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Tag Archives: drama

Wildcard Time-World Idealism

25 Sunday Oct 2020

Posted by Sandy MacDonald in Class War, Embodiment, Freedom, Political Power, Subjectivity, Transcendence

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aristocracy, creativity, culture, drama, dystopia, Edmund Husserl, empathy, idealism, nature, phenomenology, Plato, politics, Romanticism, sensibility, time

Fragment 169, word count: 1,230.

At the heart of Romanticism is the cultural perspective of aristocracy, essentially a pessimistic fatalism, definitive of the political right-wing, in which the brutality of master/ slave social organization is taken to be inevitable, decreed for eternity by nature or God. In that dystopia, only reveries of magic, beauty, and masculine heroism provide the precious little light in the tragically inescapable gloom. However, nothing in human affairs is really inevitable because human affairs are constructs of multiple idealities, and idealities, persons, are fountains of spontaneous novelty, of original interventions into the situation of a moment, fountains of freedom. Conceptions of this freedom are forms of idealism.

A way of distinguishing one kind of idealism from another is by the extent each understands ideality as creatively projecting novelty into otherwise predetermined actuality conceived as in standard materialism: utterly devoid of purpose. For example, there is no novelty of a willfully creative and spontaneous kind in Plato’s idealism, although some accidental novelty might occur randomly in the illusions experienced as ordinary appearances. Plato’s idealism, and generally the muted idealism at the core of rationalism, builds on a reverence for mathematics by speculating that the perfection of mathematics reveals an immaterial, timeless, and primordial reality from which is projected (imperfectly) the eventful world we experience. In the context of understanding human affairs, mathematics is a short road to dystopia.

Time-World Idealism in the Dystopian Context

Recognition of time as the primordial context of individual human existence is the portal to an idealism that is relevant in the dystopian political and cultural context as a countervailing force against the declarations of natural or divine determinism (the perspective of aristocracy) which are crucial features of dystopian world-system concepts.

The problem with logical argument as a technique of inquiry into things as experienced was pointed out by Bertrand Russell: Logical argumentation is not how original insights are discovered. Using other means, people come upon claims they judge to be important and worth defending and then search for premises and arguments that produce them as logical conclusions. Philosophical insights are first generated by something like phenomenology, an innocent curiosity about lived experience and agency. So, the primary technique of thinking philosophically, the technique that brings us to the crucial idealism, is engaging with experience from innocent curiosity, a curiosity that has been de-cultured and so released from normal bias and prejudice.

Phenomenology is always an effort to bring ideality into some degree of conceptual focus. It is never a scientifically measuring object-ology. It is explicitly a description of experience as ideality, objects as taken in and made sense of by a questioning, knowing, interested, and caring subject. So, all phenomenology is phenomenology of spirituality, plausibly the only way to quest for knowledge of spirituality. Since Edmund Husserl (1858-1938), the definitive move of phenomenology is bracketing off the question: does this appearance accurately represent something that is completely independent of being perceived?, so to remove any suggestion of defining knowledge of a “thing in itself” as objective reality. And yet, even in Husserl and his massive legacy there remains an emphasis on objects and objectification.

The problem with phenomenology has been that sensory impressions are taken as the elemental evidence, taken in a way that is already objectified. They are conceived as patches of colour, an auditory pitch, a feeling of roughness or pressure, a scent or taste of coffee, all removed from the context of a personal dramatic purpose-in-time which brings someone to notice them. There is the usual assumption that time is not primordial, but instead a superstructure to be put aside in describing the basic phenomena from which everything else, including time, will be assembled later. However, the thinking subject, a questioning future-ward-leaping will-to-learn and will-to-express-itself, cannot be assembled from the passive excitations of sensory impressions, or from the objects they make available for discovery and identification. Sensory impressions or the objects they locate cannot be made into care, cannot be made to construct an interest in themselves. Caring is prior, and primordially a leaping future-ward, using knowledge of the time-world as personal possibility.

