Frames /sing


Tag Archives: Time

Networks and Spatialized Information


The Relations of Relating

Levi has a nice post up, I believe repeating he has made before, that networks express themselves in terms of a structure that is both material and for want of a better word, positional: Spatio-Temporal Topology– A Brief Remark. I like his graph of networks, but it is exactly this kind of point he is trying to bring to the “object” world that is much better served by treating information itself as a constituent, structuring element of the Universe, such as I argued adopting Stonier’s theory of information to Spinozist terms in Information, Spinoza’s “Idea” and The Structure of the Universe. It is in just this way that the human-oriented world that Levi and others are trying to flee is most easily surmounted, as information as “productive work” not only describes the organizational properties of human/non-biotic networks, but also of non-biotic structures as well (a crystal, or the informational properties of light being fine examples). Information (much like Spinoza’s “idea”), cuts across the whole fabric of the Universe, creating the edges of what is possible. Why object-oriented ones do not seize onto this idea is perhaps a product of their very “object” consciousness, they want an optical “final constituent of the world”, a piece of the world they can float in their mind’s eye. Our eyes see objects, but our ears, or sense of smell, hearing even our sense of touch, and even our kinesthetic sense do not primarily perceive “objects”. It is just this desire to “think in pictures” as Spinoza put it, that characterizes much of object-consciousness, that restricts the kinds of solutions one would naturally pursue. And it is precisely in the nature of networks, and therefore processes, that information takes its more obvious stand: where relations are juxtaposed to the work needed to create and maintain them. So much better, I think, it is to see as Stonier offers, that matter, energy and information are the three constituents of the world.

As Stonier argues, it was the computer’s invention that gave rise to the awareness of information being constituent, just as the steam engine gave rise to our awareness of universal energy. Network thinking also has grown out of computer relations and powers of organization, there could be no more historically natural connection that could be made than between networks and information. It would seem, at least historically, until the next great conceptual device is invented, that for those who want to think in networked fashion, and beyond the merely human, information is a bedrock of interpretation, and projective “objects” whose prominence grew out of Renaissance linear perspective (Panofsky) and the invention of the camera obscura, perhaps much less so.


Related posts: From Ideal Networks to Real Ones: Al Qaeda and Chaoplexic Warfare and Is Spinoza a Cyberneticist, or a Chaocomplexicist?

The Integrity of the Future

Some more musings on the difficult and perhaps absurd ideas of the last post…it kept me up last night, tossing and put me in a funk today.

Spinoza’s Letter to Balling feels like it has some clues for how I want to think on this. In the Spinoza example we have the story of a father who seemed to have heard the death sighs of his son before the boy had taken sick (presumably with the plague). It is unsure if Spinoza was only soothing a mournful father, but he in letter tells the friend that his imaginary hallucination may have come to through he and his son sharing an essence out of love (instead of being merely a product of the body). What Spinoza does not address is the interesting change of events that might have included the father recognizing the prophetic event for what it was, and whisking his son out of plague struck Europe. One wonders, would this chain of events have fit within Spinoza’s framework of essences?

Or, as I was thinking last night, could we conceive that a song, as it is being played is retroactively effected by the disastrous, atonal possibilities that exist in its possible future such that those atonalities  reach rippling back into the present selection of notes, a kind of chiaroscuro of reverberative possibilities. Does a song play itself in one direction? Deleuze and Guattari like to think of a melody as a line of flight, what if we took it to be a sphere of orbed becoming, a bubbling out of cogent line-walking at the edge of chaos and stability whose boundary reaches backward and forth beyond the present bifurcation (where we dream “choice” remains).

I want to say that there is a possible integrity of the future, that if with Spinoza we imagine an partaking essence-based concept of cohesive action, the conception that our demarcated and individualized directions are made in the process of a body-making, cognitive boundary laden whole, then where is it that we find the standpoint at which we deny that the future states of that whole do not through their very integrated character reverberate back, causally, upon states in the present (or even the past)? If one is going to subtend a specie aeterintatis in your thinking, do not the past and future necessarily fail and firm boundaries? Are not disasters forming the very wake of the bow of that boat?

Of course this is silly, there is a direction of the arrow of time, and even if entropy could be considered something of an illusion of Chaotic progression, where would the location of this ballast of the future recursively organized find a place to reside? But there is gravity here that does not seem to entirely be explained by psychology, or even the general teleological functionality of life forms, something that tugs at the idea…something that perhaps inverted itself in all sorts of eschatological waking dreams of prophets, and hand-of-God imaginings. It resides in the sense of the integrity of the future (which answers not to concepts of pure becoming, concepts of pure difference, concepts of continual creation), the way that we all orb ourselves into the future, the bow of us pre-existing what we are. How the water has been cut before we have arrived.

Anyways, some thoughts without discipline. I think this has something to do with Duchamp’s attraction to n-dimensional analysis which had interested me some time ago, perhaps more than a decade.

