Physics of the World-Soul, a short course on Schelling and Whitehead at Schumacher College next week

>More information on this course<<

Recommended Readings (PDF)

Answering some queries about Whitehead

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.

Theoretical Perspectives on Etheric Imagination

The following is the “theoretical perspectives” section of my dissertation. It introduces the ether concept I am attempting to imaginally construct with the help of Schelling, Steiner, and Whitehead.


This dissertation argues that philosophical thinking, to eclipse the dualistic dogmas of today’s commonsense, must ally itself with the creative power of the etheric imagination. Why? Because every author is a poet, and to the extent that a philosopher grasps his tongue to speak or his pen to write, he becomes author and artist rather than simply reader or representer of Nature. The universe is not inertly given for representation: Nature, too, participates in varying degrees of animation and I-ness. The processual, or etheric, imagination approaches the task of philosophy primarily as a work of artistic interpretation of Nature’s inner life. Art, as Schelling puts it, becomes “at once the only true and eternal organ and document of philosophy,” while “through the world of sense [Nature], there glimmers, as if through words the meaning, as if through dissolving mists the land of phantasy, of which [the philosopher is] in search.”25 Or as Steiner puts it, the philosopher’s artistic interpretation of Nature “appears as the herald of that lawfulness that the poet has grasped by listening to the world spirit within the depths of nature’s working. At this level, art becomes the interpreter of the mysteries of the world just as science is also, in a different sense.”26 Unlike the poet, who is all artist, the philosopher is also a scientist. The philosopher not only creates art, he discovers nature; he not only inscribes acts of mind, he reads facts of nature.

In describing the power of imagination in the work of Schelling and Whitehead as etheric, I aim not only to cross-fertilize the process tradition with Rudolf Steiner’s esoteric conception of the Ätherleib, or ether body, but to creatively retrieve Schelling and Whitehead’s own cosmological ether theories.

Schelling shared the cosmological ether theory with most of his scientific contemporaries.27 He identified the infinite elasticity of the ether with the original polarity of forces animating both the one soul of the universe and the many souls within it.28 For Schelling, the ether is not just a scientific hypothesis about the natural world, it is the speculative philosophical postulate required to justify the pursuit of scientific knowledge of the physical world in the first place. If there were no organic unity to nature–if nature were not a self-organizing whole, but just a random assemblage of externally related parts–then we could never learn anything by way of natural scientific investigation. Schelling’s ether postulate secures the possibility of natural science by engendering a Naturphilosophie powered by etheric imagination, whereby the spiritual ether “in me” finds its point of indifference with the natural ether “out there.”29 Or as Schelling himself put it, “What in us knows is the same as what is known.”30

The ether remained the foundation of science’s understanding of electromagnetic phenomena until Einstein dismissed it as “an unnecessary burden on space” in 1905.31 In 1919, Whitehead began articulating a cosmological ether theory as a direct response to Einstein’s replacement of the traditional “material ether” with a pre-given “space-time fabric.” In place of Einstein’s static ontology of space-time “tubes” pieced together out of static material instants, Whitehead constructed an “ether of events” on the basis of his own novel process ontology.32 “We must not conceive of events as in a given Time, a given Space, and consisting of changes in given persistent material,” writes Whitehead, because “Time, Space, and Material are adjuncts of events.”33 “On the old theory of relativity,” he continues, “Time and Space are relations between materials; on our theory they are relations between events.”34 Whitehead’s evental ether is not the undetectable “shy ether behind the veil” thought to exist by 19th century physicists; rather, “the ether is exactly the apparent world, neither more nor less.”35 The ether, in other words, is that which gives experiential coherence and causal continuity to “the whole complex of events” constituting the universe.36 For Whitehead, as for Schelling, the ether is no mere scientific hypothesis about the mind-independent external world. Rather, it is a metaphysical principle constructed precisely to avoid “this unfortunate bifurcation” between subjective mind and objective nature by “[construing] our knowledge of the apparent world as being an individual experience of something which is more than personal.”37 “Nature,” Whitehead continues, “is thus a totality including individual experiences, so that we must reject the distinction between nature as it really is and experiences of it which are purely psychological. Our experiences of the apparent world are nature itself.”38

As for the esoteric conception of an ether body, although it did not originate with Steiner, he provides an example of a 20th century hermetic practitioner whose knowledge of modern science, not to mention his deep familiarity with German Idealist philosophy, make him among the best possible candidates for the type of comparative project I am attempting. Steiner, like Schelling and Whitehead, explicitly distinguishes his own use of the concept from the “hypothetical ether of the physicist.”39 The ether body is therefore not best imagined as an invisible gaseous substance floating around the physical body of an organism. To imagine the ether as an extended, three-dimensional body–even if a “subtle” body–is only to fashion an idol, to reflect upon a finished product instead of intuiting the creative process responsible for generating that product. An organism’s Ätherleib is then better imagined as a continually self-generating four-dimensional vortex of Ätherkräfte, or etheric forces. These forces are the non-spatial form-generating and form-remembering “agent-patients” of cosmic evolution.40 They are perceivable only to a self-cultivated (i.e., not innate or given by the birth of the physical body) etheric organ of affective thinking/intuitive intellection: the etheric imagination. The etheric imagination is not generated by the brain, but is rather the conscious expression of an otherwise unconscious morphogenic process that is itself responsible for generating the physical brain and body.41 As a four-dimensional process, the activity of the Ätherkräfte that both generates the body and rises to consciousness as the etheric imagination is best pictured, if it must be pictured at all, as an undulating torus fluidly turning itself inside-out to leave the living organism in its wake.

Picturing the activity of the etheric forces is ultimately impossible (since pictures are derived from sense experience of extended bodies), but the toroidal image seems to me better than imaging some kind of gaseous cloud floating around and guiding an otherwise mechanical physical body.

According to Steiner, “We can only find nature outside us if we first know her within us. What is akin to her within us will be our guide.”42 This statement is nearly identical to those of Schelling and Whitehead above. “So long as I myself am identical with Nature,” says Schelling, “I understand what a living nature is as well as I understand my own life.”43 “As soon, however, as I separate myself, and with me everything ideal from nature,” he continues, “nothing remains to me but a dead object, and I cease to comprehend how a life outside me can be possible.”44 As we’ve seen, Whitehead similarly argues that understanding the life of the actual occasions of nature requires first becoming conscious of, and then imaginatively generalizing the etheric structure-dynamic underlying our own conscious experience too all the individualities of nature. Such generalization allows for the creation of an experiential category applicable to the etheric dimension of any actual occasion.45 Only the etheric imagination can intuit the formative forces flowing through the natural world behind or within its outward sensory surfaces. Such an imaginative thinking represents the individual’s discovery within themselves of the etheric forces of natura naturans, the inner dimension of nature that is always in dynamic motion, sloughing off external nature (natura naturata) like a snake shedding its skin. “Nature alive,” as Whitehead called it,46 never sits still long enough to be caught in the conceptual net of merely reflective sense-bound understanding. “Nature speaks to us the more intelligibly the less we think of her in a merely refelctive way,” writes Schelling.47 To think nature as living, our own thinking must come to life, must become etheric.