None of the phenomena of receptive sensations can combine to construct the desperate future-ward leap of curiosity, the drama of a questioning will to gaze, to search, to leave a personal mark and make a personally gratifying life. Sensory perception cannot assemble whatever questioning sensibility is expressing the vector of such drama in an act of perceiving, a drama formed of complex expectations, vectors of intention in action, and this moment of searching curiosity. You know your own sensibility by self-creating and inhabiting your life-drama. The sensibility performing a perceiving cannot be an object of sensory perception, and requires a conception of its presence different from perceived actuality: primordially purposeful ideality.

Phenomenology of Personal Drama: An Idealism

Humanity/ personality, as ideality, is the creation of freedom by supposing the possibility or impossibility of multiple personal futures, and so freedom through creativity is fundamental and universal to individual personalities. We individually create a supposition of decreasingly remote approaching not-yet and increasingly remote receding no-longer as an imprint on the newness and open incompleteness in which we act, a primordial context of time in which we intervene in brute actuality as purposive, dramatic, agents. Personality supposes (posits as ideality) a context that enables its agency in a personal drama, a time-world of personally specific approaching futures, both possible and impossible non-actualities, a mutable opening in the fabric of reality. Ideality is what leaps ahead, a leaping that makes the world matter. That ideality is empathic is crucial to its personal drama, and along with empathy comes the drama of good and evil. Good is acting with the purpose of expressing empathy, evil is acting in contradiction, denial, or refusal of empathy.

Wildcards

Ideality leaps into an opening of its own supposing, as a vector of time which plunges future-ward with a specific spur-of-the-moment creative will to inject spontaneous (not random) novelty into actuality at the location of personal embodiment. Such a will-to-create a personally suitable future is obviously not nature, which always just falls predictably according to laws of inertia and entropy, a vector of time in which everything is slipping away. The vector of time which leaps toward a future of its personal devising transcends nature by its personal injection of unpredictable creativity. Creation of the world is unfinished, undecided, continuing through the agency of a multitude of embodied wildcard idealities. We are more time-waves than particles of any kind, individually self-shaping waves through time.

The reason for a culturally obligatory reliance on socially constructed outward representations of personal identity with trophies (possessions, status, career path, social network, costumes, titles) is that there is no comfort with any conception of personal interiority in culturally dominant conceptual systems founded on ideas of God and nature. As an alternative to the historically aristocratic and patriarchal glorification of trophy property as manifest demonstrations and proofs of personal power and worth, we place inward consciousness and agency: the ability and opportunity to feel and follow a delighted questioning curiosity, as from a profound innocence, exercising creative freedom to engage in the ethical enterprise of aligning personal freedom with the transcendent freedom of everyone around.

Embedded links:

Fragment 19, February 10, 2012, Mathematical Rationalism in the Baroque Era (word count: 1,101)

Fragment 153, September 28, 2019, De-Culturing (word count: 458)

Copyright © 2020 Sandy MacDonald.

Time-World

24 Thursday Sep 2020

Posted by Sandy MacDonald in Embodiment, Freedom, Subjectivity

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actuality, agency, drama, empathy, freedom, ideality, language, personality, sensibility, time

Fragment 168, Word Count: 480.

Ideality is a desperate engagement with the passing of time, a moving shape of caring that feels, anticipates, and fills the passing of time. It is a person actively living a particular embodied life in the time-world. Decreasingly remote approaching not-yet and increasingly remote receding no-longer is the primordial context for every person’s dramatic agency, for personality, humanity, spirituality, intelligence, sentience. Ideas are acts of opening and connecting in the dramatic edifice of orientation which is a sensibility, a preparedness for carrying on, having learned, searching and going further, opening future-ward in expression of a personal peculiarity of creativity, newly launching an expression for this moment. Ideality is the spontaneous vector in the passing of time, the creatively aspirational vector, expressing freedom. Freedom is the moment to moment originality of the creativity of ideality. Every person’s living is a developing drama conferring a shape of relevance and importance on its envelopment of inertial/ entropic nature. In that way any and every person enchants the entirety of existence, makes it dramatic, makes it matter, some parts more than others, crucially different for every individual.