The Unrare, Assemblage and Implicate Power: Kairos, Complexity and Ethical Greatness



Spinoza, Nietzsche, (Jesus and Satan) on the “Right Time”

 Therefore Jesus said to them, my kairos has not yet arrived, but your kairos always is ready.

John 7:6

Our investigation begins at a moment when Nietzsche seems to question, in a fully dialectical moment, the spearhead of his discourse, that is, an assumed rarity of genius (of which he seems to help make up a type). Could it be that genius after all is not so rare? I aim to use this occasion as decisive, a vital and possibly critical moment in his thought, a window which opens, but which he properly then closes, yet a window nonetheless, a kairos into what is possible. What is possible if genius is not so rare?


The Problem of Those Who Wait.–Happy chances are necessary, and many incalculable elements, in order that a higher man in whom the solution of a problem is dormant, may yet take action, or “break forth,” as one might say–at the right moment. On an average it does not happen; and in all corners of the earth there are waiting ones sitting who hardly know to what extent they are waiting, and still less that they wait in vain. Occasionally, too, the waking call comes too late–the chance which gives “permission” to take action–when their best youth, and strength for action have been used up in sitting still; and how many a one, just as he “sprang up,” has found with horror that his limbs are benumbed and his spirits are now too heavy! “It is too late,” he has said to himself–and has become self-distrustful and henceforth for ever useless.–In the domain of genius, may not the “Raphael without hands” (taking the expression in its widest sense) perhaps not be the exception, but the rule?–Perhaps genius is by no means so rare: but rather the five hundred hands which it requires in order to tyrannise over the “the right time”–in order to take chance by the forelock!

The passage in question lies near the end of his Beyond Good and Evil: Prelude to a Philosophy of the Future. It concerns the question of waiting. In section 273  Nietzsche has returned to one of his favorite themes, that of solitude, and he sketches out the dilemma that a man pursuing greatness faces. Such a one sees others as “means or as a delay” and his question becomes that of timing and of proximity. “This type of man knows solitude and what is most poisonous in it”. Nietzsche is examining the locus of a person, he is inspecting, as he is ever to do, the nature of this ideal type, a philosopher of the future. And such a man, a rarity, is caught between his own concept of himself and its employ. How to bring it forth?

It is here that Nietzsche teeters on the “problem of those who are waiting” (section 274). There is a bemoaning that “strokes of luck” and the “incalculable” seem to rule “action in time,” as if the seemingly rare man is simply tossed about, incapable of finding the right moment, the moment to apply his genius. And what is more, all over the earth there are others who are waiting, but unconsciously, yet it is likely that the “accident which gives permission to act—comes too late”. It is as if there is a precocious sea, threatening to over-ripen, waiting for its catalyst for change.

But then Nietzsche shifts his perspective. Perhaps, he wonders, genius is not so rare. Could it be that the esteemed brilliance of a soul, is something other than it seems?:

In the realm of the genius, could “Rafael without hands,” taking that phrase in the widest sense, perhaps not be the exception but the rule?  Genius is perhaps not really so rare, but the five hundred hands needed to tyrannize the kairos, “the right time,” to seize happenstance by the forelock! (translation modified)

– Sollte, im Reiche des Genie’s, der “Raffael ohne Hände”, das Wort im weitesten Sinn verstanden, vielleicht nicht die Ausnahme, sondern die Regel sein? – Das Genie ist vielleicht gar nicht so selten: aber die fünfhundert Hände, die es nöthig hat, um den kairós, “die rechte Zeit” – zu tyrannisiren, um den Zufall am Schopf zu fassen!

 Such a precious thought, of the kind that Nietzsche is so capable. I would like to look at it closely. First, it is necessary to understand the phrase, “Rafael without hands”. It is taken from Lessing’s play, “Emilia Galotti” (Act I, Scene 4). Notably this play is a classic example of enlightenment Bürgerliches Trauerspiel, wherein everyday people have taken the place of aristocratic protagonists. In such a dramatic form the long-standing assumption that only the upper classes were capable of feeling deeply enough to propel tragedy was being overtuned. “People” were suddenly “dramatic”. The “heroic” became more common, and this, in theme, is in keeping with Nietzsche’s momentary reflection on the nature and rarity of genius. 