According to Owen Barfield, who along with Jonael Schickler will assist my retrieval of Steiner’s work, the forces of the etheric organ of perception can be understood as “imagination operating in reverse…Whereas imagination uses the spatial to get to the non-spatial, what the organic [etheric] force is doing is moving out of the non-spatial realm (the creative logos, if you like) to convert it into space–[it moves out] of the immaterial producing a material, spatial world…What the etheric does is, to put it crudely, convert time into space.”48

Like the “force of imagination” (a literal translation of Einbildungskraft), the formative-force of the etheric organ, when properly cultivated, can release the philosopher from the Kantian restrictions placed on knowing by opening the normally sense-inhered intellect to the sub-sensory “intensive depth” (Bortoft, 1996) or super-sensory “inner infinitude” (Adams and Whicher, 1982) of living Nature, there revealing the invisible creative forces animating her from within-out.

In the terms of Whitehead’s three-fold theory of perception, which my dissertation will explore in relation to the synthetic role of imagination, non-etheric perception of external nature via bare sensory universals and abstract laws is perception “spatialized” in the mode of “presentational immediacy,” while etheric perception of the creative life of the sub-sensory dimension is perception “temporalized” in the mode of “causal efficacy.”49 Whitehead’s third mode of perception, “symbolic reference,” imaginatively synthesizes our intuitions of space and time into the meaningful and coherent world of everyday life. The synthetic work (or play) of the force of imagination can be in service either to the maintenance of the habits of every day conscious experience (commonsense), or else to the creative disruption of those habits in favor of alternative imaginations of the flow of etheric time-space.

The etheric image-forces animating Nature and her organisms are autonomous; that is, they are I-beings in their own right. The etheric imagination which perceives them is then not simply the transcendental ground of the ego’s sensory intuitions of the physical world–it is the genetic principle of the universe itself, the poetic root of all life (more like a creative abyss than a stable ground). Unlike Kant’s transcendental faculties of understanding, reason, and judgment, which provide only the necessary universal conditions of possible (theoretical, ethical, or aesthetic) experience, etheric imagination provides the necessary conditions of actual experience (whether of truth, goodness, or beauty). Etheric imagination schematizes not only the formal or abstract, but the material and concrete dimensions of experiential reality–that is, it not only makes possible the universal and impersonal, it actualizes the unique and individual.

So what is real for the process-philosophical imagination? Following Whitehead, time, space, and causality come to be understood as emergent products of an evolving ecology of organisms. “External” and “internal” are the effect of a distinction drawn in what Coleridge referred to as secondary imagination by an individual living organism. Enveloping the many organisms is the one Cosmic Organism, or primary imagination, the ceaseless yearning for wholeness which is nothing other than Spirit’s abyssal desire for Itself.

The root images, or elemental forces, that for so long grounded the reality of the human organism were earth and sky. But since the Galilean-Newtonian “[cancellation] of the ancient dichotomy between earth and sky in the interest of universally valid laws,” and especially since satellization has technologically realized this once merely theoretical extra-terrestriality, what has become of humanity’s earthly embeddedness?50 Have we not become homeless? This may be the case, unless the once solid ground of earth is understood to have been superseded, not by the en-framing (Ge-stell) of technology, but by the ground-generating forces of etheric imagination, the creative abyss that pre-exists any apparent separation between the finite conditioned things in space and the infinite creativity of time.


25 Schelling, System of Transcendental Idealism (1800), 231.

26 Steiner, Goethean Science, 93.

27 Grant, “Introduction to Schelling’s On the World Soul, Collapse: Philosophical Research and Development, VI, 65.

28 Miklós Vassányi, Anima Mundi: The Rise of the World Soul Theory in Modern German Philosophy, 143, 384; Frederick Beiser, German Idealism: The Struggle Against Subjectivism, 541-547.

29 According to Frederick Beiser, Schelling thereby “[reintegrates] the transcendental ‘I’ into nature” by showing how   human self-consciousness is a more intense expression of nature’s original etheric forces (German Idealism: The Struggle Against Subjectivism, 559).

30 Schelling, On the History of Modern Philosophy, trans. Bowie, 130.

31 Leon Lederman, The God Particle, 101, 375.

32 Whitehead, The Principle of Relativity (New York: Cosimo, 1922/2007), 36-38; Whitehead, The Principles of Natural Knowledge (London: Cambridge University Press, 1919), 25.

33 Whitehead, The Principles of Natural Knowledge, 26.

34 Whitehead, The Principles of Natural Knowledge, 26. For more on Whitehead’s philosophical critique of Einstein’s interpretation of relativity theory, see also my own Physics of the World-Soul: The Relevance of Alfred North Whitehead’s Philosophy of Organism to Contemporary Scientific Cosmology (2013), 35-43 [ (accessed 5/1/2013)].

35 Whitehead, The Principle of Relativity, 37.

36 Whitehead, The Principles of Natural Knowledge, 66.

37 Whitehead, The Principle of Relativity, 62.

38 Whitehead, The Principle of Relativity, 62.

39 Rudolf Steiner, Theosophy: An Introduction to the Supersensible Knowledge of the World and the Destination of Man, transl. by E. D. S. (Chicago: Rand McNally & Company Publishers, 1910), 28.

40 As “agent-patients,” these etheric forces are akin to Whitehead’s dipolar actual occasions, the “buds of experience” responsible both for the prehension of past form and the ingression of future form in the creative advance of nature.

41 Whitehead’s understanding of the relationship between the physiology of the brain and the ether of events leads him to suggest that the “nature” known to materialistic science “is an abstraction from something more concrete than itself which must also include imagination, thought, and emotion” (Whitehead, The Principle of Relativity, 63).

42 Steiner, Intuitive Thinking as a Spiritual Path: A Philosophy of Freedom, 25.

43 Schelling, Ideas for a Philosophy of Nature, 36.

44 Schelling, Ideas for a Philosophy of Nature, 36.

45 Whitehead, Adventures of Ideas, 221.

46 Whitehead, Modes of Thought (1938)

47 Ideas for a Philosophy of Nature, 35.

48 Towards Interview, 1980, 9.

49 These two modes are akin to Jonael Schickler’s phenomenological account of the life of the concept in terms of physical inherence and etheric metamorphosis, respectively. Schickler’s account is unpacked in the literature review below.