A monadic centre of agency, spinning out a personal drama which is a continuously located movement in the time-world, is defined by a seeking gaze, a questioning, curiosity from an ever-learning poise of orientation and bearing-further, readiness for surprising discovery and empathic encounters acknowledging other dramatic agents. Language* competence is a complex edifice of readiness, of knowing and empathy. Knowing the taste of Chardonnay isn’t an image, but a vigilant readiness to recognize sensations. Sensibility is everything a person is looking for, centrally and peripherally, both what is expected and what would count as surprisingly good or surprisingly bad, an active poise of sensitivities from ever-greater accumulations of increasingly remote acquaintances. The crucial intervention of a personal sensibility is to bring to any here and now all the learned context, in the form of vigilant readiness and an intentional direction of effort, that gives the moment meaning and sense. Sensibility is an individual’s expectations and personal intentions engaging every moment of sensitivity as a lens through which sensations transform into features of a coherent world that is stage setting for the personal drama but especially for what’s next in the drama. The centre of agency is reading sensations through the interpreting lens of a knowing, caring, and actively aspiring sensibility, already shaping what’s next.

In ceaselessly passing time and without an otherwise fixed essence, personality, as a point and arc of agency, has an inherent imperative to create (and power to do so, moment by moment) an ever revising personal presence and passage through an unstable and temporally discontinuous actuality. To anticipate and act with intent is to dwell in the personal tilt or bearing-further beyond now and no-longer, into the unformed not-yet which is freedom.

* Fragment 140, January 25, 2019, The Most Important Event in History (word count: 1,077. See subsection: Empiricism’s Evasion of Metaphysics.

Copyright © 2020 Sandy MacDonald.

Contesting the External Almighty

28 Friday Aug 2020

Posted by Sandy MacDonald in Class War, Freedom, Hierarchy, Narrative, Nature, Political Power, Subjectivity, Transcendence

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drama, dystopia, Enlightenment, feudal Christendom, ideality, Martin Luther, materialism, Plato, politics, Protestantism, sensibility, Spinoza, time, Wycliffe

Fragment 167, Word Count: 3,113.

Plato’s External Almighty

Plato’s metaphysics is an example of an idealism determined to think of ideas as things, in Plato’s case as magical objects. Including magic was Plato’s way of making use of the specialness of ideality (not reducing everything to measurable lumps) but without admitting the full specialness as evident in the direct personal experience of ordinary personalities. Plato’s account was still quasi-religious as an elaborate speculation on occult structure to the world, featuring the dominance of a super-intelligence remote enough to be convincingly transcendent: One Platonic heaven to rule them all, a deliberating universal source. The master tenet of Platonism is a model of existence with Ideal Forms as magical objects near the top of a cosmic hierarchy. The magical objects are immaterial exemplars, eternally immutable but creating all existence below them on the hierarchy of existence by each reproducing images of itself, less stable or exact with every iteration. This is Platonic essentialism, in which the ultimate divisions and categories of things in the entirety of reality are externally given forever in a way that happens to be apparent to human perception. The Ideal Forms are near the top of a structure of descent from a divine oneness at the highest level of reality down to a churning multiplicity of ephemeral appearances at the level of everyday experience. Unlike the constant change of things experienced by human senses, the Ideal Forms are profoundly stable, eternal, removed from the time, place, and gross materiality of the day-to-day world, and associated with a divine super-intelligence.

Plato’s conception of reality also included other occurrences of intelligence, specifically in the human experience of personal interiority, the soul (ideality, personality). Plato’s model was a three part soul: appetite, competitive spirit, and rational cognition. The soul conceived by Plato was preset with those particular sensitivities and postures toward temporally fleeting appearances, a reflector from within of the world descended from remote Ideal Forms. The three Platonic postures of the soul corresponded to three distinctly unequal categories of people, implying a kind of government in which sovereign power is properly performed in accord with the innate quality of class membership (still going strong and dystopian now as it was then). The personal Platonic soul as an exemplar of ideality was incomparably less important than the originals of things in the apparently objective world, the Ideal Forms, which were distinctly separate from ordinary souls, in no way commensurate.