Raphael With Hands

The Nature of Genius: “We cannot paint directly with our eyes”

The context of the quote is that of a painting of a beautiful woman, as it is being discussed by an enchanted viewer, Prince Gonzaga, and its artist. The Prince immediately recognizes the image of a woman he has fallen in love with, an image of remarkable accomplishment:“By God! As if stolen from a mirror!;” but the artist, Conti, replies that he is not at ease with his achievement, but also that this dis-ease has a comfort:

And yet, this piece still leaves me greatly dissatisfied with myself.—Although, on the other hand, I am also greatly satisfied with this dissatisfaction with myself.—Ah! Would that we were able to paint directly with our eyes! On that long path from the eye through the arm to the brush, how much is lost!—But, as I say, the fact that I know what was lost and how it was lost and why it had to be lost: of that I am as proud as I am of all that I did not allow to be lost. Prouder even. For in that knowledge, more than in this product of my art, I recognize that I am a truly great artist, athough my hand is not equally as great.—Or do you believe, Prince, that Raphael would not have been the greatest artistic genius if he had had the misfortune to have been born with out hands? (7)

So what is “Raphael without hands”? Nietzsche asks us to take such a phrase in the widest sense. Lessing’s Conti tells us of the transmission of an impulse, what we might call an affect of aesthetic experience, which travels down from the eyes, through the arm, to the hand and to the brush. And he speaks of his knowledge of the particular ways in which this aesthetic certainty is lost, the pleasure and pride of this knowledge. Raphael, an exemplar of human genius, is seen here to represent the possible incompleteness of genius, that as the man without hands, he might have lacked the very means by which his genius would come to be known.  We cannot “paint directly with our eyes” as Lessing puts it. This image of Raphael without hands invites us to think differently about the nature of genius. On one level of import it allows us to see genius as something that floats beneath the surface, something “in the eyes,” which according to historical contingency, Nietzsche’s “lucky stroke,” either makes its appearance or does not—for Raphael indeed might never have had hands, and we might never have known him—and even when it does make its appearance, its appearance is flawed, lost, broken, to some degree. One might wonder if there are thousands upon thousands of Raphaels around us, ephemeral and fractal un-becomings. But Lessing’s Conti allows us to see something more. Because he takes such pleasure in the knowing of the nature of his failing, the way the transmission is lost, the “how” and the “why” of its distortion, it calls attention precisely to the question of what are the “hands” of the genius?  It is this that Nietzsche has his eye on.

Titanomachy and The Titans of Completion

If we imagine that the hands of Raphael were not only his two physical hands, but in the “widest sense,” all of the events, minds and acts which conspired to bring him forth in history, the hands of Raphael suddenly become a perplexing involution of hands, all working together with remarkable perspicuity of effect. But something of them is monstrous, inordinate, beautiful. We are invited to not see Raphael in the traditional, and even Nietzschean image, of a great man who imposes his will upon the fresco wall, and then upon history, but rather as a collection of hands, hands that collude together.  Nietzsche tells us what genius possibly is, or rather what “rarity” is: “Genius is perhaps not really so rare, but the five hundred hands needed to tyrannize the kairos…” . He conflates genius, the rarity and the image of 500 hands into a single thing. Genius might be everywhere, but what is rare is the assemblage of hands which might bring it into appearance.

Here one is drawn, in the image of the five-hundred hands, to the association of the four Greek chthonic Hecatonchires (hundred-handed ones, sons of Uranus) which Zeus released from the underworld to help him overthrow the Titans; but also come to us thoughts of Typheus, the hundred-headed son of Gaia and Tartarus – Nietzsche marvelously conflating head and hand – the one who later warred against the Zeus and the Olympian gods. Read Hesiod’s informed description of the polycephalean effect:

Strength was with his hands in all that he did and the feet of the strong god were untiring. From his shoulders grew an hundred heads of a snake, a fearful dragon, with dark, flickering tongues, and from under the brows of his eyes in his marvellous heads flashed fire, and fire burned from his heads as he glared. And there were voices in all his dreadful heads which uttered every kind of sound unspeakable; for at one time they made sounds such that the gods understood, but at another, the noise of a bull bellowing aloud in proud ungovernable fury; and at another, the sound of a lion, relentless of heart; and at anothers, sounds like whelps, wonderful to hear; and again, at another, he would hiss, so that the high mountains re-echoed (820-835, Theogony)

The cacophonic assemblage of hands, voices, head, parts and pieces seems to be what Nietzsche is thinking of in terms of the rarity that makes up what we call the presentation of genius. It is a moment of revolution, one that makes sense to the gods a times, but then does not. The hands of coincidence are com- and im-plex, that is full of folds that threaten.

a circa 160 C.E,, representation of the allegoric statue made by Lysippos, in pentelic marble, Museum of Antiquities of Turin (Italy);

a circa 160 C.E,, representation of the allegoric statue made by Lysippos, in pentelic marble, Museum of Antiquities of Turin (Italy);

The duty of such a creature is to grasp the forelock of kairos. Kairos was the god of opportunity, depicted by a famed, lost statue by Lysippos as winged (above), having a long lock in the front, yet being bald in the back. The meaning of the visual trope is of course that one must seize the lock as it is coming, for it cannot be seized after it has passed. To understand the full meaning in Nietzsche’s use of kairos, so that it is not just conceived as a moment of any possible event, what can be called ‘plain opportunity,’ one should remember its meaning in Christianity. The kairos in the New Testament is closely associated with the “right moment” when Jesus as the Christ will reveal himself to the public. It is akin to our idea of mementousness. Jesus uses it in particular to tell his disciples why he will not go up to the Feast of the Tabernacles, just yet. His kairos is appointed, whereas theirs is somehow constant and immanent:

“Therefore Jesus said to them, my kairos has not yet arrived, but your kairos always is ready” (John 7:6), [and then], “You go up to the feast; I am not going to this feast, because my kairos has not yet been fulfilled (7:8).

