Monday, December 09, 2019
Strange bedfellows in LARB.
Meanwhile, Truth-Defenders point an accusatory finger at the perpetrators, with Trump, Heidegger, Latour, Derrida, and Quentin Tarantino improbably sharing a sinful relativist bed.
Sunday, December 08, 2019
The Gesamtausgabe and I.

Apologies Tom Gauld.
Saturday, December 07, 2019
Renowned Assyrian Translator of Heidegger to Be Honored
Friday, December 06, 2019
In the TLS Angus Nicholls on Hans Blumenberg.

Whereas Rothacker provided the institutional framework for Blumenberg’s first book publication, it was Heidegger’s thought, and especially his critique of Husserl, which formed the main background to Blumenberg’s PhD and Habilitation dissertations.
In Sein und Zeit (1927; Being and Time), Heidegger famously accused the Western tradition, essentially since the Presocratics, of having forgotten the main question of philosophy, namely: What is the Being of beings, or what does it mean for something to be? In Heidegger’s presentation, Plato and Aristotle already pass over this fundamental question when they reassure us of a cosmos that pre-dates us, so that we come to the world as subjects merely seeking to know its objects. From then on, in Heidegger’s view, Western thought was led down the false path of only attempting to know the truth about things in the world, rather than posing the more primordial question of how it is that we have a world in the first place. Heidegger had included the Christian tradition in this dismissal of Western thought, in the sense that it reassures us, in advance, that the world is God’s creation. Blumenberg’s PhD dissertation challenged Heidegger’s position, claiming that Scholastic thinkers – Thomas Aquinas, Bonaventure and Duns Scotus in particular – had underlined the radical contingency of the world. Blumenberg argued that because these thinkers understood God as having created the world ex nihilo, they addressed head-on the very question that Heidegger thought the Western tradition to have neglected. Blumenberg’s Habilitation thesis also took up a Heideggerian position, this time in explicit opposition to Husserl. Whereas Husserl had wanted to insulate phenomenology from the pitfalls of historical relativism, arguing that it would be possible for philosophy to examine the pure contents of consciousness through what he termed the phenomenological reduction, Heidegger emphasized that any approach to the question of Being is marked by the position in history from which it is taken up. Blumenberg agreed, observing that Husserl’s phenomenology failed because it did not account for the “extension of history into Being”.
Heidegger clearly remains a theoretical point of departure, rather than just an object of criticism for Blumenberg, as evidenced by Paradigms for a Metaphorology, in which metaphor is seen as a primordial mode of philosophical orientation that takes place before, and conditions, the formation of concepts; and Work on Myth (1985), in which Blumenberg takes over Heidegger’s distinction between generalized anxiety (Angst) and objected-oriented fear (Furcht) in order to argue that myth provides human beings with orientation by providing the disoriented and anxious mind with fictive objects. There is thus no clean break with Heidegger’s works in Blumenberg’s writings, even if Blumenberg does become progressively more critical of him during the 1980s.
Thursday, December 05, 2019
The Port Townsend Leader reviews 'Mercy Falls'.
“With ripeness the fruit fulfills itself.” That statement, by philosopher Martin Heidegger, surfaces continuously in the original German throughout the play. Its very presence seems to imply that something very profound is transpiring onstage.
But what does the phrase mean? In his book Death and Desire in Hegel, Heidegger and Deleuze, author Brent Adkins writes, “What is the relation between a fruit that is unripe and the fruit that it will be when it achieves ripeness? How does the fruit become ripe? Can anything be added to the fruit to make it ripe? The fruit does not become ripe by the addition of any thing to it. The fruit becomes ripe by itself. When the fruit does become ripe we say that the fruit has fulfilled itself. That which was not yet ripe is now ripe. The fruit has actualized itself. It has brought itself to completion. It has fulfilled itself. In this sense the fruit is already its ripeness, even though it is not yet ripe. However the fruit becomes ripe it becomes it within itself.”
(GA 2: 325/SZ 244)
Tuesday, December 03, 2019
The Book and Film Globe reviews Karen Armstrong's The Lost Art Of Scripture.
“Not only did God have no gender, but leading theologians and mystics insisted that God did not ‘exist’ in any way that we can understand,” she writes. Heidegger, Armstrong says, termed it Being, a “fundamental energy that supports and pervades everything that exists. You cannot see, touch or hear it, but can only watch it mysteriously at work in the people, objects and natural forces that it informs.”
ενέργεια it is then.
Monday, December 02, 2019
Dictionary.com chooses `existential' as word of the year.

"Paging Dr. Ontologist. Your epoch is ready in OR."
Monday, November 18, 2019
Metal interviews artists Kuzma Vostrikov and Ajuan Song, aka Kuzma & Ajuan.
In previous interviews, you state that you’re not surrealists because you aren’t examining the subconscious. However, your style is pretty much influenced by this 20th-century movement, even if just visually – at least, I see some references to Magritte, for example. If not surrealist, how would you like your work to be perceived and described? How do you define it yourselves?
We’ll answer very simply: An Introduction to Metaphysics. Or, if it suits, even Being and Time. We’re the Heideggers of photography. We’re photo-existentialists practising anthropological symbolism, if you will. Existential truth has to be lived, it can’t be proven. That’s Søren Kierkegaard. Existentialism is the formal way into our labyrinths, so to speak – the entry ticket. A necessary but not sufficient condition. Going on: Magritte is the simplest detail that has jumped out at you. Because the rest of the details lies behind that first page. Bergman, Tarkovsky, Fellini, the film Amarcord, Jarmusch to some degree or another – they show through our photographs and sneak along behind us. Go ahead, x-ray the paper we print on. That, and the authors themselves are, as it were, located outside of photography. Their rocket lifts off from its surface and flies into outer space. Visually, you could find Botero and Picasso and Cézanne and Warhol, and maybe others.
For when Ereignis is not sufficient.

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