In Plato’s allegory of the cave, from Republic, Book VII, we see Plato’s version of something else of importance in the relationship between the individual human soul and his prime exemplars of ideality. In the story, a crowd of people is watching shapes move about in front of them. They do not know they are in a dark sloping cave, and they are looking at a wall at the bottom of the cave. There are people outside the cave, near the entrance, carrying cut-out images, models of objects, back and forth in the direct light of a fire beaming down into the cave, so that the cut-out images cast shadows all the way down onto the wall at the bottom. The people in the cave believe they are perceiving real objects, when in fact they are seeing shadows of cut-out images of objects. One person in the crowd at the bottom of the cave, presumably thinking philosophically, separates himself and turns away from the wall of images, and sees that he is in a cave with light streaming down from above. He makes his way up the slope and reaches the top where he sees the cut-out images being moved about, casting shadows down into the cave, which the crowd at the bottom mistakes for reality. The story describes allegorically the profound relationship between the individual interior ideality and the truly transcendent Ideal Forms, such that the rational-cognitive aspect of individual interiority has the power to come to know, to behold intellectually, the eternal and immutable core of reality, and that is Plato’s vision of the great drama of human existence, the achievement of philosophical insight.

[Fragment 130, July 4, 2018, How Aristotle Placed Personality (word count: 1,368)]

Plato’s Ideal Forms were one depiction of the transcendence of ideality (intelligence, spirituality, abstraction), but conceived in a way to completely avoid the play of capricious divine personalities familiar from tales of Olympian gods, but also to avoid the reality of human level spiritual autonomy (always worrisome to community-minded aristocrats such as Plato). The association of Plato’s Ideal Forms with intelligent personality is so far removed from ordinary subjectivity and from the capricious personality which some have imagined as divine intelligence that what remains is merely a transcendent or magical power of self-reproduction, self-image projection, that defines this set of objects. Platonic idealism has been the most influential metaphysics by far, having established from ancient times a dominance in the conception of reality at the core of European high culture. With the rise of Christianity within the Roman Empire, from beginnings among nomadic herders in the arid regions adjacent to the ancient fertile crescent, Platonism collided with the dominance of a new orientation, but being so well established in the Hellenistic cultural region it was largely incorporated into this upstart Christian Monotheism. In Plato-tinged Christianity the God on high did His work of creation in stages plausibly beginning with Platonic Ideal Forms. Christianity was also a strictly top-down vision with assumptions of an immutable hierarchy of worldly power and wealth, this time with an omnipotent divine surveillance-agent, score-keeper, and executioner at the top, intent on interfering in human affairs to maintain the chain of subordination, an all powerful super-parental watcher and controller, the mere presence of which immediately defines ordinary human existence as victim-existence. Such a conception of humanity is the matrix of dystopian societies. In Christianity, the capricious divine personalities familiar in Olympian gods were reduced to a single capricious divine personality, the one God of Abraham, but in the process a bit more of the richness of ordinary ideality was returned to the conception.

The Christian External Almighty

Christianity was another idealism, with contributions from Platonism. The world as a whole was perceived as a living Being, fundamentally personified. The innermost reality of all existence was an expressive and creative teleological will, an ideality. In the culture of feudal Christendom, intelligent consciousness (personality) was indisputably the crucial presence in and of the world, but it featured a grotesque bifurcation with two starkly different versions and placements: divine personality and then its creature, human personalty, initially created as very imperfect images of divine personality (sound Platonic?). In Christian idealism, the divine personality’s core creation was the great drama of human souls and their journey. There was a recognized sameness of transcendence between human and divine personality since both produce coherent utterances and acts expressive of the ideation of caring, knowledge, and intention, quite unlike the lumps of inanimate nature. Only intelligence strives toward a specific not-yet or non-actuality, the essence of creation. Teleology anticipates conditions and objects which do not exist except in personal ideation, but which might possibly be made to exist if a specific anticipated agency is exercised through an increasingly remote and improbable future. This is living as enacted and experienced by human persons all the time and, supposedly, also for the power which created them and their entire world. This teleology of creation is the crucial identifier of personality, expressed as curiosity, caring, questioning, learning (accumulating orientation or sensibility), and expressive voice or agency, all teleological postures. In Christendom, the whole meaning and drama of existence as a whole centred on the relationship and interactions between the divine personality and human personalities as both individuals and collectives: the great drama of human salvation from inherent guilt, of earning a return from exile (Eden) back to a close presence with divine personality. Concrete nature was a trivial backdrop, merely a platform or staging, with no importance in itself, in which the drama of personality could play out. This was a strong idealism. There was no clash with Platonism in that, since in Plato’s idealism the eternal Ideal Forms were real, but the ephemeral objects experienced by humans in time were just shimmery images and appearances.