Jesus indeed waits until the feast is half-way over before he arrives, and begins his ministry. The kairos is a moment of public appearance. Paul speaks of the return of Christ in just such terms: “I charge you to keep this commandment without spot or blame until the appearance of our Lord Jesus Christ, which the best and only sovereign will show in his own kairoi “ (I Timothy, 6:14). As such the New Testament notion of kairos is entirely messianic. There is the unfolding of time, and then there is the exact moment when history is incised [interesting comments on the English word “intercession”]. The full-development of time works as a field wherein no particular act is important, that is, the kairos of disciples is always prepared/preparing. Christ’s is the flint moment.

Milton and Satan Speaks of Time

Of interest is that Milton, with whose work Nietzsche was familiar, takes up just this notion of the forelock of opportunity, and places it in the mouth of Satan, who is attempting to goad Jesus into acting too soon, before his kairos. An appeal to nationalism has failed to seduce, but Satan urges him on:

If Kingdom move thee not, let move thee Zeal,

And Duty; Zeal and Duty are not slow,

But on occasion’s forelock watchfully wait.

Paradise Lost. III 171-173

But Jesus has a sure conception of his Time, one which lies beyond common opportunity:

If my raign Prophetic writ hath told,

That it shall never end, so when begin

The father in his purpose hath decreed,

He in whose hand all times and seasons roul.*

III 184-187

 *[It is not for you to know the times (chronoi) and seasons/moments (kairoi) which the father placed in his own authority  – Acts 1:7]

Satan’s view of time is not of necessity, not of “must” but rather what appears to be best. In argument, he does not comprehend something more than that which brings advantage, one in which time is seen as a struggle of advantages, as each is conceived, for one’s own:

Each act is rightliest done,

Not when it must, but when it may be best.

 IV 475-476

How does Nietzsche aim to reconcile these views of time in a single conception of kairos? Against the Christ view of linear time, he has taken up the epistemological relativism of Milton’s Satan, a sense of time that waits and looks with Zeal for opportunity alone, such as can only be seen and argued for from a particular perspective. Yet like the Christ he has a dramatic sense of entrance and effect, that there is a moment that is appointed for him, not in terms of opportunity, but transformation. There is the sense that for others the right moment is everywhere, but for the man of greatness, it is precise. But what Nietzsche does in this small window of thought is upend his heroic conception of the man of greatness, of an isolated and rare genius, and make of him an infinite complexity. The singular becomes diffused across an entire field of action. What is rare is not genius, but the assemblage of hands which monstrously, cacophonously, produce its appearance. The forelock of kairos is slippery and fast. Only a five-hundred-handed-one could grasp it.

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Witnessing Ontologies of Difference

The Full Nelson of Plato

Larval Subjects posted what Levi calls “the Full Nelson” of Plato, the exemplary text from the Phaedo which has condemned all of Western Philosophy to a certain kind of choke hold that ever since we have been trying to get out of (to transmute Hegelian dialectics into a single trope we still carry with us). The fearsome conclusion, roughly as Plato wrote it reads,

And we recognize also that this absolute equality has only been known, and can only be known, through the medium of sight or touch, or of some other sense. And this I would affirm of all such conceptions (75d)

Socrates has turned the relative sameness between things (rocks, tables, doves) into a derivative of Sameness itself, some surpassive Sameness, which we must have had grasp of [lambano] previously, so as to be able to grasp these samenesses through our senses.

I suppose we all know this drill, but occasionally when we return to the Same, we detect something different, and for some reason reading Levi’s post elicited in me a slightly different understanding of the Same, even the Same in the Platonic chokehold sense.

I should say from the start that the associations that I have for the search of Ontologies of Difference, of pure-Difference, have always troubled me. It is not that they are wrongly motivated, but rather that they seemed far too in love with the soterial potential of essential binaries, the Being/Not-Being dichotomy of imagined to be transcendental Logic (even when renounced), a dichotomy which itself is derived from an over-simplified caricature of human experience: hence, the reduction of the subject qua Subject, and on overall disregard for the plentitude of Being. It seems that somewhere someone got it into their heads (and there are more than a few candidates), that homosexuals or blacks or women, or poor, that is those that fall to the margins of society cannot be fully affirmed, cannot have the full rights of Being, unless we find a Being that starts  with Difference. In such a reading which not only exposes the political use made of Ontologies in the past, a certain naturalization of subjugation, the category of Being seems to stand in for the State, and to reduced difference (skin color, gender, mental coherence, poverty) to merely a derivative of the State (as the Same Status), necessarily condemning many to the margins. Same became not only the political enemy, but the Ontological enemy. Difference must be celebrated, (and ontologically, logically posited) as essential and if possible, prior.

