special or general level in the chain of being. Even if there is such a Platonic God envisioning eternal objects, this envisionment could not determine the playing out of cosmic evolution. If time is truly evolutive–if it is a creative advance and not just a collision of particles–then even an all-knowing, all-powerful Laplacian God could not have known in advance (on “the first day”) what the physical universe would become in the last (today). We can’t think the realities of earth and sky in Aristotle’s terms anymore. No more purposes or essences determining species, but no more “accidents” or “mutations” determining them, either.
Organisms are negentropically powered homeodynamic systems that emerge, transform, and go extinct in the course of historical time. They live only by surfing thermodynamic gradients in their local environments. When these physical energy currents shift courses, organisms can either adapt or die. But so long as organisms meet the minimal entropic requirements of their energy environment, they are ‘free’ to evolve creatively. They can drift and are not simply shaped by pre-existing niches. Niches emerge alongside the creative decisions of organisms and are the not one-way causes of speciation. Random mutation and natural selection alone cannot account for the current or future biosphere (as Stu Kauffman is fond of repeating in ever-more convincing terms: http://www.necsi.edu/video/kauffman.html).
This doesn’t mean organisms are pre-programed by eternal forms, this means there is a non-random, non-programed “creative” aspect to the evolution of life. So gone are the ancient concepts of Creator and creature, Mind and matter, Essence and accident, Purpose and perversion, etc. What we need now are mediating concepts like Creativity, Imagination, Emergence, Expression, etc.
Go read Benjamin Cain’s fascinating and tightly argued essay posted at Three Pound Brain (the blog of author R. Scott Bakker). Below is my comment to him:
That was a thoroughly enjoyable read.
I agree with what may be your most important conclusion: that the real danger “we” face as auto-poetic “minds” is that techno-science is systematically disassembling the “cultural”/”folk psychological” conditions necessary for human ensoulment. The built-environments and electronic media we have surrounded ourselves with are not simply made in “our image”; the machines have also been making us, from the very beginning, into something other than human. The techno-evangelists call this the “transhuman,” but I’m not so sure we in the “developed” world are taking a step “beyond” our “natural” state as pre-scientific social animals.
Whether or not scientific knowledge can really transcend its biocultural conditions in order to speak transparently on behalf of the Facts of Nature, simply believing such a thing were possible has lead in a few short centuries to a total re-visioning of the purpose of human life (=consumerism) and civilization (=techno-capitalism).
Even if our pre-scientific ancestors really partook of something called “life” and had individual “souls” which found themselves in relation to “gods,” this became impossible the moment the techno-scientific utopia finally arrived. Once science dispelled every supposedly meaningful quality in the observable universe, “we” didn’t need “souls” anymore, or at least, we forgot how it was that our ancestors managed to ritually invoke them.
Mythic culture traditionally allowed for collective ceremony and celebration of the sacred marriage of earth and sky. It oriented primal humans to the rhythms of the cosmos upon which they depended (agriculturally for food and spiritually for existential orientation). We are wrong to assume that the imaginations of early humans “projected” meaning onto the patterned movements of earth and sky. Just like modern day machines shape us as we interact with them, impressing their digi-logic into our neuro-logic, the seasonal rhythms of earth and the cosmic revolutions of heaven projected their astro-logic into the imaginations of early humans. True myth was not “made up” by humans; the first human stories were learned by paying very close attention to the language of nature itself. Nowadays, with the stars drowned out by the light of our cities and the animals driven nearly to extinction by other industrial activity, human language has become far more arbitrary, far less archetypal. If nominalism was still entirely false in Plato’s day, it has since become truer in ours.
- The Universe as a Work of Art: Images of the Cosmos in Plato, Descartes, and Kepler (footnotes2plato.com)
- Eric Voegelin’s 1948 Definition of Scientism (maverickphilosopher.typepad.com)
- Responding to Levi Bryant on the Question of Religion (footnotes2plato.com)
“In my view the creation of the world is the first unconscious act of speculative thought; and the first task of a self-conscious philosophy is to explain how it has been done.” -Whitehead
Four of us met a few days back to discuss the first 75 pages of Ed Casey’s The Fate of Place: A Philosophical History (1998). I’ve heard there will be more of us next time. We talked about several ancient texts: the Babylonian Enuma Elish, Plato’s Timaeus, and Aristotle’s Physics.
We discussed the potential efficacy of ancient place-making rituals, such as that of the Australian Achilpa tribe (Fate of Place, 5). Can a single staff really found entire worlds? If a society’s world-staff were to break, would the people of that society’s world end? Would they all fall to the ground and die?
What is the modern scientific equivalent of a place-making staff stuck into the center of an aboriginal nomadic campsite? Perhaps it is geometry, the mathesis of points, lines, and planes used to draw the modern map of the globe? But what then is calculative science to make of the incalculable?: of perfect circles, infinite curves, and evolving spirals?; of real black holes and spiral galaxies?; of living organisms?
The modern scientific earth-measuring staff, the Cartesian coordinate grid, was meant to raise the human animal beyond erotic imagination into the heights of disinterested reason. But this staff has broken and can now only be used for firewood. Once turned to ash it should be scattered in a plurality of places. Chaos is the place-maker (not the place-made or the place-less), and its unruliness now and forever rules upon the earth beneath the sky. Chaos is the generative source of each and every topocosm, the place from which all order emerges.
Plato notwithstanding, the demiurge’s perfect forms of geometrical reflection have proven themselves unable to supplant geology and astrology as the philosophical foundations of cosmology. The volcanic instability of the earth and the angelic stability of the sky forbid our human pretenses to cosmic wisdom. We can only love wisdom and follow her; we cannot measure her. She is too deep.
The outer motions of earth and sky always already shape the inner emotions of humanity. We learn the God-poet’s ways first of all from Gaia and Ouranos. All other happenings are their child. We cannot invent geometry inside our heads ex nihilo, measuring the earth in some invented pseudo-space or Void, until we have first marked out our territory in the dirt and built a hut to block out the stars overhead. Only then can we place such heavy concentration on such airy abstractions.
Geometry need not lead to misplaced concreteness, of course. We need only remember that the staffs we plant in the sand can never stand the test of infinite time. Staff planting is a creative gesture, but every such planting already assumes sunlight and warm soil to feed the hand who hammers it. Staff planting is never ex nihilo.
Catherine Keller’s The Face of the Deep: A Theology of Becoming (2003) is a great example of how one might try to weave the living Word into place without getting tied in the literalistic knots of monolithic meaning. When speaking of angels, for example, we can follow her in drawing upon the rich tradition of hermeneutical heretics who turn to angelology in order to refute ex nihilo creation theories. Keller dwells rhapsodically upon the meaning of Elohim (Face of the Deep, 173-182), which is plural for Eloah (not a personal name, since it can be used to describe any deity). The plural noun is accompanied by a singular verb, bara, “create.” Some interpreters, like the 11th century Spanish-born poet Abraham Ibn Ezra, have claimed that Elohim refers to God’s angels. Keller’s Whiteheadian understanding of God as persuader rather than commander shines through when she writes regarding the implications of the Angelic/Elohimic plurisingularity:
Crowding and complicating the hermeneutical time-space, the turbulent swarm of godhood has always transgressed any possible boundaries between the One Original Creator and the many derivative creatures…According to this imaginary of bottomless process, the divine decision is made not for us but with and through us. Amidst the chaosmic committee work of creation, what work remains for a creator to do–aside from its decisive delegations (“let the earth bring forth,” etc.)? Can we say with process theology that the creator emits an eros…to which every creature willy-nilly responds? …Some respond more responsibly than others to the cosmic desire. Committees and democracies make a lot of messes…Our responses…generate our own plurisingular inter-subjectivities–out of the multiples of elemental energies, codes, socialities, ecologies that any moment constellate our cosmoi…Elohim arises out of those unruly depths, over which language catches its breath. The creator, in creating, becomes. In singular plurality (178-182).
Keller is a skilled hermeneut, capable of holding her breath long enough to dive into the polysemic depths of scriptural meaning, and of surfacing to tell the story of her journey without superficially collapsing it into a monotone theology or exploding it into relativistic jelly. She carefully unwinds the palimpsestic threads woven into the poetic phrase that begins the Biblical book of Genesis, tohu vabohu, to discover evidence of a goddess’ murder.
The Hebrew poet who wrote Genesis was clearly influenced by the Babylonian Enuma Elish, which depicts the warrior God Marduk’s slaughter of Tiamat (related to the Semitic Tehom, “abyss”). The traditional interpretation of the phrase, under the monotheistic pretense of demythologization, denies all agency to the Tehom. The ex nihilo doctrine requires that God be alone in the beginning, the sole creator of everything, even that out of which creation is shaped. Keller, like Casey, reads into tohu vabohu and uncovers its prepatriarchal significance enfolded just beneath the surface. Rather than traditional commentators, who point to the monotony (“God said…God said…God said…”) of the creation narrative as evidence of its utter transcendence over any other merely mythic event, Keller focuses on the “flirtatiously alliterative wordplay” (116) of these same verses. The “monotonotheism” (Nietzsche) of the ex nihilo tradition is replaced with the participatory eroticism of Elohim’s creative persuasiveness: let the earth produce (tadse) vegetation (dese) (1:11); let the waters produce (yisresu) sea creatures (seres) (1:20). Tohu vabohu is read with the “shinning wake” of its animistic origins in tact, such that the precreation elements are read not as “formless and void,” but as active participants responsive to God’s angelic call to cosmos. In effect, Elohim had to ask permission before creating. The God-poet, no matter how genius, always sings with a chorus, remaining forever placed in the chora, located in cosmic imagination. No creative act is ever from nothing.
- Robert Romanyshyn’s “alchemical hermeneutics” as the foundation of a method in the participatory study of esotericism (footnotes2plato.com)
- Plato & Imaginative Apologetics (onetheology.com)
- Location and Mereology (plato.stanford.edu)
- Responding to Michael about Root Images in the Philosophy of Nature (footnotes2plato.com)
I realized I posted the same section twice last week, so here is the real historical and overview section of my dissertation proposal.
This dissertation examines the metaphysics of imagination in the process philosophies of Schelling and Whitehead through the hermeneutical lens of a certain stream of Western esotericism. In describing the process-philosophical imagination as etheric, I aim in particular to cross-fertilize the process tradition with 20th century esotericist Rudolf Steiner’s conception of the Ätherleib, or ether body. The concept of an ether body did not originate with Steiner, but he provides an example of a modern hermetic practitioner whose knowledge of natural science and deep familiarity with the esoteric history of philosophy, particularly German Idealism, make him among the best possible candidates for such a comparative project. The exact origins of the Western esoteric tradition are notoriously difficult to trace. According to The Catholic Encyclopedia, esotericism’s beginnings “have long been a matter of controversy and are still largely a subject of research. The more these origins are studied, the farther they seem to recede in the past.”5 In her groundbreaking study of Renaissance hermeticism, Francis Yates argued that it was Issaac Casaubon’s post-Christian dating of hermetic texts supposed by Renaissance magi like Ficino to predate Moses that definitively “shattered at one blow” the entire conceptual edifice of the esoteric prisci theologi.6 In contrast to Yates, Garth Fowden makes the case that these early hermetic texts are more continuous with the Egyptian alchemical tradition than Casaubon realized.7 The question of the origin of any tradition is inherently controversial. The true source of the hermetic tradition is especially contested due in no small part to its penchant for religious hybridization. Rather than try to stake out a position in this controversy, my research into the weird family of esoteric traditions will proceed without any assumption of purity. Steiner is foregrounded only because of his familiarity with Schelling and modern science, not because his Anthroposophy is somehow the most “authentic” expression of esotericism.