The Roman Church hierarchy was certainly committed to the idealism of teleological persons, with divine personality as the sole source and final destination of everything. Voices promoting Christianity expressed hatred for Epicurean materialism, for example. For Christians, of course, all interior souls had to be punishable for breaking God’s commandments, so they had to be understood as having some moral judgment and choice. That was an upgrade from Plato’s conception of humans as rational beholders of eternal Forms but a small one since, on the Christian conception, original sin almost always determined human choices to be bad. As such, people had to be forced into submission by the religious and civic authorities established by God. That patriarchal conception inspired and sanctified the very rigid, restricted, exploitative, and repressively hierarchical top-down societies of feudal Christendom, dedicated to the culture of violet masculinity, and determined to remain essentially static for eternity, supposedly to persuade the cosmic personality to tilt benign. Feudal Christendom was a grossly dystopian society.

The Contestant

The Spirit of Protestantism emerged around the fourteenth century associated with the countercultural movement for universal vernacular literacy to give everyone private access to reading God’s words in the Bible, so, remarkably, assuming an ordinary personal interiority of sufficient gravitas to interpret the most profound Divine message without mediation or guidance from the Church. That was a profound upgrade over both Plato and Roman Church conceptions of the individual soul, so much so that now the conception of human interiority as the exemplar of ideality became more important by far than some speculative prototype of worldly objects, which anyway were only staging for the great drama of existence: the moral journey of the individual soul. The experience of locally embodied individual personality, neither external nor almighty, is always the personally original example of ideality and ideas, and so of transcendent creativity. This was finally having a decisive influence on how ideas were conceived. Then came Martin Luther (1483-1546) as a living example of autonomous moral judgment and Biblical interpretation. Luther’s autonomous gravitas went as far as facing down the entire edifice of the Church hierarchy. It was crucial to standard divine-drama idealism that nothing could rival the overwhelming fascination of the unitary divine personality, the external almighty, and that is where the contradiction with Luther and his spirit of Protestantism arose, because by the time of Luther’s expression of individual humanity, the most ordinary human interior ideality was credited with power to posit reality, as, for example, in choosing or not choosing faith. This recognized a moral journey created moment by moment by the individual person, and approached the independence of agency conceived for divine personality. Such a power implies that an individual is inherently more faceted and with greater capacity for a variety of orientations than anything proclaimed culturally as a collective reality and identity. This was a more advanced humanism than anything from the ancient schools. It was still Christianity, but a version in which the power of individual inwardness was a more active focus of interest and discovery than even the remote and speculative external almighty God. Luther’s vision of autonomous individual interiority, an idealism focused on a primary ideality unlike Plato’s, brought official Christendom down on it like an avalanche. Outbreaks of Protestantism were viciously assaulted in the French Wars of Religion (1562-98) and in the Thirty Years War (1618-48) in Germany, and in many other times and places. The key idea of Protestant idealism, that the inward experience of individuals is the important exemplar of ideality, and so of transcendence, was effectively driven underground, only to emerge very tentatively in Leibniz’s monads, then more boldly in Kant.

[Fragment 158, January 9, 2020, The Arc of the Monad (word count: 803)]

[Fragment 160, February 8, 2020, Existentialism is an Idealism (word count: 728)]

Luther was never a political disruptor but always supported the institutions of political sovereignty he found in place. His focus stayed on Biblical interpretation as a guide for living a Christian life. However, this was somewhat inconsistent with the general spirit of Protestantism. As early as Wycliffe in the fourteenth century, there was an association between the movement for popular vernacular literacy and the English Peasants’ Revolt (1381), just as Luther’s religious movement was associated with a German Peasants’ Revolt (1524-25) against which Luther wrote viciously. Protestantism survived, obviously, but in many different expressions, some apparently radical, and some very much under the thumb of aristocracy and monarchy, the sovereign institutions as they existed in Old Regime Europe. Lutheranism was one of the latter, muted in its disruptive potential by dependence on the protective power of state institutions. The Calvinist cluster of sects could be politically radical, but with divine predestination as a central article of faith, they offered no confrontational upgrade to the conception of ordinary human interior ideality.