There is more than a grain of truth to this revisioning. That is, through our ontologizations we configure what is imaginable, we lay the land of concept so to speak. So a radical revisioning of what is ontologically beneath all of our legal and otherwise taken to be objective descriptions seems deeply in keeping with changing what is possible between us. Yet, there is something to this praise of difference for itself, the grand celebration of difference as the full right of Being which troubles me.

First of all, insofar as this re-ontologizing is a vast reclassification of particular people of difference, that is particular homosexuals, particular people of color or (trans)gender (the rights of which as different become projected onto the class of others like them that are deprived), there is an odd consumerist essentialization of difference for its own sake running through like a theme. “We chose and affirm our difference, as difference, because choice is what essentialized commercial subjects do, that is our right and duty, to choose.” As individual intellectuals celebrate their choices, and then align their differences to groups composed of difference, whose difference then becomes ontologized as a point of logic through elaborate strategies, it seems that dragged with it all is a fundamental, domesticating assumption, the subject of choice. I cannot say this for all celebrations of difference, and all searches to get out of Plato’s homoerotic chokehold, but this is a strong current in the movement.

Second of all, coming to think again on the nature of Plato’s Same, the enemy of pure, underived Difference, it seems that in some ways this Same has been misconstrued. I say this because for a very long time I think I misconstrued it. The problem is that in our binaries of logic we tend to flatten out what is a possibly a much more dynamic relation, almost always with a hope of transcending it. We draw the flat map to have mastery over the terrain, but as Wittgenstein tells us, the map is not the territory. (I would add, if we are to understand maps and territories, we have understand that while the map is not THE territory, it is A territory.)

A Minimization of Difference

Back to Levi’s post and my reaction to it. The trouble is that when we as postmoderns look at the argument that Plato puts forth, it does feel stultifying. (As Levi sums it up…)

Plato’s argument thus runs as follows. Equal-things always differ in some respect or capacity. Because equal-things always differ, we cannot arrive at a concept of equality-itself from equal-things. Therefore, our concept of equality-itself does not arise after our experience of equal-things, but must precede our experience of equal-things, for how could we recognize equal-things as equal-things- all of which differ both from themselves and others like them -if we did not first know equality-itself. Consequently, our concept of equality itself is prior to any of our dealings with the world.

For one thing, we don’t want our experiences here on this earth to be minimized in the least. This minimization begins a long process of minimizing one thing or another, one experience or another, one person or another, one peoples or another. We might be all for valuations and discriminations of better or worse, but something in us tells us that it should not start at the wholesale level, our experiences here are as real and significant as anything else. Secondly and relatedly, there is the terrible sense that if the reason why we able to recognize the similarity of things is simply because we have already grasped, before hand, a Grand and essential Sameness, this fails to capture the importance of differences to us. It is not just the samenesses that give us a love for living, but differences, perhaps even more so. How can all of these mundane distinctions merely be derivative? This carries with it the unsatisfactory notion that homosexuality is merely derivative of heterosexuality (with lexical irony), and that woman is derived from man, black a marring of white.

The Even Ground of Equilibrium

But, thinking on what it would mean for Sameness to be the origin, the great basin for Differences, I went back to Plato’s text, and looked at the word for “same” or “equal” (as it is translated). It is Ison, from which we get our words like isometric or isomorphic. What is immediately conjured up is mathematical equality, and this is generally the purity of Same towards which this binary heads. But contingently the LSJ dictionary had among any of its easily recognizable uses, one use which contained a subtle difference. It not only meant “equal” but “even”, as in can describe ground as “even or flat”, or the cadence of an army as marching in iso. As always is the case with the Greek, as much as we would really like to rationalize them into a near mathematical purity (given the tradition of their depiction), there is always a depth, a material depth to their conceptions that we miss. There is not a great difference between ison as “equal” and ison as “even”, but it a difference that opens up what Same is, not only for the Greeks, but for us as well.

I started picturing what it would be like to assume evenness of ground, or of step as the basin for difference, and what came to my mind is a perceptual experience which I rather naively assume to be shared with much of the animal kingdom. A predator, perhaps a mountain lion on its ledge overlooking a shallow gorge stares out at the field. There is an odd sort of evenness to it, as consciously it creates a field upon which differences register, there, a movement in the brush! Is this picture of consciousness, the idea that the evenness of the field in a certain sense foregrounds the possibility of difference really at the heart of the repression of woman and people of color? Is it that the difference of a deer’s movements are “derived” from the Same of the valley gorge, playing second fiddle? Is it that the evenness of perception has priority over the differences it enables, and if so, this hierarchy becomes the hierarchy of the subjugation? Well, in thinking about it, the shallow gorge is never completely flat, or even. It is already percolating with differences that the lion is registering (in my fantasy reenactment of an animal perception). The field of vision, as even, is in a sense is fecund with both samenesses and differences, both the flat and the eruption, seem to be found within a general sense of ison. Instead of thinking of a great abstraction through which our logical binary can cut, it seems better to think of ison as Equilibrium, and an experience of Equilibrium at that.

