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Showing posts with label reality. Show all posts
Showing posts with label reality. Show all posts

Friday

Heidegger: You made it for real Martin !



Realism can mean many things.


For how I understand Heidegger, it simply indicates that intentional perception must be conceived as a directing-towards-the-extant-world. Such a directing is conceived in terms of a behavioral comportment, with perception being a form of doing.


Moreover, in order to think this concept of perception, we must reexamine the traditional dichotomy between the subjective and objective spheres. Heidegger makes a deeply insightful point that humans think of everything in terms of “being extant”, that is, in terms of a persistence, a “reality”, an occurring.


Moreover, in thinking of intentionality, we cannot discover it in terms of a relation between extant objects and therefore, we think “if it is not objective then it is something subjective” . However, because of our “mode of understanding” applies to even the realm of subjectivity, “the subject, again, is taken with the same ontological indeterminateness to be something extant” (ibid.); indeterminateness meaning that we have no real understanding of what we are saying when we declare “the subject” to be extant and constantly present-at-hand throughout our waking life.


On the contrary, precisely with the aid of intentionality and its peculiarity of being neither objective nor subjective, we should stop short and ask: Must not the being to which this phenomenon, neither objective nor subjective, obviously belongs be conceived differently than it thus far has been? (ibid.)


Moreover,


Intentionality is neither objective nor subjective in the usual sense, although it is certainly both, but in a much more original sense, since intentionality, as belonging to the Dasein’s existence, makes it possible that this being, the Dasein, comports existingly towards the extant.


“Comports existingly towards the extant”. Phrases to such an effect are littered through these sections on intentionality and perception.


The statement that the comportments of the Dasein are intentional means that the mode of being of our own self, the Dasein, is essentially such that this being, so far as it is, is always already dwelling with the extant. The idea of a subject which has intentional experiences merely inside its own sphere and is not yet outside it but encapsulated within itself is an absurdity which misconstrues the basic ontological structure of the being that we ourselves are.


Here we can see why Heideggerian ontology has often been adapted to underlay the theoretical structure of modern ecological – or situated – cognitive science, which is at odds with the innerpictorial sense-data theorists. Heidegger concurs with Gibson in his critique of cognitivist sense-data theories when he claims “To say that I am in the first place oriented toward sensations is all just pure theory. In conformity with its sense of direction, perception is directed toward a being that is extant. It intends this precisely as extant and knows nothing at all about sensations that it is apprehending” . “For the Dasein there is no outside, for which reason it is also absurd to talk about an inside”.


How people could read these sections and conclude that Heidegger wasn’t a direct realist or an externalist is beyond me.

Can we not put to rest any such notions with the following passage?


Does the perceivedness of a being, of an existent, constitute its existence? Are existence, actuality, and perceivedness one and the same? The window, however, surely does not receive existence from my perceiving it, but just the reverse: I can perceive it only if it exists and because it exists.


I therefore argue that Heidegger was not an antirealist who thought that our perceiving the world is what primordially constitutes the extant world. The world is extant without our perceiving it and we have a nonmediated access to it through intentional comportment. However, the intentional as-structure bestows significance upon the world, not because our perceptual systems are “constructing” it, but rather, because the as-structure filters our experience in terms of “obects” and “things” i.e. “entities”. In Being and Time, Heidegger defines “Being” as “that which determines entities as entities“. In Basic Problems, we see the same essential point:


This entity [nature] is intraworldly. But intraworldliness does not belong to nature’s being. Rather, in commerce with this entity, nature in the broadest sense, we understand that this entity is as something extant [occurrent], as an entity that we run up against, to which we are delivered over, which on its own part always already is. It is, even if we do not uncover it, i.e. without our encountering it in our world. Being within the world devolves upon this entity, nature, only when it is uncovered as an entity.


I rest my case.

Gary Williams


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Jean-Philippe Pastor

Tuesday

Internal feeling and external world


As J.G.Ballard puts it, in the past we have always assumed that the external world around us has represented 'reality', however confusing or uncertain.

The inner world of our minds, its dreams, hopes, ambitions represented only the realm of fantasy and the imagination.With technologies of writing, these roles have been utterly reversed.We are being absorbed by our media. Everything is digital and there is now scant evidence to distinguish an internal feeling from an external network event.Physics is what information looks like from the outside, conciousness is what information feels like from the inside.