External Almighty Restoration

In the cultural turmoil after the European wars of religion, the work of Benedict de Spinoza (1632-77) combined materialism with a radical critique of the Old Regime’s institutions of sovereign dominance: Church, Monarchy, and Aristocracy. Materialism certainly undermined claims by upper levels of the social hierarchy to be directly appointed agents of divinity, since it eliminated an interventionist divinity. It based its political claims on conceptions of what a primordial state of nature would have been, unspoiled by false assertions of exceptionalism through divine intervention. (Thomas Hobbes (1588-1679) used the same approach.) On Spinoza’s view ‘thought’ and ‘extension’ are the attributes of a single external almighty “God or Nature”. He presented it as a universal substance transforming along strictly pre-determined patterns, and yet there is a non-mechanistic aspect embedded since this is a substance with innate aspects of intelligence (hylozoist), necessary to account for the human experience of intelligent questioning and teleology. This subjective force in Spinoza’s world is the uncredited magic in his disenchanted system, yet Spinoza’s hylozoist materialism did not raise the profile of the individual person’s interior ideality. Spinoza presented a monist world of God in Nature, with a conception of individual ideality only sufficient to account for rational engagement with the world, driven by preset postures, specifically drives for self-preservation and self-advantage. This is not so different from Plato (but without defining essentially unequal categories of people). Human experience and action were conceived as just more mechanistic structures. On Spinoza’s view the drama of human existence is a petty thing, a scrabble for dominance against all contenders. This view persists in much contemporary science and economics, presenting the drama of human existence as biologically driven conflicts to select the fittest for dominance. On the cosmic scale there is no drama, only an entirely predetermined tumble through an inevitable sequence of events.

[Fragment 91, February 20, 2016, Romantic Idealism and the Mind of God (word count: 3,287)]

[Fragment 145, April 4, 2019, Desperately Seeking Reality: Scenes From History (word count: 2,189)]

The drama in Spinoza’s work is political, involving the vision of a primordial state of nature contrasting mightily with the sovereign institutions of the Old Regime as Spinoza found them. On such a view, there must have been at some point a dramatic fall from the state of nature, but, with everything predetermined, that should not be conceivable. Spinoza’s authorship was an attempt to begin a reversal of that inexplicable political alienation from nature. In taking the lead in a radical critique of existing hierarchies of power, Spinoza’s materialism occupied the vacuum left by the brutal suppression of Luther’s implicit idealism. Spinoza’s materialism accorded closely with the rising tide of mathematical and materialist science in intellectual networks, the Republic of Letters, which prominently included embattled Calvinists already committed to metaphysical pre-destination, a view which minimized the autonomy of individual interiority as much as materialism did. In this way an ultimate contest with the dominant cultural proclamation of an External Almighty was avoided, but at the cost of conserving the dystopian consequences of that tenet. On the Spinoza/ scientific view, God in Nature was the External Almighty, a match in cosmic importance with the God of Christendom. The existence of the individual as ideality remained well bounded and clearly subordinate. Spinoza was far more interested in the external almighty, what appears under the aspect of eternity, than he was in anything essentially engaged in the movement of time, as ideality is. To construct a conceptual system of reality “under the aspect of eternity” (sub specie aeternitatis), as Spinoza laboured to do, is to embrace the very opposite of the life of intelligences. Objects can be defined by measurements from an instant, but ideality is one of the two vectors of time, specifically the creatively aspirational vector. Ideas and ideality are essentially temporal, searching and opening future-ward.

[Fragment 166, July 28, 2020, Time is a Dual Instability (word count: 417)]

Here’s The Thing

The values which challenged and began to disrupt the long entrenched social dystopias forged by aristocrats, monarchs, and the Church represented the quest for a post-dystopian society featuring equality, universally distributed dignity and rights for individuals, secularism, cosmopolitanism, and democracy. That aspiration for a post-patriarchal future followed from the idealism of individual interiority at the core of the spirit of early protestantism, the authentic heart of Enlightenment. No kind of materialism, not Spinoza’s hylozoist materialism, not the dialectical materialism of Marx and Engels, not scientific materialism, can be tortured into being the source or guarantor of such values. Materialism excludes teleological personality, leaving a strict determinism and unfreedom, and the disappearance of transcendence into meaninglessness. Any form of determinism will cash out insisting that everything must be the way it is, sanctifying tradition and ever recurring cycles, the core position of the dystopian preservationists, the political right-wing.

