Further notes on the line

There are no lines in nature.

All thought occurs in lines.

There are many lines

But all lines tend toward a single line:

This tendency is the texture of thought.

A line has no structure: it is itself tendency (élan).

Structures are lines—

In the indiscernibility of matter and form.

There are many lines—

Of words, steel, melodies, fields, worlds, and flight.

A line is not the terminus of a surface

But a plane is the limit of a line:

As the transformation of the insistence of a line to the existence of a point

(There is thus a stratification of point, line, and plane).

Advertisements

The sound of madness

1. There is something true in the banal observation that madness cannot name itself and, consequently, analytic discourse always requires a triadic structure (whence the problem of ethics that requires that there is no third). To put it simplistically, madness indicates a radical and often irreparable departure of the cogito from the ego. What Derrida observes of the “me” of analysis applies mutatis mutandis to madness: how is it possible to translate what is in principle unpresentable into a discourse that by its nature must make it present? How is it possible to say something outside of sense when speech itself is nothing other than the repetition of sense?* It is in the midst of this bind that Derrida explicitly invokes the notion of iterability in the now familiar deconstructive technique of showing that what resists signification is ultimately the “real” of sense such that every act of analysis becomes its own subversion (in his words, “in this sense, deconstruction is the interminable drama of analysis”).

*Contrary to popular psychology, madness is neither chaos nor “complete nonsense” but, rather, a particular relation to sense that prevents reflection.

As Foucault observed, what was at stake in their confrontation over the possibility of writing (of) madness is whether philosophical discourse can tolerate an exteriority to which it must be blind. When Derrida says that everything can be historicized except the hyperbolic project—which, in classic Derridean fashion, requires a madness more radical than that of psychological madness—Foucault sees confirmation of knowledge fortifying itself against its own unconscious (conditions). But the archaeological “we” who must analyze these conditions, Derrida says, can never be its own contemporary, i.e., can never be present to itself, which simply defines the analytic position. For both, however, because knowledge can never renounce itself, the double bind of Enlightenment (or, more specifically, Kantian) critique is that knowledge only crosses its limit precisely by seeking to know itself: thought can never intend anything outside of itself.

2. This double bind is “endured in a thousand different ways” (Derrida) in a sort of passio essendi. Madness brings us to the limit between life and death, i.e., to the point where the dissolution of the conditions for life nevertheless persists in a sort of second life. Death lingers on the far side of madness at the impossible moment when madness can name itself; madness expresses itself, however, perilously close to us ourselves in ecstasy (which includes not only the experiences of the mystics but also, as Derrida points out, the problematic of finitude in Heideggerean ek-stasis).

Such expression, however, can never be in the order of signification (thus analysis is only what Derrida calls the “reconstitution of the symbolic pact”). But what Munch did for anguish in “The Scream”, Ornstein has done for madness in the eighth of the Poems of 1917. Ornstein’s tone clusters, instead of tarrying at the limit of tonality and noise, express tonality without being tonal. Ornstein never rejects the language of tonality. All the architectural and melodic elements are there but it is the very persistence of the triplets that attempt to establish a tonal center that fails to sublate the minimal (semitonal) differences into a standard resolution. The “center” of the eighth Poem is nothing other than the minimal difference that defines unison as the interval that differs from itself only by returning to itself. But the only difference, then, between a single note (unison) and silence is its negation in melodic progression.

What Ornstein’s “melody without tonality” expresses, by the absence of a tonal center, is simply the trace of tonality by its persistence in our relation to it. Against the referentialists, Meyer has argued that “affect … is aroused when an expectation—a tendency to respond—activated by the musical stimulus situation, is temporarily inhibited or permanently blocked” (emphasis added). In a sense, this thesis is the key to all modernist music. Meyer’s contributions to music theory have been to show that musical meaning (which is preferable to “sense”) is fundamentally triadic, i.e., that it is neither in the work nor the conscious observer but between those two and the extra-musical referent of the work. In the case of the eighth Poem, the latter is simply madness itself or, to put it another way, the eighth Poem is not a mad statement like the man who declares that his head is made of earthenware but simply an** expression of madness itself as a flight from sense that can, in principle, never be “made sense of” but nevertheless remains as a resistance and temptation to the reflective consciousness.

*I mark the article to insist that, strictly speaking, there is not one but many madnesses.

Weakness and possibility (variations on a theme)

1. In Bloch’s inversion of Hegel’s critique of Kant, he asserts that freedom is not only realized in the material community of individuals but in the positive idea of politics. The utopian “suprahistorical” idea of freedom is not real but ideal in the sense of the world-to-come in the action of political subjects. Freedom is thus not in history but, rather, the positive end of historical subjects’ conscious activity. It is against the background of such utopianism that Benjamin invokes the necessity of messianic redemption or, more precisely, the notion of history as the anticipation of the Messiah. Only the Messiah “completes” history, not through justification but by forgiveness, i.e., by disrupting history with a new order of time “beyond all remembering or forgetting”.