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Saturday

Time's flow


Does the essence of nowness run like fire along the fuse of time ?

Traditionally, the philosopher's goal is to clarify the metaphor of time's flow or time's passage. Everyone agrees that it "appears" to us to flow, although few believe that all conscious beings, recognize the flow.

But now real time of our screens doesn't flow. Always the same. Real time maintains its reality without past, present or future...

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See the journal French Metablog with today different posts

Wednesday

Technique as an end in itself


Lukacs argues that modernist writers such as James Joyce and Franz Kafka make technique an end in itself, without regard for the human realities that this technique is supposed to convey.

This "negation of outward reality" is a central project of modernist writing, which represents a turning away from the world and a retreat into an aesthetic realm divorced from social reality. And this disengagement is in direct complicity with the main cultural thrust of bourgeois society, which seeks to isolate art in a separate realm and thus deprive it of any potentially subversive political force. Modernist texts are thus for Lukacs not progressive documents interacting with history in a positive and productive way.

Instead they are sterile artifacts divorced from history and totally caught up in the inexorable drive of capitalist society to convert all it touches into mere commodities.

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See the journal French Metablog with today different posts

Unreflected attitude to language


Paul de Man begins with an opposition between allegory and irony.

Allegory is a naïve or unreflected attitude to language. We think that there is a real world and that our language is then a sign of that world. Irony, by contrast, shows that the supposed ‘nature’ that precedes the sign. The self that we supposedly lost is produced through the poem; the poem creates or institutes the division between self and sign. However, any idea that the ironic poem could overcome allegory – or a division between sign and self – is itself naïve.

Any explanation of irony is itself a narrative, is itself always caught up in allegory.
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Expressions of ideas


Once we use language (speech or writing) to refer to reality, that reality is linguistically formulated and therefore indeterminate.


Meaning is not something preexisting in the mind that we struggle to express. Like the main analytical schools of language philosophy from Hume onwards, and contrary to Saussure, we must not regard words as the expression of ideas.
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Saturday

Chronotope


“Forms of Time and of the Chronotope in the Novel” introduces Bakhtin’s concept of chronotope.

This essay applies the concept in order to further demonstrate the distinctive quality of the novel . The word “chronotope” literally means “time space” and, in the essay, Bakhtin defines it as “the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature”.

For the purpose of his writing, an author must create entire worlds and, in doing so, is forced to make use of the organizing categories of the real world in which he lives. For this reason chronotope is a concept that engages reality.
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Wednesday

Real-world hypertextual writing


When interpreting a system of signs, the audience will make a judgement about the modality of the whole, i.e. they will decide whether it is more likely to be fact or fiction, real or unreal.

It also refers to how the audience feels about the message's validity and reliability. Images with higher modality appear more real than those with a lesser modality. To make this calibration, the audience will draw on its collective experience and understanding of the real world and of the particular medium of communication being used. Hence, those who enter a cineplex or theatre are aware that the content of the system they are about to view will usually be delivered by actors. But, if an individual randomly switches channel on the television, the new set of signifers must be evaluated: does this appear to be live or recorded, are these people known to be actors or do they have real-world roles that would explain their presence on the television, what does the genre or format of the programme appear to be, etc?
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See that post with different algorithms in metabole
See the journal French Metablog with today different posts

Tuesday

More reality


It is in Disneyland, where Umberto Eco finds the ultimate expression of hyperreality, in which everything is brighter, larger and more entertaining than in everyday life.


In comparison to Disney, Eco implies (Travels in hyperreality), reality can be disappointing. When he travels the artificial river in Disneyland, for example, he sees animatronic imitations of animals. But, on a trip down the real Mississippi, the river fails to reveal its alligators. "...You risk feeling homesick for Disneyland," he concludes, "where the wild animals don't have to be coaxed. Disneyland tells us that technology can give us more reality than nature can."

He also discovers something else in Disney: a place that no longer even pretends it is imitating reality, but is straightforward about the fact that "within its magic enclosure it is fantasy that is absolutely reproduced."
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See that post with different algorithms in metabole
See the journal French Metablog with today different posts
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