The political left-wing, as the conceiver of a post-dystopian future, must be a party of idealism, because it must elaborate the idea that humanity keeps revising its conceptions of reality in such a way as to live better. That is impossible unless the genius of humanity is a creative freedom at the level of the embodied individual to re-conceptualize itself moment to moment. With the idealism of individual interiority, there is no external almighty proclaiming a cosmic drama. Drama is the creative fabric of every living individual.

Copyright © 2020 Sandy MacDonald.

The Genius of Ephemerality

05 Sunday Jul 2020

Posted by Sandy MacDonald in Embodiment, Freedom, Nature, Subjectivity, Transcendence

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artificial intelligence, data, drama, empathy, ephemerality, History, knowing, learning, Plato, subjective ideality

Fragment 165, word count: 595.

There is a longstanding pattern in the Western intellectual tradition of artificially separating a cognitive-rational aspect of a person’s engagement with experiences from the active play-out of emotional drama which is a person’s life in the world (and the definitive existence of ideality). As well as dealing with the precarious situation of living on the surface of planet Earth, what mainly shapes the drama for everyone is seeking out other sensitive beings to nurture and care for, constructing profound and enduring relationships with them. In this way ideality (always I-deality) is primarily empathy. Learning facts about things and solving problems are strictly incidental to the conceived imperatives of empathy. On the basis of the separation of cognition from empathic and dramatic agency, an edifice of conceptions has been built distinguishing data, facts and truths, from the emotional drama of “subjectivity” (often denigrated as inherently biased and limited by specific embodiment). However, it is always someone’s emotional drama which confers identified existence on anything.

We carry on living on the basis of a practical certainty that there is an actuality, some of which we eat and breathe and make clothes from. Actuality is what it is and persists in its nature quite independently of how it is conceived by us multitude of individually embodied ideality living with it. Yet it does permit a variety of ways of being conceived, and our ways of conceiving it express how things matter to us in the active play-out of drama which is life in the world.

The genius of ideality is creative ephemerality, turning ephemerality from imminent oblivion to an endurance of never-ending newness made possible by purposefully plunging and probing through time, conceiving freedom in a strictly non-actual but variably probable and possible future. The questioning push directing ideality’s gaze at the world is a self-directed re-orientation in flight: with a specifically directional bearing but also questioning, always incomplete. What is crucial to subjectivity is semi-reliable markers for orientation, to make agency,  operating into an open future, possible. We orient ourselves with ideas about actuality and other personalities, interpretations of experience, concepts created in the context of the teleological need for an open-ended and socially interconnected future-ward arc of living. Ideas are constructive acts of a consciousness living a life in the world, acts of gazing, creative acts of a knowing and learning at the questing point of an arc of purpose. Ideas are openings of newness, created outside actuality, interventions of an instance of a supra-actuality, non-being, which is the existence of living consciousness.

Individual subjectivity has to conceptualize and re-conceptualize the structures of the world, and to intervene in forming and altering those structures by exploiting the instability of actuality experienced as the passage of time. Having the power to do that is the genius of ideality. Knowledge is precisely a state of subjectivity in relation to the world in which a subject lives and orients itself. Nothing can be knowledge except in someone’s knowing, and only a particular subject/ person can know anything. Knowledge is first and always someone’s ideas. The conceptions of reality created by subjective ideality, and their cultural expressions, are tentative and mutable under the force of new experience, deliberation, and creativity. There is no absolute world-order (as in Plato) given (as data) to be known without the constructive activity of subjective ideality. Learning is a change of directionality of intent, expectation, and aspiration, of orientation, rather than a collecting and recollecting of images or word strings.