In his introduction to The Hermetic Deleuze (2012), Joshua Ramey laments the “general academic-philosophical prejudice” against esotericism, suggesting that this prejudice “constitutes a symptomatic repression of the complexity of both the history of modern philosophy and the stakes of contemporary culture.”8 Ramey’s more pessimistic attitude is tempered by S. J. McGrath, who in the introduction to The Dark Ground of Spirit: Schelling and the Unconscious (2012) suggests that esotericism “is gaining respect in non-foundationalist academic circles” due largely to “the postmodern absence of authoritative arguments for continuing to exclude whole genres of Western literature from more canonically respectable studies in religion and philosophy.”9
Like the esoteric traditions, the process tradition has also found itself on the margins of the Western philosophical canon, and is only more recently being creatively retrieved by a number of academics across multiple disciplines. Most standard readings of the history of modern philosophy consider Schelling to be a mere stepping-stone between Fichte’s subjective and Hegel’s absolute idealism. Though usually characterized along with them as an “idealist” himself, I will follow thinkers like Iain Hamilton Grant10 and Arran Gare11 by situating Schelling within the process tradition as a thinker primarily of nature (be it human, divine, or cosmic nature).
Contemporary Schelling scholar Jason Wirth finds it regrettable that “many have long thought that we are done with Schelling, that he is a ‘dead dog.’”12 It seems that the only respectable academic tasks remaining are to “[dissect] the corpus of Schelling into its various periods and phases,…expose inconsistencies in his thinking, attach various isms to his arguments, [and/or to] situate him in some narrative within the history of philosophy.”13 More recently, however, due in some part to Wirth’s and Grant’s efforts, this sentiment seems to be shifting; as Wirth writes, “after more than a century and a half of neglect, Schelling’s time has come.”14 One of the principle reasons for this emerging Schelling renaissance, I’ll argue, is the relevance of his process-oriented Naturphilosophie to the task of re-thinking the relationship between humanity and earth in light of the planetary ecological crisis.
The longstanding neglect of Schelling, especially in the Anglo-American academy, has not been without reason. There is indeed something strange and extravagant, even occult, about Schelling’s thought, at least when judged from within the intellectual strictures of modern academic philosophy. However, the severity of the ecological crisis has brought many of the foundational assumptions of modern philosophy into doubt,15 opening the way for a reconsideration not only of Schelling’s conception of an ensouled cosmos, but of a whole swathe of previously marginalized esoteric philosophical literature. Schelling’s approach to philosophy was deeply influenced by the theosophy of Jakob Böhme, Friedrich Christoph Oetinger, Philipp Matthäus Hahn, and Franz von Baader, which makes the cross-fertilization of the process and esoteric traditions sought in my dissertation all the more appropriate.
Though somewhat influential among American theologians during the later half of the 20th century, until quite recently Whitehead, like Schelling, has been neglected by academic philosophers. According to Michel Weber and Anderson Weekes, this neglect is largely the fault of Whiteheadians themselves, whose almost total focus on scholastic textual exegesis and lack of interdisciplinary outreach has threatened Whitehead’s ideas with extinction by creating the perception that they are only available “in fossil form.”16 Weber and Weekes’ negative assessment of the last half-century of Whitehead scholarship may be somewhat overstated, especially considering the many examples of interdisciplinary engagement in the work of Whiteheadian theologians like Charles Hartshorne, John Cobb, and David Ray Griffin. Though there may have been an element of “scholasticism” that assumed the superior capacity of Whitehead’s technical system to conduct and translate interdisciplinary disagreement, the more probable reason for process philosophy’s academic marginalization is the fact that it conceives of nature as enchanted and takes notions like panpsychism and the existence of an encosmic divinity seriously.
Whether or not Weber and Weekes’ have overstated the insularity of the first wave of Whitehead scholarship, they represent part of a second wave of outsiders who are, as they put it, “storming the museum.”17 Another second wave Whiteheadian, Isabelle Stengers, argues that the Whiteheadian palette is currently being greatly enriched “by practitioners from the most diverse horizons, from ecology to feminism, practices that unite political struggle and spirituality with the sciences of education…in a singularly lively and tenacious way.”18 Rather than approaching Schelling and Whitehead as a museum curator, my dissertation will aim to breathe new life into their thought, to think with them towards a more imaginative philosophy of mind and of nature enriched by the speculative resources of esoteric wisdom.
According to McGrath, though the esoteric schools represent a diverse set of theories and practices, they are nonetheless “united by a common enemy: the desacralization of nature (material nature, human nature, cosmological nature) by techno-science and capitalist consumerism.”19 He argues that critiques of esotericism as “regressive,” “anti-modern,” and “anti-scientific” are misguided. Although esotericism shares modernity’s “impulse toward human amelioration through science,” it seeks this amelioration through an alternative conception of the human-cosmos relation: “Western esoteric nature-philosophy refuses to follow mainstream natural science and split mind from matter, spirit from animal, finite from infinite…Esoteric modernity is a road not taken in the history of science…a modern approach to nature which was openly rejected in the seventeenth century because it did not grant us the calculative control which techno-science demanded of the Western mind.”20 One of the major goals of this dissertation is to show that, along with Western esotericism, process philosophy also contains the seeds of an alternative conception of modernity no longer bent on the domination of human and earthly nature by alienated modes of theoretical and practical rationality. Both the esoteric and process traditions provide philosophy with a new way of seeing the universe–a way of seeing (i.e., the etheric imagination) which in turn may provide humanity with a new way of living in concert with the wider community of life on earth.
Imagination itself has had a rather tense, even tumultuous, relationship to philosophy going all the way back to Plato, who infamously denied poets entry to his ideal city.21 For many philosophers in the modern Western tradition, its ineffable, largely non-rational and often erotically charged powers were considered deeply suspect, both for epistemological and for ethical reasons–even when imagination played a central role in their own philosophical systems! For example, as Alexander Schlutz argues, even though Descartes “forcefully excludes imagination from his conception of the cogito,”22 he nonetheless draws upon its poetic powers repeatedly in his physical speculations, and even admits during his autobiographical narration in Discourse on the Method (1637) that “doubt itself…is a product of imagination.”23 Similarly, though Kant affirms imagination as an “indispensable function of the human soul,” he also denigrates it as “a potential source of madness, delusion, and mental derangement.”24 I will revisit the paradox of this “double gesturing” by the major figures in the history of philosophy throughout my dissertation, connecting it to the polar, oscillatory dynamism so characteristic of imagination. I will attempt to articulate a less ambiguous, esoterically-inflected approach to the philosophical imagination that is responsive to the challenges made evident by these major figures.
5 The Catholic Encyclopedia, Volume IV: Esotericism and Gnosticism.
6 Yates, Giordano Bruno and the Hermetic Tradition (1964), 400.
7 Fowden, The Egyptian Hermes: A Historical Approach to the Late Pagan Mind (1986), 34-35.
8 Ramey, The Hermetic Deleuze, 6-8.
9 McGrath, The Dark Ground of Spirit: Schelling and the Unconscious (2012), 21.
10 Philosophies of Nature after Schelling (2006).
11 “From Kant to Schelling to Process Metaphysics: On the Way to Ecological Civilization” in Cosmos and History: The Journal of Natural and Social Philosophy, vol. 7, no. 2, 2011.
12 Wirth, The Conspiracy of Life: Meditations on Schelling and His Time (2003), 1. Wirth here employs the philosopher Gotthold Ephraim Lessing’s epithet originally coined as a reference to Spinoza, a controversial figure in Germany at the turn of the 19th century, as well as a major influence on Schelling.
13 Wirth, The Conspiracy of Life: Meditations on Schelling and His Time (2003), 1-2.
14 Wirth, ed., Schelling Now: Contemporary Readings (2005), 9.
15 Schelling was ahead of his time in this respect, writing in 1809 that “The entire new European philosophy since its beginning (with Descartes) has the common defect that nature is not available for it and that it lacks a living ground” (Philosophical Investigations into the Essence of Human Freedom, 26).
16 Process Approaches to Consciousness in Psychology, Neuroscience, and Philosophy of Mind (2009), 2.
17 Process Approaches to Consciousness in Psychology, Neuroscience, and Philosophy of Mind (2009), 2.
18 Stengers, Thinking With Whitehead: A Free and Wild Creation of Concepts (2011), 6.
19 McGrath, The Dark Ground of Spirit: Schelling and the Unconscious (2012), 22.
20 McGrath, The Dark Ground of Spirit: Schelling and the Unconscious (2012), 22.
21 Though of course, Plato’s relationship to imagination and poetry is not so cut and dry. He may have banished the poets from his Republic, but he himself was one of the most imaginative and poetic writers in the history of letters.
22 Schlutz, Mind’s World: Imagination and Subjectivity from Descartes to Romanticism (2009), 4.
23 Schlutz, Mind’s World: Imagination and Subjectivity from Descartes to Romanticism (2009), 77.
24 Schlutz, Mind’s World: Imagination and Subjectivity from Descartes to Romanticism (2009), 4.
Below is another section of my dissertation proposal…
In What Is Philosophy?, Deleuze and Guattari distinguish between a singular pedagogy of the concept and a universal encyclopedia of the concept.155 What does it mean to say that Deleuze’s philosophical method is pedagogical, rather than encyclopedic? It means that philosophical concepts are not catalogued in advance, they are individually invented as needed to dissolve the poorly posed problems that emerge in the course of research.156 In Difference and Repetition, Deleuze makes a similar distinction between learning and knowledge.157 Knowledge is the memorization of specific facts and general laws that can only pretend to final comprehension, while learning is the incarnation of Ideas, an ongoing apprenticeship to problematic concepts that initiates one into the sub-sensory creativity of paradox. “Philosophers are always recasting and even changing their concepts,” Deleuze writes. “Sometimes the development of a point of detail that produces a new condensation, that adds or withdraws components, is enough. Philosophers sometimes exhibit a forgetfulness that almost makes them ill. According to Jaspers, Nietzsche ‘corrected his ideas himself in order to create new ones without explicitly admitting it; when his health deteriorated he forgot the conclusions he had arrived at earlier.’ Or, as Leibniz said, ‘I thought I had reached port; but…I seemed to be cast back again into the open sea.’”158 In his preface to Difference and Repetition, Deleuze describes his method of writing from a place of ignorance; like Leibniz, he is always beginning again, lost at sea. Deleuze writes: “How else can one write but of those things which one doesn’t know, or knows badly? It is precisely there that we imagine having something to say. We write only at the frontiers of our knowledge, at the border which separates our knowledge from our ignorance and transforms the one into the other. Only in this manner are we resolved to write. To satisfy ignorance is to put off writing until tomorrow–or rather, to make it impossible.”159
The philosopher can only begin in media res, like Odysseus, lost at sea. He first finds itself there at the elemental limits of things, at the oceanic horizon of earth with only the starry heavens as a compass. He first task is to steady his metaphysical gaze upon these limits, thereby stilling the nausea associated with rootlessness. His final task is an infinite one, not merely to steadily “hover between heaven and earth,” or to “drop anchor permanently in some safe cove,” but to “dare to meet the truth freely,” without fear “of shipwreck on the rocks or sandbars”; the philosopher, continues Schelling, must “risk everything, desiring either the whole truth, in its entire magnitude, or no truth at all.”160
The philosophical researcher must accept that he can only begin writing in muddled confusion of poorly posed problems. This is the initial condition of the philosopher after the end of philosophy, when the history of philosophy, with all its truth and good sense, no longer claims authority over thinking. The history of philosophy no longer provides today’s thinkers with a steady stairway to the heaven of eternal ideas. Though it is true, as Whitehead suggests, that “philosophy is dominated by its past literature to a greater extent than any other science,”161 my attempt to philosophize anew must find a way to allow this history to function as collage does in painting: like a palette of personalities available for dramatizing concepts in response to the problems that matter today.162
“Method,” writes Deleuze, “is the means of that knowledge which regulates the collaboration of all the faculties. It is therefore the manifestation of a common sense or the realization of a Cogitatio natura, and presupposes a good will as though this were a ‘premeditated decision’ of the thinker.”163 Contrary to the pretense of a scientific method seeking certain knowledge, a pedagogical method is attentive to the fact that “learning is, after all, an infinite task.” For Deleuze, “it is from ‘learning,’ not from knowledge, that the transcendental conditions of thought must be drawn.”164 This pedagogical transcendental is not based on Kant’s fixed table of logical categories, the a priori conditions for all possible knowledge of objects, but rather on an experimental set of aesthetic categories, the genetic conditions for new becomings-with objects. Deleuze mentions Whitehead’s categoreal scheme as an example of the new transcendental aesthetic, where unlike representational categories, it is not only possible experience that is conditioned, but actual experience. He calls Whitehead’s categories “phantastical,” in that they represent novel creations of the imagination never before encountered by philosophers.165 For Whitehead, because each experient is a perspective on the world and an element in the world, the categories of an experientially adequate philosophical scheme must elucidate the “paradox of the connectedness of things:–the many things, the one world without and within.”166 In other words, while Whitehead accepts modern philosophy’s focus on the self-created perspective of the subject–that, in some sense, the world is within the subject (as in Kantian transcendental idealism)–he holds this insight in imaginative polar unity with the common sense presupposition that the subject is within the world. This refusal to remove subjective experience from the world of actual entities bring’s Whitehead’s panexperientialism very close to Deleuze’s transcendental empiricism.