50 See Sallis, Force of Imagination, 160-161

The Poetry of Philosophy: Wordsworth’s Poetic Vision of Nature in Light of Whitehead’s Cosmological Scheme

The aim of this essay is to read the nature poetry of William Wordsworth in light of the metaphysics of Alfred North Whitehead, such that the epistemological and cosmological implications of the former are brought more fully into philosophical view. According to Victor Lowe, it is probable that no other man, save Plato, shaped the imaginative background of Whitehead’s outlook quite as profoundly as Wordsworth.1 This influence makes the task of this short essay far easier, since so much of what Whitehead labored to give clear conceptual expression to in his own work was originally awakened in him by the feeling for the universe that vibrates off the pages of Wordsworth’s poetry. In this sense, the task of this essay is the opposite of Whitehead’s: to translate the basic outlines of his philosophical scheme back into the cosmic visions and archetypal visitations expressed in Wordsworth’s verse.

One of the defining characteristics of Romantic literature is its exaltation of the figure of the philosopher-poet, the one who unveils the way in which, as Keats put it, “Beauty is truth, truth beauty.”2 The famous friendship and intimate artistic collaboration between Coleridge and Wordsworth provides an example of two minds who, while considered alone are great in their own right, considered together as a single mutually formed and imaginatively alloyed soul surely surpass the genius of any claimant of the title philosopher-poet to come before or after. According to Owen Barfield, the friendship of Coleridge and Wordsworth both “exemplified the contrast” and “deepened the affinity” between the poles of imagination, namely, self )–( world, or again, spirit )–( nature.3 Reconciling these two imaginative forces in one person is all but impossible, since “the finite activity of poetry, like every other motion, still requires a predominance, however slight, of the one pole over the other.”4 Coleridge had a more philosophical bent, tending toward reverential reflection upon the high station of spirit, while Wordsworth was easily charmed by the every day and more sensitive to the living depths of the natural world. Though Coleridge proved himself on occasion capable of penning the sublimest poetry, it could be said that, as a result of his philosophical tutelage, Wordsworth became the greatest of his poetic achievements. Indeed, Whitehead writes of Coleridge that, despite being influential in his own day, when considering “those elements of the thought of the past which stand for all time…[he] is only important by his influence on Wordsworth.”5

Wordsworth is perhaps the most esteemed nature poet in the history of the English language. For Whitehead, he is the chief exemplar of the Romantic reaction against the abstract mechanistic picture of nature fostered by the scientific materialism of the 17th and 18th centuries. He cites the famous line, “We murder to dissect” with qualified approval, agreeing with Wordsworth that “the important facts of nature elude the scientific method” even while he, a mathematical physicist as well as a philosopher, believes the specialized abstractions of natural science need not necessarily leave nature lifeless.6 Science can and should be reformed. Mechanistic science of the sort championed by the likes of Galileo, Descartes, Newton, and Laplace commits the fatal sin of bifurcating nature, isolating its objective mathematizable aspects by pealing away its sensual and moral layers, layers which found their home in a soul now entirely sealed off from the outside world. Concerning the ethereal hues of a sunset, the sweet fragrance of a primrose, or the melodies of a thrush the poets are all mistaken: from the point of view of scientific materialism, nature is “a dull affair, soundless, scentless, colorless; merely the hurrying of material, endlessly, meaninglessly.”7 Contrary to the general thrust of natural science since its birth in the 17th century, Whitehead’s cosmological scheme is an attempt to systematize Wordsworth’s emphatic witness to the fact that “nature cannot be divorced from its aesthetic values, and that these values arise from the culmination…of the brooding presence of the whole on to its various parts.”8 In the jargon of his metaphysics, Whitehead saw in Wordsworth’s poetry “a feeling for nature as exhibiting entwined prehensive unities, each suffused with modal presences of others.”9 Hidden within this one short cryptic sentence are the major categories animating Whitehead’s entire cosmological system, including “actual occasions,” “eternal objects,” “internal relations,” and “concrescence.”

Before moving on to unpack Whitehead’s metaphysical scheme, it is important to note that his allegiance to Wordsworth and the Romantic reaction is not at all to say that he has sided with subjectivism or idealism over the objectivity of science. The danger in aligning oneself against the mathematical abstractions of mechanistic science is that one rushes too quickly to adopt the opposite extreme, elevating personal emotion and individual will to such unwarranted heights that the entirety of the visible universe is made to seem a private projection, a mere appearance dependent upon the constructive activity of my mind. Wordsworth’s absorption in living nature–“an inmate of this active universe,”10 as he put it–all but inoculated him against this subjectivist over-reaction; but there are a few occasions when Wordsworth seems almost to become infected by other strains of the Romantic bloodstream, especially those emerging in the orbit of Kant’s transcendental idealism. Whitehead strongly positioned himself in opposition to Kantian, Fichtean, and Hegelian forms of idealism which can be read as attempting to derive the concrete and contingent existence of the universe from the abstract universal categories of thought.11 Not incidentally (considering the influence of Schelling on Wordsworth through the intermediary of Coleridge), the relationship of Whitehead’s philosophy of organism to Schelling’s Naturphilosophie is far more congenial, since unlike for Kant and Hegel, for Schelling “Nature is a priori.”12 Whitehead pithily suggests that his approach “aspires to construct a critique of pure feeling, in the philosophical position in which Kant put his Critique of Pure Reason.”13 In Kant’s first critique, experience is either translatable into conscious rational knowledge (Descartes’ “clear and distinct ideas/representations” of geometrical space and time), or it is no experience at all. The vague but overriding feelings of nature’s creative rhythms and physical purposes always scintillating along the fractal horizons of consciousness are ignored in order to secure the certain knowledge of the rational, waking ego.14 The abyssal complexities of our aesthetic encounter with the sublime are left for the 3rd critique, the Critique of Judgment, but even here, where Kant’s powers reach their highest pitch, he pulls up short of the erotic receptivity that may have reconnected him with the animate intelligence of the cosmos. In book XI of The Prelude, as if speaking directly to Kant, Wordsworth pays homage to the “animation and…deeper sway” of nature’s soul while warning against the “narrow estimates of things” resulting from rational critique: “suffice it here/To hint that danger cannot but attend/Upon a Function rather proud to be/The enemy of falsehood, than the friend/Of truth, to sit in judgment than to feel.”15

While for Kant, “the world emerges from the subject,” for Whitehead, “the subject emerges from the world.”16 Whitehead’s conception of subjectivity is such that the order and meaning of our experience is originally given to us by the order and meaning of the surrounding actual universe. “[The subject] is not productive of the ordered world, but derivative from it.”17 Whitehead’s object-to-subject account of the formation of experience may seem too strict a rule for Wordsworth’s imaginative epistemology to obey, since for the latter the senses must be free to half-create and half perceive the world, as he suggests in Lines Written a Few Miles Above Tintern Abbey (1798). This reversal of the vector of experience may at times prove to be a true tension in the two men’s outlooks, a tension worth untangling if only to discover a deeper commonality.

