Log24

"On Seeing A's and Seeing As" — Hofstadter

"Man redet dann vom Kern der Dinge." — Heidegger

The Silver Chalice — Hollywood version and Heidegger version

The reference to Vallega-Neu in posts that last night were tagged
The Ereignis Sanction leads to . . .

Heidegger’s ‘Contributions to Philosophy.’ An Introduction . 
(Indiana University Press, 2003).

That book is about . . .

Martin Heidegger, Contributions to Philosophy (From Enowning) ,
trans. Parvis Emad and Kenneth Maly (Bloomington:
Indiana University Press, 1999). German edition:
Beiträge zur Philosophie (vom Ereignis) ,
ed. F.-W. von Herrmann, Gesamtausgabe, vol. 65
(Frankfurt a. M.: Klostermann, 1989).

* See today's news and a Log24 search for "Philippine."

“… Which makes it a gilt-edged priority that one  of us
gets into that Krell lab and takes that brain boost.”

— American adaptation of Shakespeare’s Tempest , 1956

This suggests …

See as well Heidegger for Passover.

From a 2002 note, "The Shining of May 29" —

Related material:  The remarks in this journal on April 1, 2013.

The above key links to a Log24 search.

When Philosophy Mattered

A review of …

Continental Divide :  Heidegger, Cassirer, Davos
By Peter E. Gordon
(Harvard University Press, 426 pp., $39.95)

The reviewer: David Nirenberg in The New Republic .
The review, dated January 13, 2011, ran in the
February 3, 2011, issue of the magazine.

See Burning Patrick.

See as well Night of Lunacy.

See also Legespiel  in this journal.

Taylor,  Buttrick,  Taylor on Buttrick

— Heidegger, “Hölderlin and the Essence of Poetry,”
translated by Douglas Scott, in Existence and Being  ,
Regnery, 1949

The title refers to yesterday evening's remarks titled
"Free the Philosophical Beast" in The Stone , a NY Times  weblog. 

The January 2015 issue of the Notices of the American Mathematical Society
has an article by Michael J. Barany.  From November 2012 remarks
by Barany :

"A highlight of the workshop was Cathryn Carson’s interpretation
of the transcendental phenomenology and historicism of Husserl,
Heidegger, Cassirer, and a few others, launched from a moving
reflection on the experience of reading Kuhn."

See Carson's paper "Science as Instrumental Reason: Heidegger, Habermas,
Heisenberg," Continental Philosophy Review  (2010) 42: 483–509.

Related material: Monday's Log24 posts Rota on Husserl and Annals of Perception.

See also Ennead Boo.

Click to enlarge.

See also Apollo in this  journal.

“Nine is a very powerful Nordic number.”

— Katherine Neville, who deserves some sort of prize for literature.

— Heidegger, “Hölderlin and the Essence of Poetry,”
translated by Douglas Scott, in Existence and Being  ,
Regnery, 1949

"Dichtung ist Stiftung." — Heidegger

"Core" (in the original, Kern ) is perhaps
not the best translation of hypokeimenon :

See also Heidegger's original German:

Related material: In this journal, "underlie" and "underlying."

For greater philosophical depth, see an ad for "Tree of Life," an upcoming film by Terrence Malick, by clicking the "Venus Herself" link above.

The trailer for "Tree of Life" is said to be opening with the film "Black Swan" today.

See also articles on Malick at Wikipedia and at Senses of Cinema, and Malick's translation of Heidegger's 1929 essay "Vom Wesen des Grundes " into English. It was published under the title The Essence of Reasons  (Evanston: Northwestern University Press,1969, bilingual edition).

Martin Heidegger, Being and Time,  translated by
John Macquarrie and Edward Robinson, Harper hardcover, 1962, p. 262—

"…the ultimate business of philosophy is to preserve
the force of the most elemental words…."

Heidegger was quoted, in a different translation, by Richard Rorty in 1998
in a review of Ein Meister aus Deutschland.

Related material: an August 18 death and this journal on that date—

"… it is impossible that there should be time if there is no soul,
  except that there could be that X which time is…."
  — Aristotle, Physics, IV.14, translated by Edward Hussey

See also Berlinerblau in this journal on August 10.