The mind is not the only problem solver; it is not the intelligent observer and manipulator of a stupid and passive nature. The etheric formative forces driving nature’s evolutionary “education of the senses” are just as creative and problematically arrayed as are the imaginative forces shaping the historical education of the human mind. As Deleuze argues, “problematic Ideas are precisely the ultimate elements of nature and the subliminal objects of little perceptions. As a result, ‘learning’ always takes place in and through the unconscious, thereby establishing the bond of a profound complicity between nature and mind.”167 Mind is simply a more complexly folded nature. The proper maintenance of their conscious complicity depends upon what Deleuze calls the “education of the senses,” by which he means the raising of each power of the imagination to its limit so that their mutual intra-action quickens the whole into the creation of difference in itself. The path of the learner is “amorous” (we learn by heart), but also potentially fatal,168 since the creation of difference–though free from the anxieties of method, free of having to know with certainty–for precisely this reason always risks the creation of nonsense, or worse, the descent into madness. But in the end, the researcher must take these risks, since “to what are we dedicated if not to those problems which demand the very transformation of our body and our language?”169 Deleuze’s transcendental empiricism does not privilege the faculty of thought, as does Kant’s transcendental idealism. While thought concerns itself with the domains or levels of virtuality (what Whitehead refers to as the hierarchy of eternal objects, or definite possibilities), it is the faculty of imagination that “[grasps] the process of actualization,” that “crosses domains, orders, and levels, knocking down the partitions coextensive with the world, guiding our bodies and inspiring our souls, grasping the unity of mind and nature.”170 Imagination, continues Deleuze, is “a larval consciousness which moves endlessly from science to dream and back again.”171 Deleuze’s faculty of imagination is no mere conveyer belt, transporting fixed categories back and forth along the schematic supply line between thought and sensation. By bringing the imagination face to face with the wilderness of existence, Deleuze forces it to rediscover the wildness within itself. Faced with what Schelling called “the unprethinkable” (das Unvordenkliche)172 sublimity of the elemental forces of the universe, the imagination becomes unable to perform its domesticated role in service to the a prioris of the understanding. “That which just exists,” writes Schelling, “is precisely that which crushes everything that may derive from thought, before which thought becomes silent…and reason itself bows down.”173 It is upon confronting the unprethinkability of these elemental forces that “imagination finds itself blocked before its own limit: the immense ocean, the infinite heavens, all that overturns it, it discovers its own impotence, it starts to stutter.”174 But, continues Deleuze, imagination’s sublime wounding is not without consolation: “At the moment that imagination finds that it is impotent, no longer able to serve the understanding, it makes us discover in ourselves a still more beautiful faculty which is like the faculty of the infinite. So much so that at the moment we feel our imagination and suffer with it, since it has become impotent, a new faculty is awakened in us, the faculty of the supersensible.”175
Like Whitehead, who wrote in The Concept of Nature that “the recourse to metaphysics is like throwing a match into the powder magazine. It blows up the whole arena,”176 Deleuze’s pedagogical metaphysics quickens the philosophical imagination’s powers into “a harmony such that each transmits its violence to the other by powder fuse.”177 Rather than converging on a common sense, Deleuze’s education of the senses approaches the point of “para-sense,” where “thinking, speaking, imagining, feeling, etc.” overcome themselves to create new forms of perception responsive to encounters with paradoxical Ideas and capable of incarnating them as meaningful symbols through a process of learning.178 Deleuze would here seem to approach Steiner’s spiritual science, where it is thought that “there slumber within every human being faculties by means of which individuals can acquire for themselves knowledge of higher worlds.”179 Like Steiner, Schelling’s understanding of the Idea’s gradual incarnation in the course of an evolutionary cosmogenesis leads him to argue that “the time has come for a new species, equipped with new organs of thought, to arise.”180
Deleuze’s pedagogy of the concept and problematic method of enduring within the symbolic fields constellated by encounters with Ideas is especially relevant to my research on the process philosophical tradition, since, according to Deleuze, “problems are of the order of events–not only because cases of solution emerge like real events, but because the conditions of a problem themselves imply events.”181 For Whitehead, as for Deleuze, “the ultimate realities are the events in their process of origination.”182 Whitehead calls this process of origination concrescence. Concrescence refers to the process of “growing together” whereby “many become one and are increased by one.”183 Each individual concrescing event, according to Whitehead, “is a passage between two…termini, namely, its components in their ideal disjunctive diversity passing into these same components in their [real] concrete togetherness.”184 Similarly, Deleuze describes the incarnation of a problematic Idea as an event that unfolds in two directions at once, along a real and an ideal axis: “At the intersection of these lines,” writes Deleuze, “–where a powder fuse forms the link between the Idea and the actual–the ‘temporally eternal’ is formed.”185 Whitehead’s evental ontology, wherein eternal objects intersect with actual occasions in the process of concrescence, can be read in terms of Deleuze’s account of the incarnation of Ideas, whereby concrescence becomes a temporary solution achieved through the condensation of the fragmentary multiplicity of past actualities and future possibilities into a precipitated drop of unified experience. The problematically condensed occasion of experience cannot endure in its unity long since it is perpetually perishing into objective immortality, leading “the solution to explode like something abrupt, brutal and revolutionary,”186 becoming experiential debris to be gathered up again by the occasions that follow it.
Deleuze also describes incarnating Ideas as a two-faced expression of both the power of love (the ideal principle which seeks to progressively harmonize the fragmented times of past and future to form a unified “temporally eternal” solution) and the power of wrath (the real principle which angrily condenses these solutions until they explode, creatively issuing in revolutionary new problems). He argues that the most important aspect of Schelling’s process theology is his consideration of these divine powers of love and wrath, where love relates to God’s existence and wrath to God’s ground.187 Schelling conceives of both love and wrath as positive powers which therefore do not simply negate one another as opposed concepts in a Hegelian dialectic of contradiction, where wrath would struggle with love before both were sublated in some higher Identity. Rather, the eternal encounter between divine love and divine wrath leads to their mutual potentialization into a dynamic succession of evolutionary stages in nature (Stufenfolge). “These two forces [infinitely expanding love and infinitely retarding wrath], clashing or represented in conflict, leads to the Idea of an organizing, self-systematizing principle. Perhaps this is what the ancients wanted to hint at by the soul of the world,” writes Schelling.188
For Deleuze, “Ideas no more than Problems do not exist only in our heads but occur here and there in the production of an actual historical world.”189 Ideas are not simply located inside the head. Nor can Ideas be entirely captured inside the grammatical form of a logical syllogism, even if that syllogism is dialectically swallowed up and digested in the course of history by an Absolute Spirit. Even though the primary instrument of speculative philosophy is language, Ideas should never be reduced to propositions, nor should philosophy be reduced to the labor of “mere dialectic.”190 Dialectical discussion “is a tool,” writes Whitehead, “but should never be a master.”191 According to Schelling, the age old view that “philosophy can be finally transformed into actual knowledge through the dialectic…betrays more than a little narrowness.”192 That which gets called from the outside “dialectic” and becomes formalized as syllogistic logic is a mere copy, “an empty semblance and shadow” of the authentic mystery of the philosopher, which, for Schelling, is freedom. Freedom is the original principle underlying both mind and nature, the archetypal cision generative of all Ideas through the “secret circulation” between the knowledge-seeking soul and its unconsciously knowing Other.193 The authenticity of the philosopher’s “inner art of conversation” depends upon this doubling of the soul into I and Other through an act of imagination. Without this imaginal doubling, the original cision of freedom is repressed and philosophy devolves into the formulaic dialectical refinement of the customary sayings and conceptual peculiarities of contemporary commonsense.194
Dialectic leads at best only to a kind of Urdoxa, or original opinion: “The dialectic,” writes Deleuze, “claims to discover a specifically philosophical discursiveness, but it can only do this by linking opinions together. It has indeed gone beyond opinion toward knowledge, but opinion breaks through and continues to break through. Even with the resources of an Urdoxa, philosophy remains a doxography. It is always the same melancholy that raises disputed Questions and Quodlibets from the Middle Ages where one learns what each doctor thought without knowing why he thought it (the Event), and that one finds again in many histories of philosophy in which solutions are reviewed without ever determining what the problem is (substance in Aristotle, Descartes, Leibniz), since the problem is only copied from the propositions that serve as its answer.”195
As Whitehead describes it, “the very purpose of philosophy is to delve below the apparent clarity of common speech”196 by creatively imagining “linguistic expressions for meanings as yet unexpressed.”197 Whitehead’s adventure of Ideas, like Schelling’s and Deleuze’s, is not a search for some original opinion, or for the “complete speech” (teleeis logos) of encyclopedic knowledge.198 Ideas are not merely represented inside an individual conscious mind, they are detonated in the imaginal depths of the world itself. Exploding Ideas seed symbolic vibrations that echo along the cosmic membrane (or “plane of immanence”) and unfold at the level of representational consciousness as a profound complicity between mind and nature: Ideas generate synchronicities.