It would be an unfair reading of Whitehead, based on his reaction to much of German idealism, to neglect the extent to which his epistemology is fully awake to the creative and participatory role of the imagination in evaluating and synthesizing the facts of the actually existing world. His criticisms of idealistic accounts of perception result primarily from the mistaken prioritization of a derivative mode of perception, “presentational immediacy” over the truly primitive mode, “causal efficacy.” Presentational immediacy is a highly advanced form of experience available to conscious human beings. Dominated by the eyes (“The most despotic of our senses”18), it gives us a certain degree of reflective distance from the causal flow of cosmic vectors of inter-bodily emotion. These vectors, felt through the more original mode of perception, causal efficacy, generate the “mysterious presence of surrounding things”19: for example, the “voluntary power instinct” of the brooding Cliff that made the young Wordsworth’s hands tremble while rowing back to shore in his stolen skiff.20 Without the enlivening passion of causal efficacy, presentational immediacy becomes a fallen mode of perception, detached and cut off from intimacy with nature, her inner life reduced to the external relations of dead objects floating in outer space. Without the reflective disinterest of presentational immediacy, causal efficacy would swallow up our consciousness into the “dim and undetermin’d sense/Of unknown modes of being” that haunted Wordsworth for days after he returned the skiff to its mooring-place.21 Whitehead describes a third, hybrid mode of perception called “symbolic reference,” which plays a role akin to the synthesizing imagination, able to skillfully interweave physical prehensions with mental conceptions in order to produce heightened forms of aesthetic enjoyment and moral appetition. In Whitehead’s jargon, mental conceptions are also prehensions, or feelings, but instead of feeling concrete matters of fact, they feel eternal objects, or abstract forms of possibility. Whereas causal efficacy is “the hand of the settled past in the formation of the present,” presentational immediacy is the “[projection which] exhibits the contemporary world in its spatial relations.”22 Through the mixed perceptual mode of symbolic reference, habits of imagination are gradually acquired which bring forth the taken for granted world of every day experience.23 It is the synthesizing activity of this mode that Wordsworth refers to when he writes of how “The mind of Man is fram’d even like the breath/And harmony of music. There is a dark/Invisible workmanship that reconciles/Discordant elements, and makes them move/In one society.”24 A skillful poet is able to consciously moderate the synthetic activity of symbolic reference, “to keep/In wholesome separation the two natures,/The one that feels [causal efficacy], the other that observes [presentational immediacy].”25

It would be a superficial reading of Wordsworth to ignore the degree to which he wavers in his assigning of precedence to either the mental or physical poles of experiential reality. Just a line below his statement in Tintern Abbey about the creative element in perception, he writes of being “well pleased to recognize/In nature and the language of the sense,/The anchor of my purest thoughts, the nurse/The guide, the guardian of my heart, and soul/Of all my moral being.” He finds that his mind is not only necessarily tied to his sensual encounters with nature (as it is for Kant), but that the language of sense has birthed and raised to maturity even the purest of his ideas from out of the womb of nature herself. Elsewhere, Wordsworth writes of the way a mountain range “By influence habitual to the mind/…shapes/The measure and the prospect of the soul.”26 Further conforming to Whitehead’s object-to-subject reading of the vector of experience, he writes: “From nature doth emotion come, and moods/…are nature’s gift.”27 But it could still be asked: is Wordsworth speaking here in a psychological or in an ontological register?

Whitehead’s characterization of Wordsworth’s poetry as exhibiting a sensitivity to the interpenetrating “prehensive unities” of nature, “each suffused with modal presences of others,” is meant to classify him as an ontologically committed panpsychist. His poetry is overflowing with hymns to the Anima Mundi, with references to the “the Life/ of the great whole,” and to the way “every natural form, rock, fruit or flower/…Lay bedded in a quickening soul.”28 Even here, however, just as Wordsworth appears to fully confirm his cosmological orientation, the tension of the poles of spirit and nature begin vibrating, as if hovering in superposition. Does Wordsworth mean that all these natural forms lay bedded in his quickening soul? In the same lines from The Prelude cited above, he could be read as congratulating himself for rousing nature from her sleep: “To every natural form…/I gave a moral life, I saw them feel,/Or linked them to some feeling…/…all/That I beheld respired with inward meaning.”29 But just a few lines later, Wordsworth again reverses the vector of his experience back from the idealistic to the cosmological pole, finding his mind “as wakeful” to the changing face of nature “as waters are/To the sky’s motion,” becoming to her activity as “obedient as a lute/That waits upon the touches of the wind.”30 Perhaps Wordsworth’s tendency to waver on this issue betrays one of the key differences between a visionary poet, focused on capturing the vividness of each fading moment, and a systematic philosopher, focused on characterizing the ultimate generalities characterizing all experience.

Though it is beyond the scope of the present essay, many parallels could also be drawn between Whitehead’s conception of a dipolar divinity and Wordsworth’s visions of the World Soul, “the Imagination of the whole.” Briefly, like all other actual occasions, Whitehead’s God has two poles, an intellectual/mental and an emotional/physical. Unlike all other actual occasions, God’s primordial pole is intellectual rather than physical, consisting in an evaluative ordering of all eternal objects. This ordering serves to condition the unfolding of the universe by making relevant novelties available to the concrescence of each finite occasion of experience. These finite occasions are free to make their own decisions and evaluations, but these decisions are made amidst the set of possibilities provided by the wisdom of God. Through God’s consequent pole, the creative becoming of the physical world is taken back up into divine experience as through a loving embrace to be harmonized with God’s primordial nature. To quote Whitehead at length: “God’s role is not the combat of productive force with productive force, of destructive force with destructive force; it lies in the patient operation of the overpowering rationality of his conceptual harmonization. He does not create the world, he saves it; or, more accurately, he is the poet of the world, with tender patience leading it by his vision of truth, beauty, and goodness.”31 The everlasting pulsations of divine concrescence are the macrocosmic analogy of Wordsworth’s autobiographical journey from childhood paradise, through the impairment and on to the final restoration of Imagination. “From love, for here/Do we begin and end, all grandeur comes,/All truth and beauty, from pervading love,/That gone, we are as dust.”32


1 Understanding Whitehead (1962), 257.

2 “Ode on a Grecian Urn” (1819).

3 What Coleridge Thought (1971), 90.

4 WCT, 90.

5 Science and the Modern World (1925), 79.

6 SMW, 79-80.

7 SMW, 55.

8 SMW, 84.

9 SMW, 80.

10 The Prelude (1805/1970), 27.

11 Process and Reality (1929/1979), 89.

12 First Outline of a System of the Philosophy of Nature (1799/2004), 198. Nature here is natura naturans, the generative abyss from which all finite form arises and into which it dies; this is akin to Whitehead’s category of ultimate generality at the base of all actuality, Creativity.