When imagining that a sense of equilibrium is prior to, or the condition of disturbance, it seems that something less of the conceptual either/or baggage of ontological abstraction is carried through. It is hard to imagine that the general sense of equilibrium what we as organisms have is foundational to a naturalized minimization of the differences between people. Instead, equilibrium becomes the experiential baseline (already which in differences) for which other differences, disequilibrium’s, disturbances, take on their significances.

In this embodied vision though we are immediately drawn into a Hegelian comprehension of the Negation of the Negation, that is, at bottom is an equilibrium process that encounters disturbances (negations, exceptions), when are then re-incorporated into a new and higher equilibrium. As someone like Judith Bulter complains, difference is always subsumed under a new Non-difference, (with the implicit, and one might say Capitalist duty to difference for the sake of difference). Everything goes flat again. We have the appeal of a process of consciousness which describes how we are ever disturbed, and find ways to repress or reintegrate these differences that may feel like something we naturally do, without the desirable conclusion of difference for its own sake.

Not a fan of the Hegelian appreciation of the Negation, and its attendant teleology of history, I wondered if there is another way to think about this equilibrium, this field of evenness, which is not so reductive. Well versed with Spinozist tendencies, my own appreciation for Plotinus’s NeoPlatonic revisioning of Platonic Forms (ultimately the Ison), I keep wondering if we are missing something in the Greek notion of Same, of Equal, of Even.

Cat or Tails

If I return to the mountain lion and explore this notion of Same as Equilibrium and continue with the imagination of the field of differences, this is what I come up with. The cat, gazing lazily over the gorge is in an unattuned state of perception, that is, their is a directedness upon the general equilibrium of the life-force below which does not form an object, and upon which eruptive events occur, the shake of breezes on brush, the shadow from a hawk above, the regularity of the brook running. Any of these can provide occasions for momentary attenuation which is then reintegrated in the general state of equilibrium. These disturbances, these eruptions of a difference that make difference, are not best seen as objects, per se, but effects of relation. Their perception does not make up the essence of a consciousness (it intentionality), but the entirety of the field, its equilibrium states and its dissonances, do.
Now there is a movement, a disturbance which heightens the cat. Ears move forward, eyes narrow, breathing slows.

The difference, the disturbance in the equilibrium is registered as “prey” (to be categorically crude about it). The cat’s involuntary motions already set up a new equilibrium, and then motions towards the animal below (those differences), on a vector, set up new equilibriums, and soon the animal is running, leaping, configuring itself as a mutuality within the field of the world that the deer, the shallow gorge, and it all share. The contemplative equilibrium, that of a passive witnessing of a certain retreating flatness, has been transformed into an equilibrium of subsuming movement. Capacity to act. To say that all of the differences (disturbances) are only derived from the Equilibrium is to be too lexical, too syllo-logical about it (and to misunderstand the origins of logic). They are the very substance of what Equilibrium is. They are its expression and power as equilibrium. It is that the mountain lion has appeal to (cognitively, structurally) the dynamic equilibrium of the world, that it is able to act more freely. It is not that all of the differences are merely collapsed into the banality of Same, but that rhythm operates through the recognition of the full reality of difference, as difference, a process which is includes the awareness of difference as dissonance. If one is to make the collapse of the nature of Being into that of the State that is implicit is so many criticism of ontologies of Same, it is not that marginality is a secondary effect of the State (or even that the State is established through the necessary suppression of difference through the production of marginality — still too optical, containing the notion of the “hidden”), but that the State in its very forth comingness, produces a maximalization of difference as the possibility of its very field, as perception. Instead of a Subject as Object-consciousness essentialization reading of Being (with its priority of absence or Nothingness which cloaks at the borders of an object, not to mention the optical sense that the “back” or the “inside” of the object is forever hidden from us), it is a Same as Dynamic Equilibrium, producing differences as concrete expressions of its power to act, maximizing those differences as it goes, creating the texture of its possibilities.

I think that this is what is behind the development of Plato’s “Full Nelson”. It is not so much a chokehold, as a hug (one might say if one were being humorous). The Same is not a flat, logical identity of things to be expressed merely as a binary, and not even a Progressive necessity of the reduction of differences, but rather it is best seen as dynamic equilibrium, equilibrium as maximum expressiveness, an expressiveness beyond all subsumption. Being as radiating differences and distinctions.