It follows that Ideas, for Whitehead as for Deleuze, “are by no means essences,” but rather “belong on the side of events, affections, or accidents.”199 As Steven Shaviro writes of Whitehead’s “eternal objects,” they ingress into events as “alternatives, contingencies, situations that could have been otherwise.”200 Ideas, that is, are tied “to the evaluation of what is important and what is not, to the distribution of singular and regular, distinctive and ordinary.”201 “The sense of importance,” writes Whitehead, “is embedded in the very being of animal experience. As it sinks in dominance, experience trivializes and verges toward nothingness.”202 The Western philosophical tradition’s obsession with pinning down general essences instead of open-endedly investigating particular experiences–its emphasis on asking “what is…?” instead of “how much?,” “how?,” “in what cases?” in its pursuit of Ideas–has fostered only stupidity, erroneousness, and confusion.203 “Ideas emanate from imperatives of adventure,” writes Deleuze, not from the banality of encyclopedic classification.204 The mistaken identification of Ideas with dead essences has lead to the inability of modern philosophy to grasp the utter dependence of rationality on “the goings-on of nature,” and to the forgetfulness of “the thought of ourselves as process immersed in process beyond ourselves.”205
Despite the shared conceptual emphasis of much of Deleuze’s, Schelling’s, and Whitehead’s philosophical work, Deleuze’s dismissive attitude toward methodological knowledge in favor of a culture of learning may at times fall prey to Whitehead’s “fallacy of discarding method.” Though Whitehead was critical of tradition-bound and narrow-minded methodologies as well (as is evidenced by his corresponding “dogmatic fallacy”), he distances himself from philosophers like Nietzsche and Bergson (perhaps Deleuze’s two most important influences) because they tend to assume that intellectual analysis is “intrinsically tied to erroneous fictions” in that it can only proceed according to some one discarded dogmatic method.206 “Philosopher’s boast that they uphold no system,” writes Whitehead. “They are then prey to the delusive clarities of detached expressions which it is the very purpose of their science to surmount.”207 “We must be systematic,” continues Whitehead, “but we should keep our systems open [and remain] sensitive to their limitations.”208
155 Deleuze and Guattari, What is Philosophy?, 12.
156 Deleuze and Guattari, What is Philosophy?, 16.
157 Deleuze, Difference and Repetition, 164.
158 Deleuze, Difference and Repetition, 21-22.
159 Deleuze, Difference and Repetition, xxi.
160 Schelling, “Of the I as Principle of Philosophy” (1795) in The Unconditioned in Human Knowledge (1980), 64.
161 Whitehead, Adventures of Ideas, 229.
162 Deleuze, Difference and Repetition, xxi.
163 Deleuze, Difference and Repetition, 165.
164 Deleuze, Difference and Repetition, 166.
165 Deleuze, Difference and Repetition, 284-285
166 Whitehead, Adventures of Ideas, 228.
167 Deleuze, Difference and Repetition, 165.
168 Deleuze, Difference & Repetition, 23.
169 Deleuze, Difference and Repetition, 192.
170 Deleuze, Difference and Repetition, 220.
171 Deleuze, Difference and Repetition, 220.
172 “Das Unvordenklichkeit” is, according to Dale Snow, “one of the most difficult German expressions to translate.” He suggests it might be “somewhat clumsily…rendered as ‘the unpreconceivability of Being,’ implying that there is always that in reality which will remain beyond thought” (Snow, Schelling and the End of Idealism (New York: SUNY, 1996), 235n8. My translation of “das Unvordenkliche” derives from Bruce Matthews, who renders it as “that before which nothing can be thought” (Matthews, Schelling’s Organic Form of Philosophy: Life as the Schema of Freedom (New York: SUNY, 2011), 28.
173 Schelling, Schellings sämtliche Werke, trans. Matthews, II/3, 161.
174 Deleuze, Kant seminar (4/4/1978); http://www.webdeleuze.com/php/texte.php?cle=65&groupe=Kant&langue=2 [accessed 4/26/2013].
175 Deleuze, Kant seminar (4/4/1978); http://www.webdeleuze.com/php/texte.php?cle=65&groupe=Kant&langue=2 [accessed 4/26/2013].
176 Whitehead, The Concept of Nature, 29.
177 Deleuze, Difference and Repetition, 193.
178 Deleuze, Difference and Repetition, 194.
179 Steiner, Knowledge of the Higher Worlds, ch. 1 [http://wn.rsarchive.org/Books/GA010/English/RSPC1947/GA010_c01.html]).
180 Schelling, Einleitung in die Philosophie (1830), trans. Grant, Philosophies, 55.
181 Deleuze, Difference and Repetition, 188.
182 Whitehead, Adventures of Ideas, 236.
183 Whitehead, Process and Reality, 21.
184 Whitehead, Adventures of Ideas, 236.
185 Deleuze, Difference and Repetition, 189.
186 Deleuze, Difference and Repetition, 190.
187 Schelling, Philosophical Investigations into the Essence of Human Freedom (1809).
188 Schelling, On the World Soul, transl. by Iain Hamilton Grant, Philosophies of Nature After Schelling, 145.
189 Deleuze, Difference and Repetition, 190.
190 Whitehead, Adventures of Ideas, 228.
191 Whitehead, Adventures of Ideas, 228.
192 Schelling, Ages of the World, xxxvii.
193 Schelling, Ages of the World, xxxvi.
194 Schelling, Ages of the World, xxxvii.
195 Deleuze, What Is Philosophy?, 80.
196 Whitehead, Adventures of Ideas, 222.
197 Whitehead, Adventures of Ideas, 227.
198 See Glenn Magree, Hegel and the Hermetic Tradition, intro.
199 Deleuze, Difference and Reptition, 187.
200 Shaviro, Without Criteria: Kant, Whitehead, Deleuze, and Aesthetics, 40.
201 Deleuze, Difference and Reptition, 189.
202 Whitehead, Modes of Thought, 9.
203 Deleuze, Difference and Repetition, 188-190.
204 Deleuze, Difference and Repetition, 197.
205 Whitehead, Modes of Thought, 8.
206 Whitehead, Adventures of Ideas, 222.
207 Whitehead, Adventures of Ideas, 222.
208 Whitehead, Modes of Thought, 6.
Below is another section of my dissertation proposal. More to come…
John Sallis begins his Force of Imagination: The Sense of the Elemental (2000) by regretting the Husserlian phenomenological tradition’s tendency to subordinate imagination to pure perception in an effort to “[protect] the bodily presence of the perceived from imaginal contamination.”208 Sallis argues that the force of imagination cannot be reduced without remainder to the “image-consciousness” studied by phenomenology, since it is primarily deployed at the generative roots of conscious experience where the intentional ego finds itself ecstatically undone by the powers of the World-Soul and the sublime depths of the elemental cosmos. For Sallis, there is “a more anterior operation of imagination” than mere fancy or superficial imagining, an operation beyond the horizontal limits of consciousness and so “constitutive even for perception”: “If such a deployment of the force of imagination should prove already in effect in the very event in which things come to show themselves,” writes Sallis, “then perhaps one could begin to understand how, at another level, imagination could issue in a disclosure pertinent to things themselves.”209
The phenomenological tradition’s theoretical image of imagination as “no more than the self-entertainment of conjuring up images of the purely possible” is derived, according to Sallis, from the modern age’s largely instrumentalist commonsense, whereby important decisions concerning the future are made “based merely on calculation and prediction” without concern for their aesthetic or ethical implications.210 Imagination, reduced to its merely recreative function, is deemed to work only with one’s personal memories and fantasies without any deeper participation in the sub-sensory history or super-sensory destiny of the evolving universe. For today’s materialistic commonsense, “the very relation of imagination to time comes to border on the inconceivable.”211 Sallis’ sense for the constitutive role of imagination in synthesizing the experience of past and future in a living present allies him with the process tradition. In his Ages of the World project, for example, Schelling attempted to narrate the past, discern the present, and intimate the future ages of the World-Soul by coming to experience a recapitulation of these ages within his own soul.212 Jason Wirth, Schelling’s translator, suggests that the unfolding of such an experience within the soul might allow thinking to become “the same…as the autopoietic movement of time,”213 thereby re-establishing the profound connection between mind and nature known to all pre-modern peoples, though now in a modern, evolutionary context. “Created out of the source of things and the same as it,” writes Schelling, “the human soul is conscientious [Mitwissenschaft] of creation.”214
For Whitehead, every actual occasion, whether atomic, anthropic, or galactic in scale, “includes that which in cognitive experience takes the form of memory, anticipation, imagination, and thought.”215 The exercise of imagination via the ingression of eternal objects orients a concrescing actual occasion of experience to the real possibilities available to it in the future. Whitehead’s process ontology provides a coherent account of the interplay of both final causality (lure of the future) and efficient causality (pressure of the past) in nature, thereby making the relation of human imagination to evolutionary time conceivable once again.
After critically situating his inquiry into imagination in relation to the phenomenological tradition, Sallis cautiously lauds the legacy of Romanticism. “Cautiously” because he notes the tendency of contemporary culture to waver indecisively between dismissiveness and empty valorization of the “almost unprecedented inceptiveness and intensity” of Romantic thought and poetry.216 It is as if the accomplishments of this era, though almost universally appreciated, are too beautiful to be true, and so the Romantic vision of the world persists today only as a fantastic dream. Sallis calls upon his contemporaries to look again at the “almost singular texts” of the Romantics, to reread them slowly and carefully so as to allow “their provocative force to come into play.”217 The continued relevance of the process tradition to which Schelling and Whitehead belong (as well as the esoteric tradition I aim to cross-fertilize with them) is closely bound up with the fate of the Romantic tradition. Sallis’ attempt to retrieve the radical implications of the Romantic imagination is therefore essential to my research.
Is the Romantic vision of the world too beautiful to be true? Sallis turns to the poet John Keats to get a handle on the way that imagination is said to possess “a privileged comportment…to truth.” “What the imagination seizes as Beauty,” writes Keats, “must be truth–whether it existed before or not.”218 Imagination’s comportment to the truth of beauty is then twofold, establishing itself in both the beauty of what already is, and the beauty of what is not yet but might be made so. “The truth may have existed before the establishing,” writes Sallis, “in which case the establishing would consist in…remembering it; or the truth may not have existed before the establishing, in which case the establishing would consist in…originating the truth, or, in Keats’ idiom, creating it.”219 Sallis reads Keats’ statement as an expression of the paradoxical nature of imagination, enabling it to seize beauty as truth in a simultaneously “originary” and “memorial” way, a kind of creative discovery. The logic of imagination in this sense is not bound by the law of non-contradiction, but hovers between opposed moments allowing contradiction to be sustained.220 “Schelling expresses it most succinctly,” according to Sallis, when he writes in his System of Transcendental Idealism that it is only through imagination that “we are capable of thinking and holding together even what is contradictory.”221
Perhaps the most important consequence of imagination’s ability to generate polarity by hovering between contraries rather than allowing them to degenerate into dualistic opposition is that the all too familiar subordination of the sensible to the intelligible world must be radically reformulated. Again, Sallis draws on Keats, who calls us to look upon the sensory world with an imaginal passion or creative love whose reflected light, “thrown in our eyes, genders a novel sense.”222 The truth of Beauty is not perceived abstractly as by an intellect seeking “a fellowship with essence,”223 but rather by an etheric sense which wreathes “a flowery band to bind us to the earth.”224 The true world is not to be found in “the clear religion of heaven,”225 but in the “green world”226 of earth.