13 PR, 172.

14 Modes of Thought (1938/1966), p. 74-75.

15 The Prelude, 209.

16 PR, 172.

17 PR, 113.

18 The Prelude, 210.

19 SMW, 80.

20 The Prelude, 12.

21 The Prelude, 12.

22 Symbolism (1927/1955), 50.

23 UW, 184.

24 The Prelude, 10.

25 The Prelude, 238.

26 The Prelude, 125.

27 The Prelude, 218.

28 The Prelude, 37.

29 The Prelude, 37. Italics are mine.

30 The Prelude, 37-38.

31 PR, 525.

32 The Prelude, 233.

Returning to Whitehead…

After finishing my first comprehensive exam on Schelling, its now time to dive back into Whitehead. For starters, Adam over at the new minimalist Knowledge Ecology has recently been posting brilliant snippets of what I believe is a longer tract he is writing about the ecology of ideas. Here is one titled “The Alien Light“:

On an earth without humans the elephants are mourning their dead and the stars are burning with an alien light. Bees and wasps are swarming from flower to flower, targeting pollinated landing pads rich with colors of a unique visible spectrum; their buzzing messengers return with good news for the rest of the hive. Bacteria move along chemical gradients, seeking out the sugary sweetness of glucose; plankton float in the water before being consumed by baleen whales. Ancient trees cast long shadows, forcing young saplings to sprout leaves in new directions; the shadows themselves are real. The universe does not beget qualities through the emergence of the human alone; the tangled bank of the ecosystem is already filled with the rustling of leaves, croaking of frogs, and thrashing of salmon. Red, gold, and turquoise are carvings of things made by human eyes and minds, but they represent only a small diorama of the available spectrum of aesthetic experiences, an aesthetic dimension unfolding for billions of years before the arrival of the human.

A commenter asked Adam what exactly the meaning of “available” is in the context of the aesthetic experiences of the cosmos. Adam responds by saying “available” may be the wrong word, since he doesn’t think

there are something like “available qualities” just floating around, pre-existing their experience by some organism that enacts them. The problem would be that this would imply that there is something like a standing reserve of pre-existing qualities just waiting to be discovered.

I responded as follows:

I wonder where Whitehead’s eternal objects fit in to this question concerning the “availability” of qualities. These qualities are not actual until experienced by an organism, but they are nonetheless at least potentially real without these organisms. These potencies are the aesthetic lures of Whitehead’s creative cosmos. They are mediated by the divine organism, or anima mundi, who envisages an ordered totality of possibile qualities capable of shaping a given cosmic epoch. Without this divine mediation, the potential for qualitative valuation and so cosmic ordering would be infinite, which means there would be no value or cosmos at all, just a flood of pure relentless chaotic creativity.

So eternal objects aren’t exactly a “standing reserve” of pre-existing qualities, though they seem to be something like this at first. They aren’t exactly this, though, since they in no way pre-existper Whitehead’s ontological principle. Eternal objects are potentials for experience, not actualities. They are only somewhat like a standing reserve in that some finite set of eternal objects is prehended by God in order to get a cosmos to emerge out of chaotic creativity. But it doesn’t seem quite right to conceive of God as a mere store house of ideas. God is an organism, which is to say God is concerned about the ideas he/she/it envisions.

The Politics of Renaissance Hermeticism, and the Magic of Science

I’ve been reading Frances Yates’ Giordano Bruno and the Hermetic Tradition (1964). Part of her project is to dispel the myth that Bruno was burnt at the stake primarily for his heliocentrism and generally scientific and materialist attitude. This was certainly one of the Roman Inquisitions many accusations, but the real reasons the Church lit his public pyre were political.

…the legend that Bruno was prosecuted as a philosophical thinker, was burned for his daring views on innumerable worlds or on the movement of the earth, can no longer stand…little attention was paid to philosophical or scientific questions in the interrogation…[instead, stress was laid] on Bruno’s religious mission. (p. 355)

His religious mission was to attend to the creation of the City of the Sun on Earth, which involved practicing the Hermetic arts of magic, astrology, and what after Jung we might call active imagination. This mission also had a political dimension, leading Bruno to ally with the likes of Henry of Navarro, who was to become King Henry IV of France. Bruno saw the potential for a universal reform of the Catholic religion in France, which was fresh off King Henry’s victory against the Spanish-backed Catholic League. Many heretical thinkers in 16th century Europe with more liberal views on religion were hoping Henry would bring peace to a continent ravaged by wars of intolerance. The Catholic Church, of course, had no interest in ceding its power to such a movement. The counter-Reformation was in full force.

Yates also tells the story of Tommaso Campanella, another Hermetic Magus who followed in Bruno’s footsteps by seeking to create the City of the Sun. Campanella lead a rebellion of Dominican monks against Catholic reformers in 1599.

But what did Bruno and Campanella’s religious mission have to do with new scientific ways of thinking and with the Copernican heliocentric theory? Campanella “praises Ptolemaeus and [admires] Copernicus, although Aristarchus and Philolaus were before him (in teaching heliocentricity)” (transl. Yates, p. 372). Both geocentric and heliocentric systems are upheld as worthy of study. Bruno’s primary reasons for holding to the heliocentric perspective were not mathematical or scientific (Ptolemy’s system was still more accurate than Copernicus’ at this point), but magico-symbolic and politico-religious. The return of the heliocentric theory was read by Bruno as an omen, a sign in the sky sent from God, prophesying the coming Golden Age when Europe would be ruled by Philosopher-Magi skilled in calling the winds of justice down to earth from the heavens.

What interests me in Yates’ historical account is the way Bruno was both modern and non-modern in his Hermetic religion: modern in that he affirmed the infinite reality of the universe; non-modern in that an infinite cosmos is the necessary counter-postulate to an infinitely real God. Modern in that he saw the moral necessity of religious freedom, but non-modern in that he felt the universe (or earth-heaven continuum) must be inter-woven throughout with astral spirits and permeated by an anima mundi (or world soul). All the beings in the universe are magically linked through the soul of the world to one another, and also to the One God, who is beyond being. The One beyond being, infinite in itself, is necessarily in relation to the beings of Being. This relation takes place through a series of revelations, beginning with the heavens. God’s infinite Speech/Word is “stepped-down” into the songs of the spiraling stars and dancing planets, which Plato identified with the Cosmic Intelligence of the World Soul. This revelation of the One through and to the many continues through every individual creature of earth, which in its individuality contains in hologrammatic form the entirety of the cosmos. As an earlier Hermetic thinker, Nicholas of Cusa, had intuited, the universe, as a reflection of God, “is a sphere of which the center is everywhere and the circumference nowhere.”

Yates ends her study on Renaissance magic by asking why it was that the scientific revolution of the 17th century began when it did. She speculates that the Renaissance Hermeticist’s new attitude concerning the place of the human being in the natural world re-directed the will, such that penetrating the secrets of the universe and coming to have mastery over nature no longer seemed so far fetched.

Behind the emergence of modern science there was a new direction of the will towards the world, its marvels, and mysterious workings, a new longing and determination to understand those workings and to operate with them. (Yates, p. 448)

Compare this attitude with that of the 3rd century Church father Tertulian, who argued that those interested in the workings of nature:

persist in applying their studies to a vain purpose, since they indulge their curiosity on natural objects, which they ought rather [direct] to their Creator and Governor.