There comes to mind a word from Sophocles’ Ode to Time, found in the play Aias. Time is called “anaríthmêtos”. I have quoted the line before:

All things Great [makros] and Unmeasured [anaríthmêtos] Time (646)

The word is often translated “countless” or “immeasurable” (and makros often simply translated as “long”). Time moves for Sophocles with a kind of negative theology. It cannot be measured. A metron is Greek is not only a “measure” as in a measurement, but also a “measure” as in a meter of poetry. Sophocles in measured poetry is singing about the immeasurableness of Time, a pure and delightful contradiction. If we were to translated the metered verse of the Greek into our English emphasis on rhyme, Time moves un-rhymeably, as we rhyme about and with it. As we move away from Sophocles’s joy of the negation the chasm of the tragic abyss (something I think he eventually profoundly overcomes with the concept of Eleos  in the play “Philoctetes”), I think this is an essential aspect of the conception of Same which must be incorporated in our reading of the concept. Equilibrium for the Greeks, is musical. It is in the form of the poetic, as expression. If we are to recover from Plato’s Full-Nelson, it is from within this heritage of the Same that we must surely operate, the Same as maximalization of differences.


Again though, we really much retreat from any flat logic of binary differences, they are not rich enough to capture what happens in metered verse. (There is not only a genetic reason why Parmenides who is thought to have made a category mistake of flat logic wrote in meter.) And reaching out toward an ontology of pure difference does not cut it either (the dignity of persons of color or mixed gender does not rely upon that). It is rather the sense, the overriding and concrete sense that the entire world monistically is connected, that it rhymes, fundamentally with itself. All of our equilibriums, our transitions from contemplatively flat equilibriums to dynamic, poetic, bounding mountain-lion equilibriums of action, are reliant upon the appeal to a world that expresses itself as one vast equilibrium, an equilibrium of expression. The lion cannot run without fundamentally rhyming with the ground, the shallow gorge, and even the deer, each of them as expressions.

This is where I have long had a subtle misreading of the Sameness of Being which sterilely cut itself off from its step-brothers Differences. How is it that we are supposed to connect all of those differences (and those samenesses) back up to one Same? What an absurd question. It relies upon a notion of Same, of Ison, too flat, too drained white, not richly enough conceived as equilibrium as maximum expression. Much as which we have had the metaphysical danger of confusing the map with territory, we have flattened out the lines of what Ison means. A car idling in the drive is Ison, even. The same car accelerating through a canyon curve is Ison. The communication between the driver and the steering mechanism is Ison. But also, the tree that has fallen in the road also must be Ison, if we are to continue, and the fear of hitting a deer is Ison, or the speeding over the limit is Ison. That is, there is always a plentitude toward the rhyming which is appealable, the bath in which is rewarded with a constructability, the possibility of action.

Same as Dynamis

It is here that I think that Spinoza’s notion of Substance provides particular revelation. How is it that he connects the Substance up to all the diversity within it?, people want to ask, flattening out the map of dichotomies. How does he get to the Only thing to the Many things? This to mistake the question of the Same at the conceptual level. The Ison is fundamentally and unreservedly a dynamic equilibrium, a vast expression. As such it necessarily produces a maximalization of differences out of the pure plentitude of its even, equal, Isotic expression. To make anything less of these modal differences than the absolutely concrete actuality of Ison, to minimize even the tiniest of differences, is to minimize the reality of what Dynamic expressive Equilibrium is. The modes are Real because Being when it is “running” (and it is by it very nature always running), produces itself distinctly.

Returning to our mountain-lion, it is a music of Being which may attend to this subline of music (this equilibrium, the shallow gorge) in order to note this subline of music (deer-brush interactions, which serves as a dissonance), then composing its own gorge-lion subline of music, but none of this is done outside of a harmonization, that is the music, however faltering, always recaptures itself in a way that musicality itself becomes the tantamount supposition. The question for pure ontology of Difference, that is, the sour note that is granted full rights and dignity out of its very sourness, always must come back to the dynamics of tasting. This does not mean that all difference is simply collapsed into Same, made into an ephemera, an illusion (unless the illusion is that one can have a musical difference whose essence is non-musical, a freedom of choice or purchase which is utterly private and cut off from all interplay…the fantasy behind the hole in the Capitalist, Democratic Subject). Rather, as one acts as Substance, increasing one’s capacity to act in the world through the understanding of expressive causes, as Substance one increases the number of differences one creates, a potentiality of sournotes abound, which is nothing other than the creation of a perceptual field of distinguishings, a body of dissonances, the way that the hair stands up on your skin, bristling. The is the meaning of horror, and awe, which lies at the bottom of any ancient contemplation of Same, of Ison.