Like Keats’ “novel sense” engendered when imagination is lovingly seized by the true light of Beauty, Whitehead speaks of the “basic Eros which endows with agency all ideal possibilities.”227 In Whitehead’s philosophical scheme, intelligible essences become the ideal possibilities or conceptual feelings evaluated by the mental pole of a concrescing occasion. No longer distant unmoved movers, these Ideas erotically yearn for immanent realization, for incarnation in an actual occasion of experience. Ideas act as lures for feeling generative of “novel senses,” thereby creatively shaping the purposes of individual actual occasions. The creative advance of the universe is driven forward by the integration of the real feelings of the physical pole (prehensions of past actualities) with the ideal feelings of the mental pole (ingressions of future possibilities): Novelty, in other words, “results from the fusion of the ideal with the actual:–The light that never was, on sea or land.”228
The light Keats and Whitehead speak of is perceivable only with the power of etheric imagination, the novel sense that, if it becomes common, can heal the bifurcation of nature instituted by modern scientific materialism. “Nature knows not by means of science,” writes Schelling, “but…in a magical way. There will come a time when the sciences will gradually disappear and be replaced by immediate knowledge. All sciences as such have been invented only because of the absence of such knowledge. Thus, for instance, the whole labyrinth of astronomical calculations exists because it has not been given to humanity immediately to perceive the necessity of the heavenly movements, or spiritually to share in the real life of the universe. There have existed and there will exist humans who do not need science, through whom nature herself perceives, and who in their vision have become nature. These are the true clairvoyants, the genuine empiricists, and the men who now describe themselves by that name stand to them in the same relation as pretentious demagogues stand to prophets sent from God.”229
Sallis connects Keats’ reversal of the typical philosophical evaluation of intelligible originals as truer than sensible images to Nietzsche’s “revaluation of all values” in Thus Spoke Zarathustra. “I beseech you, my brothers,” Nietzsche has Zarathustra say, “remain true to the earth!”230 In his account of “How the ‘True World’ Finally Became a Fable,” Nietzsche traces the historical development of the dualism between the True and the apparent world from Plato, through Christianity, to Kant. Finally, in Nietzsche’s day, the subordination of appearance to Truth had come to be refuted: “The true world–we have done away with it: what world was left? the apparent one perhaps?…But no! with the true world we have also done away with the apparent one!”231 The return to the sensible called for by Sallis, Keats, and Nietzsche, and Whitehead and Schelling in their own way, is then not a simple reversal that would place appearances above intelligibles. Such an inversion would be nonsensical. Rather, the very dichotomy must itself be overcome so as to provide an entirely new interpretation of the sense of the sensible.232 Sallis suggests that this new orientation to the sensory world will require also a new orientation to logos, to speech. His work toward a “logic of imagination” is largely an attempt to reconstruct the sense of speech so that it is no longer “subordinated…to an order of signification absolutely anterior to it.”233 In other words, rather than the meaning of speech being thought of as a derivative of some preconstituted intelligible order, this meaning is to be brought forth out of the sense of the sensible itself. “What is now required,” writes Sallis, “is a discourse that would double the sensible–interpret it, as it were–without recourse to the intelligible.”234 Instead of the old dichotomy between the intelligible and the sensible, Sallis turns to elemental forces like earth and sky for philosophical orientation: “Distinct both from intelligible άρχαί [archetypes] and from sensible things, the elementals constitute a third kind that is such as to disrupt the otherwise exclusive operation of the distinction between intelligible and sensible. At the limit where, in a certain self-abandonment, philosophy turns back to the sensible, this third kind, the elemental…serves to expose and restore the locus of the primal sense of vertical directionality, on which was founded the sense of philosophical ascendency, indeed the very metaphorics of philosophy itself. One recognizes the Platonic image of the cave is not one image among others; rather, in the depiction of the ascent from within the earth to its surface where it becomes possible to cast one’s vision upward to the heaven, the very translation is enacted that generates the philosophical metaphorics.”235
Sallis admits that such a logic of imagination, in that it “[disturbs] the very order of fundamentality and [withdraws] from every would-be absolute its privileging absolution,”236 places philosophy in a somewhat unsettled, even ungrounded, position. Indeed, Nietzsche’s call to return to our senses by being true to the earth is not an attempt to erect a new foundation for philosophy on more solid ground. Nietzsche sought a new beginning for philosophy in the groundless world of becoming–the world of “death, change, age, as well as procreation and growth.”237 Even the earth is made groundless by the geological forces slowing turning it inside out. Nietzsche subjected all prior philosophers to the earthquakes of his hammer, showing mercy only to Heraclitus, perhaps the first process philosopher, for challenging Parmenides’ emphasis on static Being. Heraclitus declared instead that all things flow.
Although Sallis articulates his logic of imagination largely in the context of Nietzsche’s anti-foundationalism, Whitehead’s aesthetically-oriented process ontology may provide a more consctructive example of how to philosophize after the “True world” has become a fable. In Contrast to Nietzsche’s more demolitional approach, you might say Whitehead philosophizes with a paint brush. For Whitehead, the dichotomy between appearance and reality is not as metaphysically fundamental as has been assumed from ancient Greek philosophy onwards.238 The over-emphasis of this dichotomy is based upon the misleading notion that perception in the mode of “presentational immediacy” is the basis of experience, when in fact, perception in the mode of “causal efficacy” is more primordial. Another way of phrasing it would be to say that, instead of seeing consciousness as the highly refined end product of a complex process of experiential formation rooted in the vague feelings of the body and the emotional vectors of its environment, philosophers have made the clear and distinct ideas of conscious attention their starting point. “Consciousness,” writes Whitehead, “raises the importance of the final Appearance [presentational immediacy] relatively to that of the initial Reality [causal efficacy]. Thus it is Appearance which in consciousness is clear and distinct, and it is Reality which lies dimly in the background with its details hardly to be distinguished in consciousness. What leaps into conscious attention is a mass of presuppositions about Reality rather than the intuitions of Reality itself. It is here that the liability to error arises.”239 The main error of traditional philosophy has been to overemphasize the metaphysical importance of the clarity and distinctness of conscious attention. “[We] are conscious of more than clarity,” writes Whitehead. “The importance of clarity does not arise until we have interpreted it in terms of the vast issues vaguely haunting the fullness of existence.”240 Whitehead argues that this overemphasis on clarity, already in germ in ancient Greece, eventually lead, in the modern period, to the disastrous separation of mind from nature and the related doctrine of “physical matter passively illustrating qualities and devoid of self-enjoyment.”241
“In the discussion of our experience,” writes Whitehead, “the first point for notice is the superficial variability in our clear consciousness of qualitative detail. [It] results from an effort of concentration and elimination. Also it is never sustained. There is always a flickering variation, varied by large scale transference of attention. Consciousness is an ever-shifting process of abstracting shifting quality from a massive process of essential existence. It emphasizes. And yet, if we forget the background, the result is triviality…The whole notion of our massive experience conceived as a reaction to clearly envisaged details is fallacious. The relationship should be inverted.”242
Whitehead avoids this modern bifurcation of nature by not organizing his philosophizing around the clear sensa and distinct ideas projected before his conscious attention. He vastly expands the speculative scope of his adventure in cosmology by beginning to philosophize in media res, caught amidst the passions of bodily inheritance streaming in from the depths of space and time, lured forward by the ideal possibilities yearning to flow back into the world. There is a kind of “intellectual intuition” at the generative root of Whitehead’s cosmology, an initiatory experience of the cosmic crucifixion eternally binding the Idea to space and time. Whitehead himself suggests as much when, in The Concept of Nature (1919),243 he approvingly quotes Schelling’s account of intellectual intuition: “In the ‘Philosophy of Nature,’” writes Schelling, “I considered the subject-object called nature in its activity of self-constructing. In order to understand it, we must rise to an intellectual intuition of nature. The empiricist does not rise thereto, and for this reason in all his explanations it is always he himself that proves to be constructing nature. It is no wonder, then, that his construction and that which was to be constructed so seldom coincide. A Naturphilosoph raises nature to independence, and makes it construct itself, and he never feels, therefore, the necessity of opposing nature as constructed (i.e., as experience) to real nature, or of correcting the one by means of the other.”244 Whitehead’s intellectual intuition of nature leads him to imaginatively generalize the archetypal dynamics of his own experience so that they can be applied to the experience of actual occasions of every grade. Causal efficacy finds its analogue in the initial “physical pole” of a concrescing occasion, while presentational immediacy is related to the final “mental pole.” In Whitehead’s universe, there is no longer any passive matter lacking experience whose qualities are projected onto it by conscious animals. Rather, the final real things are actual occasions and the entire universe is a living organism.
Whitehead, as well as Schelling, Sallis and company, do not prescribe any simple inversion of the traditional subordination of the sensible world of earthly existence to the intelligible heaven of divine Ideas. Both Whitehead’s philosophy of organism and Schelling’s Naturphilosophie provide examples of the generative power of a new organ of philosophical perception (or intellectual intuition)–the etheric imagination. This organ dissolves the bifurcated consciousness of the spatially frozen intellect by sensorily opening to the “becoming of Being,” to the ingressions of eternity into the aesthetic (e)motions of organic time. In the process philosophies of Schelling and Whitehead, not even God escapes becoming: “God is a life, not merely a Being,”245 as Schelling writes. In the final chapter of Whitehead’s Process and Reality, he imagines how a merely “primordial” God (i.e., God as original Being or perfect Act beyond all beings) would remain buried in the eternal ground of unconscious darkness like a dormant seed unless it was drawn forth by the light and wisdom of a “consequent” pole. Schelling agrees with Whitehead when he writes that “Being becomes aware of itself only in becoming.”246 God must thereby everlastingly integrate original action and complete passion: God is beyond all beings while at the same time becoming-with all beings. As Schelling argues, “Without the concept of a humanly suffering God, one which is common to all mysteries and spiritual religions of earliest time, all of history would be incomprehensible; scripture also distinguishes periods of revelation and posits as a distant future the time when God will be all in all things, that is, when he will be fully realized.”247
Neither Schelling nor Whitehead seek to invert Plato; they seek only to truly understand the mystery his philosophy attempts to convey. Plato’s philosophic method was rooted in the generation of problematic encounters between appearances and reality. His philosophical investigations were spiritual exercises which in his own day and for many centuries after proved liberating both for individual souls and for political bodies. But his initiatory Idea of eternity’s participation in the (e)motions of the World-Soul degraded, for the idolatrous moderns, into the nonsensical idea that an active and intelligent mind “in here” must attack and overcome a blind and stupid nature “out there.” “It is here,” writes Whitehead, “that the prominent epistemology of the modern centuries has been so weak. It has interpreted the totality of experience as a mere reaction to an initial clarity of sensa [via presentational immediacy]. The result is that the reaction is limited to the data provided by the sensa … the mass of our moral, emotional, and purposive experience is rendered trivial and accidental.”248 This idea was first formalized by Galileo into the doctrine of the primary and secondary qualities: Primary qualities are the real, mathematizable aspects of nature accessible only to the intellect (as mediated by telescopes and calculators), while secondary qualities are appearances projected onto primary things/numbers by the contingently evolved sensory organs of the body. Things/numbers are said to determine the necessary and universal laws of mechanistic physics, while organic appearances (species with their attendant psyches) are said to transform haphazardly in the blind struggle for existence. “Things” are here equivalent to Whitehead’s notion of abstract “scientific-objects” constructed in the course of scientific investigation. These abstract objects, according to Whitehead, “embody those aspects of the character of the situations of the physical objects which are most permanent and are expressible without reference to a multiple relation including a percipient event.”249 “Numbers” are not themselves scientific-objects, rather they are “formulae for calculation [which] refer to things in nature,” while “scientific objects are the things in nature to which the formulae refer.”250
It has been known since at least Plato that, to learn the laws of nature, it is best to study the motions of the stars overhead. As for planet earth, down here there are no things/numbers. Down here are only occasions of experience, incandescent tear drops of a creatively dying divinity, an ever-complexifying entanglement between eternal Ideas and actual events. Things/numbers are real enough “up there” in the abstract space of calculation. But here on earth, where we are, a thing is but a distant flickering in the sky. The geometers have forgotten that all measurement begins with geo- and remains planted on the planet. A thing’s trail can be traced, but we always tell the star’s tale with the soil beneath our feet, swallowed by the weight of our inherited bodies, overwhelmed by the fate of our enculturated minds. It is not only the heavens who are spinning; it is we, too. What we see “out there” is an imaginal achievement of the World-Soul whose organs extend from quarks through human beings and trees out to stars and galaxies. All of it is here with us when we are there with it.