There is a vast difference between the mechanism and mathematics of thinkers like Mersenne and Descartes and the animism and magic of thinkers like Bruno, Campanella, and Robert Fludd. But the transition between the two is not as clear cut as it would seem from our modern perspective. Like Bruno, many of the supposed fathers of the scientific revolution were deeply interested in occult knowledge. On Nov. 10th, 1619, while still a young man striving to discover a new foundation for knowledge, Descartes had a series of dreams and visions that he believed came from a higher source (Yates, p. 452). He began searching for the elusive Rosicrucian order (a Hermetic society) in Germany in the hope that they might help interpret his visions of a universal science of nature. He finally gave up in 1623 and returned to Paris, though some speculate that he actually did make contact with the secret society and had been initiated into the brotherhood. Kepler was also a rather transitional figure, having studied the Corpus Hermeticum quite closely alongside his astronomical research. Then there is the importance of alchemy to Isaac Newton, which is increasingly well-known: see especially Phillip Fanning’s recent book Isaac Newton and the Transmutation of Alchemy: An Alternative View of the Scientific Revolution (2009).

Yates points out that the early mechanists attempt to distance themselves from the magicians left them with a rather embarrassing problem: if nature was all mechanics, where did the knowing mind of the scientist fit in? The problem was especially pronounced and given its clearest formulation in Descartes infamous dualism between the res cogitans and the res extensa. “This bad start of the problem of knowledge,” writes Yates, “has never been quite made up” (p. 454).

Yates goes on:

[The mechanists] may have discarded notions on mind and matter which, however strangely formulated, may be in essence less remote than their own conceptions from some of the thought of today. (p. 455)

Writing in the early 60s, she was well-aware of the paradigm shift continuing to unfold as a result of the quantum revolution:

It may be illuminating to view the scientific revolution as in two phases, the first phase consisting of an animistic universe operated by magic, the second phase of a mathematical universe operated by mechanics. An enquiry into both phases, and their interactions, may be a more fruitful line of historical approach to the problems raised by the science of today than the line which concentrates only on the seventeenth-century triumph. Is not all science a gnosis, an insight into the nature of the All, which proceeds by successive revelations? (p. 452)

Might there be room in contemporary science for the return of the anima mundi?

[Rough Draft] “The Re-Emergence of Schelling” – Metaphysically (un)grounding the natural sciences

For a PDF of the entire essay, click The Re-Emergence of Schelling: Philosophy in a Time of Emergency.

Metaphysically (un)grounding the natural sciences 

Schelling’s almost complete absence in Anglophone natural philosophy for more than 150 years (aside from his powerful effects on Coleridge,168 Peirce,169 and Emerson,170 and through the intermediary of Naturphilosoph Alexander von Humboldt, his influence on Darwin171) cannot be accounted for based solely on the popular reception of Hegel’s philosophical caricature of intellectual intuition as “the night in which all cows are black.” The more probable reason for his absence, as Bowie suggests, is that Schelling’s Naturphilosophie “was effectively killed off…as part of the overt praxis of the natural sciences” beginning in the 1840s as these sciences “[began] to fall under the spell of materialism and positivism.”172 Prior to the current resurgence in interest, historians of science tended to dismiss Naturphilosophie as a “strange and nearly impenetrable offshoot of the Romantic movement,” an offshoot that is “safely ignored.”173 So long as postkantian positivism (of the sort that refuses to make organism rather than mechanism constitutive of nature) holds sway over the scientific imagination, Schelling’s thought will continue to languish on the fringes of philosophical activity. Fortunately, “the dangers of a scientistic approach to nature” are becoming increasingly well recognized,174 and alternative histories are being told that challenge the standard Enlightenment account of the dominance of mechanistic physics and biology.175 The fundamental incoherence of the postkantian positivist approach is such that, despite itself resting upon an implicitly postulated speculative dualism between mind and matter, it at the same time denies that there can be any scientific validity to philosophical speculation. “It is only then,” says Arran Gare,

when the original practical engagement as an active force within the world is forgotten, that the illusions of dualism…appear.176

Many natural scientists unpracticed in the methods of philosophy are quick to dismiss Schelling’s speculative physics for what they perceive to be a lack of respect for the empirical facts. Several scholars, including Gare,177 Robert Richards,178 Joseph Esposito,179 Frederick Beiser,180 and Iain Hamilton Grant181 have convincingly argued that Schelling painstakingly studied and significantly contributed to the natural sciences of his day. Richards characterizes Schelling’s natural philosophical works not as the wild frenzy of mystical analogizing that its positivist critics saw, but as “[groaning] with the weight of citations of the most recent, up-to-date experimental work in the sciences.”182 Grant, while he acknowledges Schelling’s Naturphilosophie as a precursor of the new natural sciences of self-organization and complexity, warns us not to

positivistically reduce [Schelling’s] philosophical interventions into nature to a theoretical resource to be raided as and when the natural sciences deem it necessary.183

Keeping Grant’s desire to protect Naturphilosophie from such a positivistic reduction in mind, it is nonetheless interesting to note that Schelling shared the “aether hypothesis” with most of his scientific contemporaries.184 The aether remained the foundation of science’s understanding of electromagnetism until Einstein dismissed it as “an unnecessary burden on space” in 1905.185 The quantum revolution of the early 20th century, with its hypothesis of a non-local field or immaterial quantum vacuum underlying the extended universe, began to raise doubts about Einstein’s dismissal.186 After the recent tentative discovery of the related notion of a Higgs field, it would appear that “a new aether” is front and center again in physical science.187 Where this discovery will lead contemporary physicists remains to be seen, but for Schelling, the elastic properties of the aether were identified with the original duplicity of forces animating the common soul of nature, or World-Soul.188

The two conflicting forces conceived at the same time in conflict and unity, lead to the idea of an organizing principle, forming the world into a system. Perhaps the ancients wished to intimate this with the world-soul.189

In the context of the aether hypothesis, it is important to remember that the main intent of Schelling’s Naturphilosophie was not merely the “application of abstract principles to an already existing empirical science”:

My object, rather, is first to allow natural science itself to arise philosophically, and my philosophy is itself nothing else than natural science. It is true that chemistry teaches us to read the letters, physics the syllables, mathematics Nature; but it ought not to be forgotten that it remains for philosophy to interpret what is read.190

In other words, Schelling’s aim was never to produce hypothetical models of how the hidden mechanisms of phenomenal nature may or may not work. His philosophy of nature is an attempt to re-imagine the metaphysical foundations of natural science, such that the theorizing subject, as part of nature, is understood to be an active factor in the organic construction of the objective facts. For Schelling, the aether was less a scientific hypothesis than it was an organizational principle justifying scientific activity in the first place, since, following the ancient epistemic principle that “like is known by like” (Plato’s “syggeneity”), it granted the human soul participatory knowledge of the invisible substructure of the universe.191 Or, as Schelling put it, “What in us knows is the same as what is known.”192