The project of Being, insofar as we can stipulate one, is the creation of as diverse a number of surfaces upon which the horror-awe can condense, the maximalization of intensity as expressive equilibrium, in which one’s own differences register as a plentitude. Is this pure Difference? I wouldn’t know. It is more an Ontology of Perceptibility, and I suggest that it is reached not through a primary optical metaphor of Objecthood (the hidden below the surface), the shadow the Citizen as Subject, but through constructive bodily assemblage, the way that we technologically construct the living soul through our cybernetic combinations with the material and para-material world, creating more and more surfaces upon which revelation (dissonances) may occur. The hairs stand up on end.
It is for this reason that I think it best to see our capacities to read and experience the world as ultimately mutually expressive. Action is not at a distance because distance implies primary opticality. Action is always constructive out of a plentitude that is present, which is ever appealed to making rich differences which make the difference. Ison as plentitude, and not its lack.

The unhappy consequence of this understanding of Being is that it does not give ontological voice to what is taken to be an essential human experience (people what to define the Human separation from Nature by it). We want an ontology which expresses our alienation, one that fundamentally buries out alienation in the very heart of Being. We do not want to be told that our sadnesses, our dislocations are only problems of perspective, that if simply change our view our haunting shadow of the Abyss will simply disappear. And part of this is not wanting to imagine that when a bird returns to its nest-tree only to find it destroyed or raided, it may feel alienated or dislocated, or even sorrowful, at least not in the category which we are able. Our ontologies must entrench the very sorrow of our condition, anchoring it, alleviating our need to look towards our relations (chosen and otherwise), as the causes of our experience. It is agreed that the great satisfaction of Existential Ontologies of Negation, is denied here. Ours is not a world condemned to a freedom of Nothingness in various guises. In replace of this solace is rather opened a continual path of construction. That is, at any moment in time we can begin construction of bodies in assemblage, which are either newly created, seemingly ex nihilist of a change idea or mind, or can be reconfigured more powerfully from already existing forms (the same change in two ways). At any moment one can begin anew a music through the musical recognition of what is already playing, edging on cacophony. One searches for the tilted Equilibrium and affectively combines with other affective bodies, anew. Repeating a sour note, attenuatedly, changes it, yet one can only repeat the note cognitively, in a change of power, through the understanding of its cause through a mutuality with the world, and with others. When one does so one changes the possibilities of difference, modal becomes nodal.

The finding of similiarites (of which metaphor is a exemplary) is ultimately not a referential process. The “same” of which the process participates is not a same of reference, a pointing back to, or over and above to some over-arching ground of Same. I’m not sure that even Plato thought of it in this way. This is a table not because there is a same of Table floating behind it. Rather, the finding of similarities is productive and best seen as bodily in construction, putting our bodies in consonance, such that it assumes the power of an equilibrium. Looking for the priority of this equilibrium, its foundation, is like looking for the workability of the experience of “it works”. But this does not make this Ur-Equilibrium simply the world of Becoming, for this flattens out the pure dimensionality of Being (a great fear of someone like Graham Harman). This dimensionality, a certain depth, is found in two ways. Locally its is found in the sheer dimensionality of bodies on combination, in the lived, affective transfers which express the power of communications, radiating out. The mountain lion-gorge-deer assemblage is dimensioned in locality. But it is also brought into depth through the nature of causal understanding itself. The very nature of increases in power through causal understandings, necessarily a minimal trinity where there was only a shallow binary before. The world becomes fleshed and immanent, through the power of causal understanding. This too is not a understanding of reference (Substance is not a “thing” or even a “state”), but of a constitutive experience flowing out of what Equilibrium must be.

Beneath any such appreciation of Equilibrium there is always the danger of having the concept collapse and become flat, that is the constant and ever-producing Equilibrium of Being can be read as a flat-line nullity. This the haunt of the Freudian Death Drive, the Shadow of the Pleasure Principle. A Pure and empty circulation, the inorganic draw beneath Pleasure pursuits. There is a tendency to see Pure Being as a negation of its expression. Our individual pleasures only collapse into a great machine of Death. This is merely, in my view, the gravitous compliment of too close a contact with the sacred (profane), as dissonance rises beyond the threshold of comprehension or even organization. The Death Drive circulation works as the center-of-gravity closure that allows dissonance affects to sink down and cohere, if only in a pure banality of effects, forever the attractor of Fascist, totalitarian binding. In this way a Spinozist conception of Substance (and of State) maintains as matter of its project ever the asethetic haunt of blind circulation, intensity turning down upon itself for the sake of its own rhyming. The music of Being turned into a dull ditty (the pains/pleasures of dissonance flashing as mere surface ephemera). The antedote to this is to realize its ever presence (as a function of lived thresholds of coherence, a tendency to urgently create bodies in vaccum), and to return a notion of Ison as normatively and ontologically the production of maximal difference, as a product of its fecundity. These ontological closures are mere cocoonings (sometimes brutal), for mixtures of potential action through dynamic Equilibrium.