Sallis’ attempt to articulate a “logic of imagination” that brings logos down to earth, returning it to its senses, can further assist my reading of Schelling by making the challenges of translation explicit. I am not a fluent reader of the German language, which may be an important reason not to write on Schelling. However, even if I cannot claim expertise in German, I believe I have been able to familiarize myself with what is at stake philosophically in the translation of certain key words, not the least of which are Einbildungskraft (which Sallis translates as “force of imagination”) and Schelling’s neologism Ineinsbildung (which Coleridge translates as “esemplastic power”). For Sallis, translation is not simply the problem of carrying meaning from one language over to another; it is a problem internal to each language, the problem of signification itself. That is to say, even if I were to draw upon only English-speaking authors, the problem of the translation of their “true meaning” would remain. When there are no longer any pre-constituted intelligible signifieds for the sense of a language to signify, logos can no longer be grounded in Reason but must instead find its footing in “the sense of the sensible.”251 The classical sense of translation, where two different languages are said to signify the same transcendent signified, is no longer credible.252 A logic of imagination thus calls for the creation of a novel philosophical style, a new linguistic idiom or rhetorical flowering that “[lets] the discourse engender sense in and through the very movement in which it comes to double the sensible.”253 Rather than approaching the problem of translation, then, as that of carrying over the original meaning of Schelling’s German texts, I will approach the sense of Schelling’s (and the other German authors in his milieu’s) work not just in an attempt to “to teach philosophy to speak English,”254 but also to irreversibly disrupt any sense of a presupposed purity or simple identity to “the English language.” As the English translator of Schelling’s early essays on transcendental philosophy, Fritz Marti, has written, “Philosophy is not a matter of denominational schools, nor does it have one sacred language. Whatever is philosophically true ought to appeal to man as man. Therefore every philosophical formulation demands translation and retranslation. This is why philosophy has a genuine history. Religious words seem timeless. Philosophy demands perpetual aggiornamento. It must be up-to-date. Its truths are reborn by translation.”255 Philosophy, that is, requires constant updating. It remains always unfinished, always lacking the logical completeness of a definitive translation, not because it is pointless or would then come to contradict itself, but because its task is infinite. The telos of philosophy is not wisdom, the goal is not to be wise; rather, the philosopher’s telos is eros, the love of wisdom, becoming-with her instead of replacing her with himself. If the generative form of all philosophy is the absolute I, then the living content of philosophy must be “an infinity of actions whose total enumeration forms the content of an infinite task.”256
I will not encounter Schelling’s German texts as a fluent reader of his language, and so must depend largely upon the sensitivities of certain translators. Even so, in proceeding by way of a logic of imagination, I’ve learned that the problem of translation was already internal to my own language. For this reason, my reading of German (as well as French, Latin, Greek, …) texts is part of an attempt to take English to the very limits of its sense, to philosophize in a style rooted in a logic of imagination, rather than a logic of designation.257 “The truly universal philosophy,” writes Schelling, “cannot possibly be the property of a single nation, and as long as any philosophy does not go beyond the borders of a single people one can be safe in assuming that it is not yet the true philosophy.”258
In my reading of Schelling and Whitehead, I will draw attention to the creative “errors” in their translations of their own philosophical predecessors. I will also attend to the paradox of creative plagiarism exemplified in the poet-philosophers who carried this new process philosophy of imagination from Europe to England to America. “This is the constant ambiguity of the notion of origin,” writes Deleuze, “Origins are assigned only in a world which challenges the original as much as the copy, and an origin assigns a ground only in a world already precipitated into universal ungrounding.”259
208 Sallis, Force of Imagination, 14.
209 Sallis, Force of Imagination, 15.
210 Sallis, Force of Imagination, 15.
211 Sallis, Force of Imagination, 16.
212 Schelling, Ages of the World, p. xxxv.
213 Schelling, Ages of the World, p. 136n5.
214 Schelling, Ages of the World, p. xxxvi, transl. by Jason Wirth. In a footnote Wirth adds that his translation of Mitwissenschaft as “conscientious” is meant “to evoke at least three senses of the Latin conscientiæ: joint knowledge, consciousness, as well as the ethical sense of the conscience” (136n5).
215 Whitehead, Science and the Modern World, 154.
216 Sallis, Force of Imagination, 16.
217 Sallis, Force of Imagination, 16.
218 The Letters of John Keats 1814-1821, ed. Hyder Edward Rollins (Cambridge, Mass.: Harvard University Press, 1958), 1:183-87.
219 Sallis, Force of Imagination, 17-18.
220 Sallis, Logic of Imagination, 161.
221 Sallis, Logic of Imagination, 4.
222 John Keats, Endymion Book I, line 808.
223 John Keats, Endymion Book I, line 779.
224 John Keats, Endymion Book I, line 7.
225 John Keats, Endymion Book I, line 781.
226 John Keats, Endymion Book I, line 16.
227 Whitehead, Adventures of Ideas, 210.
228 Whitehead, Adventures of Ideas, 211.
229 Schelling, Gesam. Werke, Abt. I. Bd. vii. “Kritische Fragmente,” p. 246; quoted in The Intuitive Basis of Knowledge: An Epistemological Inquiry by Nikolaĭ Onufrievich Losskiĭ, transl. by Nathalie A. Duddington (London: Macmillan, 1919), 170.
230 Nietzsche, Also Sprach Zarathustra, in vol. VI 1 of Werke: Kritische Gesamtausgabe, ed. Giorgio Colli and Mazzino Montinari (Berlin: Walter de Gruyter, 1968), 9. Transl. by John Sallis.
231 Twilight of the Idols: Or, How to Philosophize with a Hammer (1888), in The Nietzsche Reader, ed. Keith Ansell Pearson and Duncan Large (Oxford: Blackwell, 2006), p. 465.
232 Sallis, Force of Imagination, 33.
233 Sallis, Force of Imagination, 23.
234 Sallis, Force of Imagination, 33.
235 Sallis, Force of Imagination, 173.
236 Sallis, Force of Imagination, 21.
237 Twilight of the Idols: Or, How to Philosophize with a Hammer (1888), in The Nietzsche Reader, ed. Keith Ansell Pearson and Duncan Large (Oxford: Blackwell, 2006), 462.
238 Whitehead, Adventures of Ideas, 209.
239 Whitehead, Adventures of Ideas, 270.
240 Whitehead, Modes of Thought, 147-148.
241 Whitehead, Adventures of Ideas, 210, 212.
242 Whitehead, Modes of Thought, 147-148.
243 Whitehead, The Concept of Nature, 47.
244 Schelling, Gesam. Werke, Abt. I. Bd. iv. “Ueber den wahren Begriff der Naturphilosophie” (“On the True Concept of Naturphilosophie”), 96; quoted in The Intuitive Basis of Knowledge: An Epistemological Inquiry by Nikolaĭ Onufrievich Losskiĭ, transl. by Nathalie A. Duddington (London: Macmillan, 1919), 170.
245 Schelling, Philosophical Investigations into the Essence of Human Freedom, 66.
246 Schelling, Philosophical Investigations into the Essence of Human Freedom, 66.
247 Schelling, Philosophical Investigations into the Essence of Human Freedom, 66.
248 Whitehead, Modes of Thought, 147.
249 Whitehead, The Concept of Nature, 74.
250 Whitehead, The Concept of Nature, 74.
251 Sallis, Force of Imagination, 32.
252 Sallis, Force of Imagination, 36.
253 Sallis, Force of Imagination, 34.
254 Sallis, Force of Imagination, 35.
255 Schelling, The Unconditional in Human Knowledge: Four Early Essays (1794-1796), transl. and comm. by Fritz Marti (London: Bucknell University Press, 17-18).
256 Schelling, System of Transcendental Idealism (1800), 50.
257 See Sallis, Force of Imagination, 122, for more on how the images of imagination withdraw from simple designation by words. A logic of designation assumes an original meaning exists that might be successfully indicated in the lingo of another language, while a logic of imagination endlessly blurs the distinction between an original and its copies.
258 Schelling, On the History of Modern Philosophy, 190.
259 Deleuze, Difference and Repetition, 202.
The following is excerpted from my dissertation proposal, which is tentatively titled “Etheric Imagination in Process Philosophy from Schelling to Whitehead.” I’ll be posting more selections in the coming days.
To become rooted in the etheric forces of imagination, the process philosopher must learn to think like a plant. Michael Marder’s “vegetal metaphysics”80 provides a contemporary example of the power of plant-thinking to (re)turn modern philosophy to its etheric senses. Marder’s critical account of the history of Western metaphysics exhaustively details philosophy’s theoretical incoherences and practical inadequacies as regards the vegetal dimension of reality. He shames Aristotle for the “violence” his formal logic of identity and non-contradiction “unleashed against plants,”81 diagnoses Hegel’s negative dialectic as a mere symptom of his “[allergy] to vegetal existence,”82 and regrets Husserl’s essentializing “failure to think the tree” itself.83
To be fair to these philosophers, Steiner’s four-fold ontology is an evolutionarily re-formulated version of Aristotle’s psychological anthropology as described in De Anima, wherein “physical…,vegetative, sensitive and intellectual souls” are each set to work within the whole human being.84 Husserl, like Steiner, was initiated into the intentional structure of consciousness by Franz Brentano, but ultimately both Steiner’s and Husserl’s etheric imaginations hearken to a form of post-Copernican geocentrism (“the original ark, earth, does not move”85). As for Hegel, Schickler points to Steiner’s mediating conception of a living ether circulating between mind and nature as a cure for his allergic reaction to the supposed linearity of plants (by which he understood them to be closer to crystals than to animals).86 Hegel’s dialectical logic forces him to leave the blind growth of plant-life outside the autopoietic circle of the Concept, thereby alienating a self-conscious mind from a dead, petrified nature.87 Unlike Hegel and the idealist tradition, who “[retreated] from the world of the senses” and so failed “to consider an ontology intrinsic to life,” Steiner “[cultivated] organs of cognition which [enabled] him to enter ever more deeply into” the etheric sub-dimension of the sensory world.88 In Marder’s terms, Steiner learned to think like a plant. “The plant sets free the entire realm of petrified nature, including mineral elements, if not the earth itself,” writes Marder.89
David Hume, though not mentioned in Marder’s historical account, had his own bout of vegetal thinking in the midst of composing his Dialogues on Natural Religion, dialogues in which Cleanthes at one point is made to deploy an ontophytological critique of Philo’s over-determined analogization of the universe to an animal. Unlike an animal, argues Cleanthes, the universe we experience has “no organs of sense; no seat of thought or reason; no one precise origin of motion and action.” “In short,” Cleanthes jests, “[the universe] seems to bear a stronger resemblance to a vegetable than to an animal.”90 Cleanthes’ does not really believe the universe is a self-generating plant, he only suggests as much in order to undermine the credibility of Philo’s animal analogy.91 Philo responds by accepting the critique of the animal analogy, but then opportunistically turns the relative credibility of the vegetable analogy against Cleanthes’ own argument for design: “The world plainly resembles more…a vegetable, than it does a watch or a knitting-loom,” says Philo. “Its cause, therefore, it is more probable, resembles…generation or vegetation…In like manner as a tree sheds its seed into the neighboring fields, and produces other trees; so the great vegetable, the world, or this planetary system, produces within itself certain seeds, which, being scattered into the surrounding chaos, vegetate into new worlds.”92 Philo, of course, is no more sincere in his vegetal speculations than Cleanthes was in his. He doubts whether philosophy will ever have enough data to determine the true nature and cause of the universe. In the intervening two centuries since Hume published his Dialogues, mathematical and technological advances have allowed scientific cosmology to drastically expanded and complexify the range of data available to assist the natural philosopher’s speculative imagination. Modern scientific cosmology, especially when interpreted in light of the organic process ontology of Schelling and Whitehead, with their emphasis on self-organization and evolutionary emergence, only seems to have made the reality of Hume’s giant vegetable more probable.