From the preface to the inaugural issue of Tympanum: A Journal of Comparative Literary Studies—

Regarding the choice of name for this journal, tympan or tympanum is a word that designates several objects at once. Tympan is perhaps first of all a typographical term: as a printer's term in early book production, a tympan designated "the iron frame covered with parchment on which the paper was placed." Taken as an anatomical term, the word tympanum is another term for the eardrum, the oblique stretching of tissue between the auditory canal and the middle ear that allows one to hear: to hear others, to hear music, or even to hear oneself speak. The tympanum is a partition of the ear that separates inside from outside, translating various tones and punctuations, a liminal membrane traversed by hearing others speak. In this instance, the tympanum is a tissue, a weave or web  that mediates hearing. It is by extension the term for the diaphragm of a tele-phone, that technological figure of the spatialization of the voice. As an architectural term tympanum names the pediment that sits atop the cornice or frieze of a building. And to this heterogeneous list one might add that in ancient Greece a tympanum, like the stoa or colonnades, was a gathering space for the discussion of philosophy. All these meanings could be enlisted to indicate the interests of this new journal.

By its very nature, a world wide web site would be a site of a mediation of or meditation on the problematic of space and place (in short: of "site" itself), and of their dislocation. In this way the web opens the possibility for a journal concerned with the problem of a mediated or textualized hearing.

Several of the articles contained in this first issue of Tympanum  share a thematic of location and of reading and hearing….

Deborah Levitt's essay on Heidegger and theatre, in its exploration of the problem of space and place, implicitly touches on the very medium of the web: the perpetual dislocation of place from space. Levitt couples several of Heidegger's writings together with Artaud's on her Freiburg-Paris Express. Levitt's meditation on theory and theatre is at once incisive and innovative, and locates its opening problematic in the substitution of a metaphysics of sight by site, a move which she says opens a spatiality. In a recent issue of Assemblage,  Sam Weber makes some remarks on the metaphysics of site that could indeed be used as a succinct introduction to the problems that Levitt's essay, Heidegger and the Theatre of Truth, engages:

If what we call "space" is, like the Platonic chora, on the one hand always already caught up in the process of making room  for that determinate other  of space that can be called place  or site,  and if, on the other hand, this process of making room  remains distinct from the particular places and sites it makes way for, then the emergence of the latter from the former will inevitably appear as a more or less violent event.  Violent, because the staking out of territory and the assignment of positions and posts can never simply legitimate itself in terms of preexisting borders. It cannot do this, since there is no original order to which such a process of partition might appeal without equivocation. In place  of such an origin, there is chora: the process of partition and repartition as such,  except that "as such" here is impossible to distinguish from: "as other." Such partition and repartition constitute the law,  the nomos,  of chora…³

³ Samuel Weber, "The Parallax View: Place and Space in Plato and Benjamin," Assemblage  20, MIT Press: 1993: 88.

The Tympanum  preface (1998) is by Peter Woodruff.

Wallace Stevens—

"The pediment
Lifts up its heavy scowl before them."

Scowl courtesy of Samuel Weber—

• Author of "The Parallax View"
• Assemblage, No. 20, Violence, Space
  (Apr., 1993), pp. 88-89
  (article consists of 2 pages)
• Published by: The MIT Press

From the current index to obituaries at Telegraph.co.uk—

Teufel is also featured in today's New York Times—

"Mr. Teufel became a semicelebrity, helped in no small part by his last name, which means 'devil' in German."

From Group Analysis ,  June 1993, vol. 26 no. 2, 203-212—

The Problem of Good and Evil

by Ronald Sandison, Ledbury, Herefordshire HR8 2EY, UK

In my contribution to the Group Analysis Special Section: "Aspects of Religion in Group Analysis" (Sandison, 1993) I hinted that any consideration of a spiritual dimension to the group involves us in a discussion on whether we are dealing with good or evil spirits. But if we say that God is in the group, why is not the Devil there also? Can good and evil coexist in the same group matrix? Is the recognition of evil "nothing but" the ability to distinguish between good and bad? If not, then what is evil? Is it no more than the absence of good?

These and other questions were worked on at a joint Institute of Group Analysis and Group-Analytic Society (London) Workshop entitled "The Problem of Good and Evil." We considered the likelihood that good and evil coexist in all of us, as well as in the whole of the natural world, not only on earth, but in the cosmos and in God himself What we actually do with good and evil is to split them apart, thereby shelving the problem but at the same time creating irreconcilable opposites. This article examines this splitting and how we can work with it psychoanalytically.

This suggests a biblical remark—

"Now there was a day… when the sons of God
came to present themselves before the Lord,
and Satan came also among them."

— Job 1:6, quoted by Chesterton in The Man Who Was Thursday

Sandison died on June 18. See the Thursday, August 5, Log24 post "The Matrix."

Teufel died on July 6. See the Log24 posts for that day.

The title of this  post, "rift designs," refers to a recurring theme in the July 6 posts. It is taken from Heidegger.