Notes

“ … Here is such a definition of truth: An objective uncertainty, held fast through appropriation with the most passionate inwardness, is the truth, the highest truth there is for an existing person.” Concluding Unscientific Postscript to Philosophical Fragments, An Existential Contribution, Volume I: Text with Introduction and Notes, written by Soren Kierkegaard, Edited and Translated by Howard V. Hong and Edna H. Hong, Princeton University Press, Princeton, New Jersey (1992). ISBN 0-691-02081-7. (p. 203)

“Feeling is a kind of knowing; it is only through our feelings that we know that we have been insulted, that we love someone, that danger lies ahead or that it is uncertain what next step we ought to take.” How to Be an Epicurean, The Ancient Art of Living Well, written by Catherine Wilson, Published by Basic Books, an imprint of Perseus Books, LLC, a subsidiary of Hachette Book Group, Inc. (2019). ISBN: 978-1-5416-7263-5. (p. 269)

Copyright © 2020 Sandy MacDonald.

Existence Matters, Being Doesn’t

30 Monday Mar 2020

Posted by Sandy MacDonald in Embodiment, Freedom, Narrative, Nature, Subjectivity

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agency, drama, embodiment, humanity/ personality, identity, living, nature, perception, sensibility, time

Fragment 162, word count: 340.

Humanity/ personality is a gaze into nature from a time-bound drama in which some things matter more than others. Without the gaze of a personality, nature has no drama and nothing about it matters. The gaze is a questioning of what’s there to encounter, a living point in an arc of intended intervention, knowing, anticipating, aspiring, discovering, and learning. The seeking gaze is a bearing onward in an ever changing poise of orientation that defines a monad of agency conducting the personal drama of a person’s life. Not only is the gaze of consciousness a gaze into nature from a particularly embodied drama, but it is an act of the drama, a move forward in and by the drama, a creative act that is an essential piece of the drama. The gaze is the drama in the act of building and playing out, of extending itself by going on living in the world. An individual’s momentarily located orientation and bearing is inseparable from the emotional stakes of the larger dramatic idea of this embodied life. The direction and sensitivity of the gaze, the specifics of its questioning, are the application of a curated sensibility, a many layered orientation, a sum-up of all previous engagements, lessons learned, and vectors undertaken, the whole of a personal no-longer. All the context that makes sense of anything is in the questioning of the gaze, the sensibility expressed. The orientation and bearing of an individual’s questioning is reconfigured by everything learned, by every recognition and discovery. What personality has instead of an essence is a learning arc, a personal fountain of curiosity and intent expressed in a questioning engagement and in the creation of an ever changing path through a temporally unstable actuality. The scientific conceptual system leaches all drama from existence, and so leaches out reasons, meanings, creation, and ideas in general, and so presents a limited impression of reality. The only kind of conceptual framework that can comprehend the drama of what matters is an existential idealism.

Embedded links:

Fragment 11, November 10, 2011, Nature: Ground and Sky (word count: 2,752)

Fragment 124, February 19, 2018, The World that Doesn’t Matter (word count: 750)

Fragment 160, February 8, 2020, Existentialism is an Idealism (word count: 728)

Copyright © 2020 Sandy MacDonald.

 

The Only Reality

29 Tuesday Oct 2019

Posted by Sandy MacDonald in Embodiment, Freedom, Nature, Subjectivity, Transcendence

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actuality, caring, drama, existence, reality, spirituality

Fragment 154, word count: 201.

The only reality we can possibly experience is reality as experienced, and such reality must always be partly formed by being experienced, which is to say, by being brought into the drama which is the life of some personality. Spiritual existence, the living of personalities, is inherently dramatic, a personal drama which would be no part of brute actuality. Spirituality is the caring dimension of any experience, and it is caring which shapes experience into the drama of its life.

The strictly here and now would be where the brute actuality of nature would exist, completely bereft of spirituality and of the drama which is the life of spirituality. If you try to “be here now” you find that here and now are defined by there and then: by ideas, non-actualities. To strive to “be-here-now” is life-negating, life-denying, life-rejecting, in the same way as reverence for eternity is. To seek the spiritual nothingness of the “eternal now” is to give up your voice, which exists only through time, as well as to give up creative free agency, which requires time to impose ideas, which is to say, personality, onto the ever emerging shape of things.

Please see Fragment 124, February 19, 2018, The World that Doesn’t Matter.

Copyright © 2019 Sandy MacDonald.

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