Marder’s “plant-nature synecdoche,” which posits that plants are “the miniature mirror of phusis,” has only become more scientifically plausible in the intervening centuries since Hume’s vegetal conjecture.93 Why, despite the breadth of his “ontophytological” deconstruction of Western metaphysics, Marder makes no mention of Hume’s imaginatively generative double gesturing toward plants, I do not know.
Hume, of course, was not the first to philosophize about the vegetal life of the universe. That honor belongs to Plato, who wrote in Timaeus that the philosopher is a “heavenly plant” or “heavenly flower.” “We declare,” Plato has Timaeus say, “that God has given to each of us, as his daemon, that kind of soul which is housed in the top of our body and which raises us–seeing that we are not an earthly but a heavenly plant–up from earth towards our kindred in the heaven. And herein we speak most truly; for it is by suspending our head and root from that region whence the substance of our soul first came that the divine power keeps upright our whole body.”94
The next to carry forward Plato’s plant-thinking was Plotinus, into whose philosophy Marder writes that “there is no better point of entry…than the allegory of the world–permeated by what he calls ‘the Soul of All’–as a single plant, one gigantic tree, on which we alongside all other living beings (and even inorganic entities, such as stones) are offshoots, branches, twigs, and leaves.”95 Plotinus’ World-Tree grows from a single inverted root. The inverted root of the World-Tree is an image of the ever-living One that, though it “gives to the plant its whole life in its multiplicity,”96 itself remains forever “unaffected by the dispersion of the living.”97 Neither Marder, Whitehead, or Schelling accepts Plotinus’ emanational monism. Marder calls for an “anarchic radical pluralism,”98 a title which could just as well describe Whitehead and Schelling’s process ontology. Nonetheless, though they reject monism in favor of pluralism, all three carry forward Plotinus’ root image of an organic, vegetal universe.
Marder, like Schelling and Whitehead, conceives of nature “as suffused with subjectivity.”99 He likens the life of the plant (phutō) to the whole of nature (phusis), arguing that plant-life “replicates the activity of phusis itself.”100 “Phusis,” continues Marder, “with its pendular movement of dis-closure, revelation and concealment, is yet another…name for being.”101 Hume had Philo argue against the plausibility of divining the nature of the whole based on an acquaintance with its parts,102 but in daring to ontologize the vegetal life of the whole of nature (making its “life” more than a “mere” metaphor), Marder displays his allegiance to the ancient hermetic principle of correspondence: “as it is above, so it is below; as it is below, so it is above.”103
The hermetic principle of circular correspondence between the one above and the many below is not simply an abstract mental concept. It is a magical symbol whose power is enacted not only in the ideal meanings of the mind, but in the living movements of nature. These movements are made most obviously apparent by the mystery of the seasonal life-cycle of the plant realm. Though Hume clearly recognized that plant-life presented a definite limit to traditional metaphysical speculation, he remained uninitiated into the death/rebirth mystery esoterically encrypted in this vegetal threshold. Whitehead also invoked the hermetic principle by balancing Plato and Plotinus’ preferential treatment of the One with his own more Heraclitian “Category of the Ultimate.” Creativity is an ultimate category that dissolves the classical metaphysical dichotomy separating the single supreme Creator from its many subsidiary creatures. “Creativity,” writes Whitehead, “is the universal of universals characterizing ultimate matter of fact. It is that ultimate principle by which the many, which are the universe disjunctively, become the one actual occasion, which is the universe conjunctively.”104 Through this process of creative advance from disjunction to conjunction, a novel entity is created not present in the prior dispersion. “The novel entity,” continues Whitehead, “is at once the togetherness of the ‘many’ which it finds, and also it is one among the disjunctive ‘many’ which it leaves; it is a novel entity, disjunctively among the many entities which it synthesizes. The many become one, and are increased by one.”105 The many down below thereby enter into and pass through the one up above, just as the one up above enters into and passes through the many down below. Schelling also creatively inherits the hermetic principle of correspondence by analogizing the metaphysical polarity of the many below and the one above to the physical pulsation–the “systole” and “diastole” rhythm–of living nature. “The antithesis eternally produces itself,” writes Schelling, “in order always again to be consumed by the unity, and the antithesis is eternally consumed by the unity in order always to revive itself anew. This is the sanctuary, the hearth of the life that continually incinerates itself and again rejuvenates itself from the ash. This is the tireless fire through whose quenching, as Heraclitus claimed, the cosmos was created.”106 Schelling offers the telling example of a tree to show how this cosmogenetic rhythm resonates through the whole to the parts and back again: “Visible nature, in particular and as a whole, is an allegory of this perpetually advancing and retreating movement. The tree, for example, constantly drives from the root to the fruit, and when it has arrived at the pinnacle, it again sheds everything and retreats to the state of fruitlessness, and makes itself back into a root, only in order again to ascend. The entire activity of plants concerns the production of seed, only in order again to start over from the beginning and through a new developmental process to produce again only seed and to begin again. Yet all of visible nature appears unable to attain settledness and seems to transmute tirelessly in a similar circle.”107
Schelling is not only one of a handful of philosophers to escape deconstruction by Marder’s vegetal anti-metaphysics, he even earns Marder’s praise for defending the continuity between life and thought.108 Schelling suggests that “every plant is a symbol of the intelligence,”109 and that this symbolic intelligence finds expression precisely in the plant’s power of “sensibility,” which–even when the pendulum of organic nature has swung toward its opposite but complimentary pole of “irritability”–remains the “universal cause of life.”110 The whole of nature being organic, its supposedly inorganic material dimension is therefore described by Schelling as only one half of the universal polarity between gravity and light, where light as the formal/ideal force exists in dynamic tension with gravity as the material/real force. What appears at first to be inorganic matter, when considered in its full concreteness as always already conditioned by the universal communicability of light, is really just the germ of organic life.111 As an illustration of the life-producing relationship between gravity and light, Schelling offers the example of the electromagnetic connection between earth and the sun responsible for calling forth plant-life out of the planet.112 Steiner similarly remarks that any attempt to understand the inorganic, mineral dimension of earth independently of the plant-life it supports will remain hopelessly abstract: “Just as our skeleton first separates itself out of the organism,” says Steiner, “so we have to look at the earth’s rock formations as the great skeleton of the earth organism.”113 Steiner further argues that the cultivation of etheric imagination will allow the philosopher to come to see “the plant covering of our earth [as] the sense organ through which earth spirit and sun spirit behold each other.”114 The mineral and plant realms are to earth what the skeletal and sensorial organs are to the human body. As Plotinus wrote, “earth is ensouled, as our flesh is, and any generative power possessed by the plant world is of its bestowing.”115
A process philosophy rooted in the power of etheric imagination requires an inversion or reversal of our commonsense experience of the universe. It is as if the world were turned inside out, or as if we were walking upside down upon the earth, with our head rooted in the ethereal soil of formative forces streaming in from the cosmos above, our limbs yearning for the living ground below, and our heart circulating between the two in rhythmic harmony. Rather than stretching for the abstract heights of the intelligible as if to steal a glimpse of heaven, the force of etheric imagination returns philosophy’s attention to earth, and to the roots, branches, leaves, flowers, fruits, and seeds of plants, earth’s most generous life forms, and indeed the generative source of life itself. Thinking with etheric imagination is thinking with a plant-soul. Plant-souls, according to Marder, partake of a “kind of primordial generosity that gives itself to all other creatures, animates them with this gift,…allows them to surge into being, to be what they are.”116
Heraclitus’ oft cited fragment 123–“nature loves to hide” (phusis kryptesthai philei)–should not be understood as a negation of the generous growth of the plant realm described by Marder.117 As with the natural world, there is more to Heraclitus’ paradoxical statement than first meets the eye. The earliest recorded use of phusis in ancient Greek literature is in Homer’s Odyssey, where it refers specifically to the “magic” and “holy force” of the molü plant given by Hermes to Odysseus to keep his “mind and senses clear” of Circe’s sorcery. The molü plant grows duplicitously into “black root and milky flower” and can be safely uprooted only by the gods.118 As we’ve seen, then, phusis suggests not only a tendency toward concealment in the darkness of the soil, but also a tendency toward revelation in the light of the sun. As is typical both of the plant-life of nature and of the semantic structure of his sentences, there is an underlying duplicity to Heraclitus’ fragment. Understanding the poetic meaning of his occult philosophy, or of a plant’s process of growth, is impossible without cultivating a logic of etheric imagination. The logics of techno-scientific manipulation and abstract conceptual analysis, in attempting to uproot and expose the etheric dimension of mind and nature to total illumination, succeed only in making it perish.119 Instead of objectifying nature, etheric imagination approaches it hermeneutically (i.e., with Hermes’s help), not by “[shying] away from darkness and obscurity,” but by letting plants “appear in their own light…emanating from their own kind of being.”120 Marder’s plant-thinking approaches a logic of imagination, in that he aims to begin his vegetal philosophizing, not from the purified perspective of disembodied rationality, but in media res, always in the middle of things: “To live and to think in and from the middle, like a plant partaking of light and of darkness…is to…refashion oneself–one’s thought and one’s existence–into a bridge between divergent elements: to become a place where the sky communes with the earth and light encounters but does not dispel darkness.”121
Only by finding its vegetal roots can philosophy become planetary, true to the earth and to the plant-like, etheric forces of imagination. But because the etheric imagination is in fact ungrounded, its plant-like growth becomes inverted: it has “underground stems” and “aerial roots,” as Deleuze and Guattari put it.122 Or, as Gaston Bachelard suggests, the properly rooted philosopher imagines “a tree growing upside down, whose roots, like a delicate foliage, tremble in the subterranean winds while its branches take root firmly in the blue sky.”123 For Bachelard, the plant is the root image of all life: “The imagination [must take] possession of all the powers of plant life,” he writes. “It lives between earth and sky…[it] becomes imperceptibly the cosmological tree, the tree which epitomizes a universe, which makes a universe.”124