When Schelling says that “to philosophize about nature means to create nature,”193 it should not be collapsed into the prima facie quite similar statement by Kant, that “He who would know the world must first manufacture it–in his own self, indeed.”194 Kant’s approach to the study of nature is grounded in subjective voluntarism, wherein the philosopher fabricates “nature” as his own object according to the transcendentally deduced categories delimiting his experience.195 Schelling’s Naturphilosophie, on the contrary, re-interprets the epistemic position of the natural scientist: where the postkantian scientist can only grasp himself as thinking about nature from beyond nature, Schelling’s scientific method involves awakening to oneself as “nature itself philosophizing (autophusis philosophia)”196 As Grant describes it, “What thinks in me is what is outside me.”197 If the Naturphilosoph is able to think as nature, she becomes “a new species equipped with new organs of thought.”198 Schelling’s Naturphilosophie is an attempt to know nature unconditionally, i.e., not as the sum total of its created products, but as the creative activity giving rise to them.199 The question is no longer, as it was for Kant, “how do I make finite nature appear?”, but “what is the essence of nature’s infinite activity?”

Schelling’s philosophy of unthinged (Unbedingten) nature is the necessary counter postulate to Fichte’s absolutely free ego, the next logical turn on the dialectical wheel that makes known the presence of an unthought background, a dark abyss (Ungrund) before which the conscious ego can at first only mumble as it meets its long forgotten maker. Schelling’s discovery is that absolute spirit and absolute nature dependently co-arise as the polarized personalities of a natural divinity. The finite human ego is not a priori; rather Absolute nature is prioritized,200 since

Everything that surrounds us refers back to an incredibly deep past. The Earth itself and its mass of images must be ascribed an indeterminably greater age than the species of plants and animals, and these in turn greater than the race of men.201

“Philosophy,” according to Schelling, “is nothing other than a natural history of our mind.”202 The philosopher of nature “treats nature as the transcendental philosopher treats the self”203 by coming to see how

the activity whereby the objective world is produced is originally identical with that which is expressed in volition.204

Schelling’s is akin to an enactive, rather than representational account of scientific cognition. According to Evan Thompson, from an enactive perspective,

a natural cognitive agent–an organism, animal, or person–does not…operate on the basis of internal representations in the subjectivist/objectivist sense. Instead of internally representing an external world in some Cartesian sense, [it] enact[s] an environment inseparable from [its] own structure and actions.205

Schelling’s enactive account of natural science thereby recursively grounds the production of scientific knowledge in the living bodies, funded laboratories, invented technologies, and specialized communities through which it emerges. What science knows is not a passively reflected copy of objective nature as it appears before an aloof subject; rather, the scientist’s experiential facts co-emerge with his experimental acts:

Every experiment is a question put to Nature, to which it is compelled to give a reply. But every question contains an implicit a priori judgment; every experiment that is an experiment is a prophecy.206

That every experimental design contains implicit a priori synthetic judgments (e.g., “every event has a cause,” “nature is an organized system”) is not to say that Schelling believed the natural scientist should try to deduce the structure of nature from a priori principles alone. He maintained that we know nothing except through and by means of experience,207 and therefore that synthetic a priori knowledge, though dialectically constructed, is subject to experimental falsification, theoretical revision, and replacement.208 Whereas for Kant, there exists an unreconcilable opposition between a priori and a posteriori knowledge, for Schelling, acts of cognition and facts of experience recursively condition one another in the endlessly spiraling pursuit of the unconditioned.209

Schelling’s Naturphilosophie is more relevant to contemporary natural science’s vision of a creative cosmos than ever before. The classical mechanistic, entropic paradigm is being replaced by the new sciences of self-organization, which depict the universe as a progressive unfolding of kaleidoscopic activity; given this new context, Schelling’s dynamic evolutionary philosophy of nature can go a long way toward philosophically generating the underlying organizing principles “needed to supplement the laws of physics.”210 Contemporary natural science demands a firmer foundation for its theoretical and empirical discoveries than that given it by 17th century Cartesian metaphysics. Paradoxically, Schelling’s contribution to a more adequate metaphysical foundation for science involves destroying the long held belief that reality has any necessary foundation at all. Schelling’s is a process metaphysics that grounds the visible universe in infinite freedom and creativity.211

Unlike the mechanistic paradigm, which assumes the necessary existence of inert corporeal matter and so cannot explain how creative activity and the emergence of organized form are possible,212 for Schelling, such creative organization is the driving force of nature, inert matter being one of its later products. The source and common medium of nature’s creative activity according to Schelling is universal “sensibility,” making his Naturphilosophie a variety of panexperientialism.213 The ability to feel is what makes all apparently mechanical motion possible, since without such a universal experiential aether, no force could be felt and so exchanged between or across material bodies.214

By making sensibility the ultimate condition of nature’s dynamic organization, Schelling reverses the Kantian and Newtonian prioritization of external relations (i.e., linear mechanism, where causes are always external to effects) and instead understands nature as a holistic system of internal relations (i.e., reciprocal organism, where cause and effect are circular).215 The former externalist approach is unable to account for the origin of motion and activity in nature, since it deals only with secondary mechanical effects.216 Schelling’s dynamical approach does not assume the existence of corporeal bodies that exchange mechanical forces, but describes the construction of these bodies as a side-effect the originally infinite activity of nature’s fundamental forces of organization.217 Viewed from the height of nature’s fundamental organization, according to Schelling,

the particular successions of causes and effects (that delude us with the appearance of mechanism) disappear as infinitely small straight lines in the universal curvature of the organism in which the world itself persists.218

What needs explaining from the perspective of Schelling’s self-organizing aether is not creative activity, but the appearance of inhibition, habit, and permanence.219 Schelling accounts for inhibitions in the cosmic flow by positing an “original duplicity in nature” as two infinitely active forces striving in opposition to one another.220 Nature is, in itself, infinite, and so only it can inhibit itself. Were there no such polarized self-inhibition in nature, space would have immediately expanded into emptiness and all time would have passed in the flash of an instantaneous point.221 The natural products of gradual cosmic evolution–whether atoms, molecules, stars, galaxies, cells, animals, or humans–are the visible expressions of a determinate proportion of these polarized forces, each one a temporary configuration of nature’s infinite process of formation.222 That is, each product is really a recapitulation of one and the same archetypal organism, only inhibited at a different stage of development and made to appear as a finite approximation of the infinite original.223 Nature’s rich variety of organic products only appear to be finite entities, when in reality, they contain within themselves, as though in a mirror image, the infinite whole of living nature’s creative activity:

…a stream flows in a straight line forward as long as it encounters no resistance. Where there is resistance–a whirlpool forms. Every original product of nature is such a whirlpool, every organism. The whirlpool is not something immobilized, it is rather something constantly transforming–but reproduced anew at each moment. Thus no product in nature is fixed, but it is reproduced at each instant through the force of nature entire.224