From a recent New Yorker  review of Absence of Mind  by Marilynne Robinson—

"Robinson is eloquent in her defense of the mind’s prerogatives, but her call for a renewed metaphysics might be better served by rereading Heidegger than by dusting off the Psalms."

Following this advice, we find—

"Propriation gathers the rift-design of the saying and unfolds it  in such a way that it becomes the well-joined structure of a manifold showing."

— p. 415 of Heidegger's Basic Writings , edited by David Farrell Krell, HarperCollins paperback, 1993

"Das Ereignis versammelt den Aufriß der Sage und entfaltet ihn zum Gefüge des vielfältigen Zeigens." 

— Heidegger, Weg zur Sprache

"Heidegger suggests that we experience the saying of language as a shining forth:

'It lets what is coming to presence shine forth, lets what is withdrawing into absence vanish.  The saying is by no means the supplemental linguistic expression of what shines forth; rather, all shining and fading depend on the saying that shows.' (pp. 413-414).

But what is the basis and origin of this possibility of saying?  The happening of saying in the clearing, its allowing things to shine forth, can also be called an 'owning.' Owning is the event of a thing’s coming into its own, of its showing itself as itself. Heidegger also calls it 'propriating,' 'en-owning,' or Ereignis:

'Propriation gathers the rift-design of the saying and unfolds it in such a way that it becomes the well-joined structure of a manifold showing. (p. 415)'"

— "Heidegger: On the Way to Language," by Paul Livingston

Page references are apparently to Heidegger's Basic Writings, edited by David Farrell Krell, HarperCollins paperback, 1993.

See also Shining Forth.

BOOKS OF THE TIMES

A Talent for Writing, and Falling Into Things

(http://www.nytimes.com/2010/07/07/books/07book.html)

The above headline from this morning's New York Times  is a rather strong reminder of a post linked to here last night—  a post from April 10, 2004 (Holy Saturday), titled "Harrowing."

The book under review is a biography of William Golding, also quoted here in "Harrowing."

From that post—

“There is a suggestion of Christ descending into the abyss for the harrowing of Hell.  But it is the Consul whom we think of here, rather than of Christ.  The Consul is hurled into this abyss at the end of the novel.”

– Stephen Spender, introduction to Malcolm Lowry's Under the Volcano

Related material:

Today's Google logo
honors a serious artist:

Related material:

Holy Saturday, 2004

That post quotes the words of another serious artist,
Malcolm Lowry, on a barranca, or deep ravine.
(See also Heidegger's "rift" concept.)

For a less serious rift, see the art of Kylie Minogue.

William Lubtchansky, a cinematographer, was born on October 26, 1937, and died on May 4, 2010.

Yesterday's post included an illustration from this journal on the date of his death.

Here is a Log24 entry from last year on the date of his birth—

Clicking on the Shift Lock key leads to the following page—

—The Philosopher's Gaze,
by David Michael Levin,
University of California Press, 1999

Related images—

Detail from May 4 image:

Holocaust Museum, Washington, DC:

(http://www.scrapbookpages.com/USHMM/Exterior.html)

See also Lubtchansky's Duelle and
Art Wars for Trotsky's Birthday, 2003.

Part I:

"…although a work of art 'is formed around something missing,' this 'void is its vanishing point, not its essence.' She shows deftly and delicately that the void inside Keats’s urn, Heidegger’s jug, or Wallace Stevens’s jar forms the center around which we tend to organize our worlds."

— Harvard University Press on Persons and Things (April 30, 2008), by Barbara Johnson

Part II:

"Did you see more glass?"

Part III:

From the date of Barbara Johnson's death:

"Mathematical relationships were
enough to satisfy him, mere formal
relationships which existed at
all times, everywhere, at once."

– Broken Symmetries, 1983

The X's refer to the pattern on the
cover of a paperback edition
  of Nine Stories, by J. D. Salinger.
Salinger died on Wednesday.

"You remember that book he sent me
from Germany? You know–
those German poems."

In Germany, Wednesday was
Holocaust Memorial Day, 2010.

Summer of ’36

Another Opening
of Another Show

“When I cast my mind back to that summer of 1936 different kinds of memories offer themselves to me. We got our first wireless set that summer– well, a sort of a set; and it obsessed us. And because it arrived as August was about to begin, my Aunt Maggie– she was the joker of the family– she suggested we give it a name. She wanted to call it Lugh after the old Celtic God of the Harvest. Because in the old days August the First was La Lughnasa, the feast day of the pagan god, Lugh; and the days and weeks of harvesting that followed were called the Festival of Lughnasa.”

From the film “Contact”–

Jodie Foster and the
opening of the 1936 Olympics