Marder argues that “plants are resistant to idealization,”125 which is just another way of saying that the plant-realm is the etheric receptacle of Ideas, the resistance providing matrix that, in the course of evolutionary history, gradually raises unconscious nature to consciousness of itself as spirit. Etheric imagination is the esemplastic power through which eternal Ideas become incarnate in the concrescing occasions of the world, like seeds taking root in the ground, growing skyward through branch, leaf, flower, and fruit, only to fall again into the soil to be born again, and again… Marder’s “post-metaphysical task of de-idealization” makes him especially attentive to the association between the aesthetic power of plant-life (particularly flowers) and the pathos of death: flowers–“the free beauties of nature,”126 as Kant called them–have since the beginning of history been customarily “discarded along the path of Spirit’s glorious march through the world,” “abandoned” and thereby “freed from dialectical totality.”127 “In contrast to the death borne by Geist,” continues Marder, plant-life can become “neither mediated nor internalized.”128 Idealist philosophy is therefore always in a rush to “[unchain] the flower from its organic connection to the soil and [put] it on the edge of culture as a symbol of love, religious devotion, mourning, friendship, or whatever else might motivate the culling.”129 The end result of modern idealist rationality’s “thorough cultivation” and “biotechnological transformation” of plant-life is “a field of ruins.”130
The “economic-teleological” principle guiding modern rationality–whereby, for example, “trees in and of themselves have no worth save when turned into furniture”131–is largely the result of Kant’s failure to grasp the life of nature as more than a merely regulative judgment of the understanding: while he found it acceptable for human subjects to think the internal possibility of nature as organic, he refused to grant that life could be understood as constitutive of nature itself. “It is absurd,” Kant writes, “to hope that another Newton will arise in the future who would explain to us how even a mere blade of grass is produced.”132 It followed that the only avenue open to reason in its untamable desire to know nature was by way of the “economic-teleological” principle, whereby the philosopher of nature, in order to know his object, “must first manufacture it.”133 In order to avoid the deleterious ecological effects of modern rationality, which in its techno-capitalist phase has succeeded in turning the entire planet into mere raw material awaiting consumption, it is necessary to return to and to heal the simultaneously vegetal and sensorial repression from which this rationality stems.134
The repression of vegetal existence, according to Marder, began as early as Aristotle, who was willing to grant of plants, due to their lack of both locomotion and perception, only that they “seem to live.”135 This seeming life of plants, which from the perspective of the formal logic of Aristotle presented a taxonomic problem (i.e., are plants ensouled, or not?), from the perspective of a logic of imagination (no longer subject to the principle of non-contradiction) reveals precisely what has been repressed by so much of Western metaphysics: that it is towards the ambiguous ontology of plant-life that philosophy must turn if it hopes to discover the aesthetic ground of sensory experience. Aristotle does finally grant a kind of life to plants by pointing to their nutritive capacity (to threptikon), which in animal life is homologous to the haptic sense (i.e., touch).136 Touch is the basis of all aesthesis, only subsequently becoming differentiated into the other specialized senses.137 In light of the vegetal origins of sensation, Marder is lead to wonder “whether the sensory and cognitive capacities of the psyche, which in human beings have been superadded to the vegetal soul, are anything but an outgrowth, an excrescence, or a variation of the latter. The sensitivity of the roots seeking moisture in the dark of the soil [or leaves seeking light in the brightness of the sky]…and human ideas or representations we project, casting them in front of ourselves, are not as dissimilar from one another as we tend to think.”138
Whereas Kant argued that “real metaphysics” must be “devoid of all mixture with the sensual,”139 Marder suggests that the idealist reduction of plant-life to dead linear crystals140 “[survives] in human thought in the shape of Kantian immutable categories and forms of intuition to which all novel experiences must in one way or another conform.”141 Instead of forcing lived experience to obey the crystalline categories of thought, Marder’s plant-thinking, akin to the logic of etheric imagination guiding my dissertation, “destroys the Procrustean bed of formal logic and transcendental a priori structures–those ideal standards to which no living being can measure up fully.”142
The plant-thinking of etheric imagination breaks through the crystalline molds of “dead thought”–what Bergson called “the logic of solids”143–to bring forth instead a plastic logic, a way of thinking-with the creative life of nature, rather than against it.144 Whereas in a crystalline logic of solids, thought “has only to follow its natural [intrinsic] movement, after the lightest possible contact with experience, in order to go from discovery to discovery, sure that experience is following behind it and will justify it invariably,”145 in a fluid logic of plastics, thought becomes etheric, overflowing the sense-inhered intellect’s a priori categorical antinomies and pre-determined forms of intuition to participate in the imaginal life of cosmogenesis itself. “A theory of life that is not accompanied by a criticism of knowledge,” according to Bergson, “is obliged to accept, as they stand, the concepts which the understanding puts at its disposal: it can but enclose the facts, willing or not, in preexisting frames which it regards as ultimate.”146 The plasticity of etheric imagination, on the other hand, preserves the unprethinkability of the creative advance of nature by remaining “faithful to the obscurity of vegetal life,” protecting it from the searing clarity of crystallized rationality.147
Like Marder and Bergson, Schelling refuses to accept modern rationality’s inability to know the life of nature. For Schelling, after the Kantian revolution, philosophy began to deal “with the world of lived experience just as a surgeon who promises to cure your ailing leg by amputating it.”148 Instead of amputating the life of nature, Schelling attempted to reform philosophy’s bias toward abstraction by returning it to its senses. He strove to root philosophy in “that which precedes the logos of thinking,” namely, “an aesthetic act of poesis” paralleling the creative naturans that underlies the dead naturata of the natural world.149 Schellingian philosopher Bruce Matthews likens the imaginative act at the generative root of Schelling’s philosophy to “the explosive power of the sublime.” “This initial moment of aesthetic production,” continues Matthews, “provides us with the very real, but very volatile stuff of our intellectual world, since as aesthetic, this subsoil of discursivity remains beyond the oppositional predicates of all thought that otherwise calms and comforts the knowing mind.”150
Marder’s plant-thinking, like Schelling’s logic of etheric imagination, “rejects the principle of non-contradiction in its content and its form.”151 “The human who thinks like a plant,” continues Marder, “literally becomes a plant, since the destruction of classical logos annihilates the thing that distinguishes us from other living beings.”152 Unlike modern rationality, which is said to be self-grounding, plant-life is open to otherness, dependent on something other than itself (i.e., earth, water, air, and light). In the same way, etheric imagination receives its power from the elemental life of nature. It is no longer “I” who thinks nature; rather, “it thinks in me.” Or as Schelling put it, the philosopher who is properly attuned to nature becomes “nature itself philosophizing (autophusis philosophia).”153
80 Michael Marder’s blog posts entitled “The Philosopher’s Plant”: http://www.project-syndicate.org/blog/plato-s-plane-tree, as well as Deleuze and Guattari on “tree” (ATP, 12, 18)
81 Marder, Plant-Thinking: A Philosophy of Vegetal Life, 21.
82 Marder, Plant-Thinking, 126.
83 Marder, Plant-Thinking: A Philosophy of Vegetal Life, 75-78.
84 Schickler, Metaphysics as Christology, 162.
85 Edmund Husserl, “Foundational Investigations of the Phenomenological Origin of the Spatiality of Nature,” trans. Fred Kersten, in Husserl, Shorter Works, ed. Peter McCormick and Frederick A. Elliston (Indiana: University of Notre Dame Press, 1981), 222-33.
86 Marder, Plant-Thinking, 124-126.
87 See Petrified Intelligence: Nature in Hegel’s Philosophy by Alison Stone (New York: SUNY, 2005).
88 Schickler, Metaphysics as Christology, 143.
89 Marder, Plant-Thinking, 127.
90 Hume, Dialogues Concerning Natural Religion (1779), VI.
91 Cleanthes really believes the universe to be a law-abiding machine designed, built, and maintained by a perfect God.
92 Hume, Dialogues on Natural Religion (1779), VII.
93 Marder, Plant-Thinking, 120.
94 Plato, Timaeus, 90a-b.
95 Marder, “The Philosopher’s Plant 3.0: Plotinus’ Anonymous ‘Great Plant’” (2013), http://www.project-syndicate.org/blog/the-philosopher-s-plant-3-0–plotinus–anonymous–great-plant (accessed 4/24/2013).
96 Plotinus, Ennead III.8.10, 5-15.
97 Marder, “The Philosopher’s Plant 3.0: Plotinus’ Anonymous ‘Great Plant.”
98 Marder, Plant-Thinking, 58.
99 Marder, Plant-Thinking, 35.
100 Marder, Plant-Thinking, 28; Both “plant” and “nature” derive from the same Greek prefix (phuo-) and verb (phuein), meaning “to generate,” or “to bring forth.”
101 Marder, Plant-Thinking, 28-29.
102 Hume, Dialogues on Natural Religion, VI.
103 The Emerald Tablet.
104 Whitehead, Process and Reality, 21.
105 Whitehead, Process and Reality, 21.
106 Schelling, The Ages of the World, transl. Jason Wirth (New York: SUNY, 2000), 20-21.
107 Schelling, The Ages of the World, transl. Jason Wirth (New York: SUNY, 2000), 21.
108 Marder, Plant-Thinking, 157.
109 Schelling, System of Transcendental Idealism, 122.
110 Schelling, First Outline of a System of the Philosophy of Nature, 146.
111 Schelling, First Outline of the System of a Philosophy of Nature, 186.
112 Schelling, First Outline of the System of a Philosophy of Nature, 185-186.
113 Steiner, The Spirit in the Realm of Plants, transl. by G. F. Karnow (Spring Valley, NY: Mercury Press, 1984); http://wn.rsarchive.org/Lectures/19101208p01.html (accessed 4/23/2013).
114 Steiner, The Spirit in the Realm of Plants, transl. by G. F. Karnow (Spring Valley, NY: Mercury Press, 1984); http://wn.rsarchive.org/Lectures/19101208p01.html (accessed 4/23/2013).
115 Plotinus, Ennead IV.2.27.
116 Marder, Plant-Thinking: A Philosophy of Vegetal Life, 46.
117 Marder, Plant-Thinking, 28.
118 Odyssey, Book 10, lines 328-342.
119 Marder, Plant-Thinking, 30.
120 Marder, Plant-Thinking, 30.
121 Marder, Plant-Thinking, 178.
122 A Thousand Plateaus, p. 15
123 Poetic Imagination and Reverie, 85
124 Poetic Reverie, 85
125 Marder, Plant-Thinking: A Philosophy of Vegetal Life, 13.
126 Kant, Critique of Judgment.
127 Marder, Plant-Thinking, 126.
128 Marder, Plant-Thinking, 126.
129 Marder, Plant-Thinking, 123.
130 Marder, Plant-Thinking, 128.
131 Bruce Matthews, Schelling’s Organic Form of Philosophy: Life as the Schema of Freedom, 4; Schelling, Schellings sämtliche Werke, I/7, 18.
132 Kant, Critique of Judgment, §75.
133 Kant, Opus Postumum, trans. Echkart Förster, 240.
134 Marder, Plant-Thinking, 22.
135 Emphasis added. Aristotle, De anima, 410b23.
136 Aristotle, De anima, 413b1-10.
137 Marder, Plant-Thinking, 38.
138 Marder, Plant-Thinking, 27.
139 Kant, De mundi sensibilis atque intelligibilis forma et principiis; AK II, 394, transl. Bruce Matthews, Schelling’s Organic Form of Philosophy, 4.
140 Hegel considered plant growth to be linear, like crystals, whereas proper animals are elliptical in their movements (see pages 32-33 above).
141 Marder, Plant-Thinking, 163.
142 Marder, Plant-Thinking, 164.
143 Bergson, Creative Evolution, transl. by Arthur Mitchell (New York: Barnes and Noble, 2005), xvii.
144 Marder, Plant-Thinking, 166.
145 Bergson, Creative Evolution, xviii.
146 Bergson, Creative Evolution, xx.
147 Marder, Plant-Thinking, 173; For more on Schelling’s concept of “the unprethinkable,” see page 51 below.
148 Schelling, System der Weltalter: Münchener Vorlesung 1827/28 in einer Nachschrift von Ernst von Lasaulux, ed. by Siegbert Peetz (Frankfurt am Main: Vittorio Klostermann, 1990), 92.
149 Matthews, Schelling’s Organic Form of Philosophy, 5.
150 Matthews, Schelling’s Organic Form of Philosophy, 5
151 Marder, Plant-Thinking, 164.
152 Marder, Plant-Thinking, 164.
153 Schelling, Schellings sämtliche Werke, trans. Iain Hamilton Grant, 11:258.