Schelling’s attempt to ground the emergence of the physical universe in an unstable abyss (Abgrund) of dynamic forces and to re-conceive nature in terms of becoming rather than being makes it a philosophical precursor to Ilya Prigogine’s work on the physics of non-equilibrium processes.225 Prigogine’s Nobel Prize winning discoveries lead him to announce the birth of a new science,

a science that views us and our creativity as part of a fundamental trend present at all levels of nature.226

Like Prigogine, who called for “the end of certainty” and of the Cartesian/Newtonian mechanistic paradigm, Schelling sought to give an account of the physical universe that does not irrevocably separate the human observer from the nature observed. Scientific objectivity, as a merely reflective method, can prove useful; but there is no coherent metaphysical justification for treating the subject-object split as a reality. “I absolutely do not acknowledge two different worlds,” says Schelling,

but rather insist on only one and the same, in which everything, even what common consciousness opposes as nature and mind, is comprehended.227

The natural scientific consequence of insisting on a polar unity between subject and object is that nature can no longer be conceived of as a heap of objects or a giant machine, but becomes rather a universal organism in whose life all finite creatures participate.228 Cartesian science, which searched for objective matters of fact independent of the values of life and society, comes to be replaced by cosmopolitical science, which foregrounds what the Whiteheadian philosopher Bruno Latour has called “matters of concern.”229 Such a replacement re-knits the frayed edges of cosmos and anthropos back together, allowing for the composition of a new planetary constitution more inclusive of the diverse community of species that call earth home. In the next section, the anthropological and political consequences of re-situating the human being within such a universe are unpacked.


168 According to Owen Barfield, “…as the law now stands, Schelling could have sued Coleridge in respect of one or two pages in the Biographia Literaria.” Barfield, What Coleridge Thought, 6.

169 When asked about his influences by William James, Peirce pointed to “all stages of Schelling, but especially his Naturphilosophie.” See 2n2 above.

170 Emerson referred to Schelling as a “hero.” See 14n58 above.

171 Richards, The Romantic Conception of Life, 134, 514.

172 Bowie, Schelling and Modern European Philosophy, 4.

173 Timothy Lenoir, “Generational Factors in the Origin of Romantische Naturphilosophie,” Journal of the History of Biology, 57; Barry Gower, “Speculation in Physics: The History and Practice of Naturphilosophie,” Studies in the History and Philosophy of Science, 320; Snow, Schelling and the End of Idealism, 67.

174 Bowie, Schelling and Modern European Philosophy, 30.

175 See especially Richards, The Romantic Conception of Life.

176 Gare, “From Kant to Schelling to Process Metaphysics,” 58.

177 Gare, “From Kant to Schelling to Process Metaphysics.”

178 Richards, The Romantic Conception of Life.

179 Esposito, Schelling’s Idealism and Philosophy of Nature.

180 Beiser, German Idealism.

181 Grant, Philosophies of Nature After Schelling.

182 Richards, The Romantic Conception of Life, 128.

183 Grant, Philosophies of Nature After Schelling, 11.

184 Grant, “Introduction to Schelling’s On the World Soul, Collapse: Philosophical Research and Development, VI, 65.

185 Leon Lederman, The God Particle, 101, 375.

186 Paul Davies, The Cosmic Blueprint, 176.

187 Lederman, The God Particle, 375.

188 Miklós Vassányi, Anima Mundi: The Rise of the World Soul Theory in Modern German Philosophy, 143, 384.

189 Schelling, On the World Soul, trans. Grant, Collapse: Philosophical Research and Development VI, 74.

190 Schelling, Ideas for a Philosophy of Nature, trans. Errol E. Harris and Peter Heath, 5.

191 Grant, Philosophies of Nature After Schelling, 126-127, 169.

192 Schelling, On the History of Modern Philosophy, trans. Bowie, 130.

193 Schelling, First Outline of a System of the Philosophy of Nature, trans. Keith Peterson, 14.

194 Immanuel Kant, Opus Postumum, trans. Eckhart Förster, 240.

195 Grant, Philosophies of Nature After Schelling, 2.

196 Schelling, Schellings sämtliche Werke, trans. Grant, 11:258.

197 Grant, Philosophies of Nature After Schelling, 158.

198 Schelling, Einleitung in die Philosophie (1830), trans. Grant, 57.

199 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 14.

200 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 198.

201 Schelling, Die Weltalter: Fragmente, in den Urfassungen von 1811 und 1813, ed. Manfred Schröter, trans. Iain Hamilton Grant, 11-12.

202 Schelling, Ideas for a Philosophy of Nature, trans. Harris and Heath, 30.

203 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 14.

204 Schelling, System of Transcendental Idealism, trans. Peter Heath, 11-12.

205 Evan Thompson, Mind in Life: Biology, Phenomenology, and the Sciences of Mind, 59.

206 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 197.

207 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 198.

208 Gare, “From Kant to Schelling to Process Metaphysics,” 45.

209 Matthews, “Introduction,” The Grounding of Positive Philosophy, 20-21.

210 Davies, The Cosmic Blueprint, 2-5, 203.

211 Gare, “From Kant to Schelling to Process Metaphysics,” 28.

212 Usually, the emergence of life and consciousness are explained by mechanists as random chance occurrences–the opposite of a theoretical explanation, since they are said to emerge for no reason.

213 “Panexperientialism” is a term coined by Whiteheadian philosopher David Ray Griffin to refer to any philosophy of nature that affirms that every actual occasion in the universe enjoys some level of experience; see Griffin, Parapsychology, Philosophy, and Spirituality: A Postmodern Exploration, 99.

214 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 137.

215 Gare, “From Kant to Schelling to Process Metaphysics,” 52.

216 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 195-196.

217 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 196.

218 Schelling, On the World Soul, trans. Iain Hamilton Grant, Collapse: Philosophical Research and Development VI, 70.

219 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 17.

220 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 11.

221 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 17, 187.

222 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 35, 159.

223 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 48-50.

224 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 18.

225 See Davies, The Cosmic Blueprint, 175; Late in his life, Prigogine collaborated with the Whiteheadian philosopher Isabel Stengers regarding the philosophical implications of his work.

226 Prigogine, The End of Certainty: Time, Chaos, and the New Laws of Nature, 7.

227 Schelling, Schellings Sämtliche Werke, trans. Grant, 4/102.

228 Schelling, First Outline of a System of the Philosophy of Nature, trans. Peterson, 138.

229 Adrian Wilding, “Naturphilosophie Redivivus: on Bruno Latour’s ‘Political Ecology,’” Cosmos and History: The Journal of Natural and Social Philosophy, Vol. 6: 2010, 19.; (retrieved 8/7/2012). Wilding argues that many of Latour’s contributions were prefigured in Schelling’s Naturphilosophie.