Here Benjamin explicitly follows Lotze’s suspicions of the grand style of world-historical thinking (or “universal history”) that leaves invisibility (including that of women) and stupidity in its wake. What good is a blessing in which we cannot participate, Lotze asks, when our toil is for the benefit of those who come after (always after)? Humanity does not, he says, “consists in a general type-character which is repeated in all individuals” and “the existence of a vast spiritual proletariat, which there seems no possibility of removing, is an objection which the idea of history as the education of mankind must find it hard [indeed impossible] to overcome” (Microcosmos 7.2,; Benjamin quotes several passages around this text repeatedly in the Passagenwerk). The logic of history, Lotze says, leaves it bereft of any moral exigency, for what can be imperative to those whose fate is outshone by the glory of the enlightened?

Precisely because they have been forgotten by history, Benjamin says, the moment of their recognizability has passed. The task of the critic is to expose the discontinuities and contradictions through which we might infer the “barely missed” opportunities from what history has forgotten, whether through its blindness or its mendacity. The past becomes visible not only objectively in the traces of time but also subjectively in the awareness of what is missing, viz., in the “secret agreement between past generations and the present one” that we shall be the gate through which the Messiah passes. On the one hand, we must wait; yet the work of anticipation is not mere complacency since the “weak messianic power” of redemption is only a possibility. Jewish messianism refuses to bind the individual into the corpus mysticum of universal history but at the same time also rails against the vanity of injustice. Anticipation begins in remembrance because it is through the dialectical image that we recognize the discontinuity between past and present, i.e., that there was a certain moment in the past when the present became possible and, since there can be no resurrection or redemption of the past, we must look for the traces of the future that will remain after our time has been shattered.

2a. Modernity begins the moment creation is recognized as infinite decomposition. “We are dying from the moment we are born”, so the cliché goes and only an essential fatigue could have precipitated the fall into time. Eternal happiness, it turns out, is unbearable if only because it is interminably boring.*

*Boredom, Heidegger says, is the Grundstimmung of modernity and the necessary condition for the metaphysics of Da-sein in which being is revealed as time itself. As Goodstein argues, however, in what is perhaps still the best treatment of boredom as a modern phenomenon, what gets presented existentially in Heidegger is irreducibly cultural and historical.

But our consciousness of this fall makes it impossible to desire eternal happiness (again) without thereby perversely desiring our present wretchedness. The truly religious desire is not for paradise but patience:

“When you have seen a corruption in every conviction and in every attachment a profanation, you no longer have the right to expect, on earth or elsewhere, a fate modified by hope. You must choose some ideal, absurdly solitary promontory, or a farcical star refractory to all constellations. Irresponsible out of melancholy, your life has flouted its moments; now, life is the piety of duration, the feeling of a dancing eternity, time transcending itself, and vies with the sun. . . .” (Cioran)

Consciousness is caught between the impossibility of a justified life as much as it is by a justified death (as Cioran reminds us, while the thought of suicide is fundamental to consciousness, for example, it is contradicted by the act). Happiness denies justification to every suffering as much as the converse. To make suffering the end of consciousness, however, is not an act of strength, since, lest we fall victim to the most vicious ressentiment, we must also realize that, ultimately, suffering offers neither vengeance nor remuneration.

2b. Is this not the lesson of Christian generosity, i.e., that weakness is the precondition for actual generosity (Lk 6:30)? Abundance and surplus preclude generosity, because it is neither generous to give what one does not need nor to be freed from the appearance of necessity (on the other hand, infirmity of character also excludes generosity since it is not “generous” merely to be taken advantage of). This is Marion’s point, for example, in his recent argument against the notion of sacrifice as destruction. The gift, he argues, “is accomplished in an unconditioned immanence, which not only owes nothing to exchange, but dissolves its conditions of possibility”. His point here is similar to Caputo’s notion of the “weak force” of creation, i.e., that an actual creation ex nihilo cannot be a gift since nothing is “given up”. But while Caputo resists the image of the causal—and ultimately pantheistic—God that imbues existence with goodness, equally we must resist the God from whom “significance and promise” follow; instead, in a slight turn of phrase, the event offers only a “promise of significance”. Weak theology names the transcendental, however, only by renouncing the claims of justice.

On the other hand, for Derrida, the true transcendental is nothing other than democracy and why messianism is structural and not religious (as he explicitly claims in Specters of Marx). Democratic anarchy must necessarily resist the ideology of hope or any passage from existence to goodness. “If I happen to have written that [democracy] “remains” to come, this remaining [restance] … pending [en souffrance], withdraws from its ontological dependence. It does not constitute the modification of an “is,” of an ontological copula marking the present of essence or existence, indeed of substantial or subjective substance” (Rogues, cf. “The Supplement of the Copula”). If we must wait, we seek not the good but the possibility of what, at present, has been made desperate and even unthinkable.

3. If the fundamental insight of contemporary (critical) hermeneutics is that being is nothing other than language and, consequently, that mediation is everywhere and the structure of the real is in itself dialogical (and thus historical), it follows that language, the beautiful, and the good are co-constitutive and that there is a convertibility between truth and rhetoric. Vattimo has argued this point most directly through the collapse of ontology into hermeneutics. If, then, it is not Da-sein but simply being itself that is disclosure,*** “the ‘objects’ toward which the verwindend and andenkend attitude of post-metaphysical thought turns itself are not exclusively the messages of the past. Metaphysics is not only transmitted to us in the contents of the Geisteswissenschaften, in the humanistic heritage of our culture; it is ‘realized’ in the Gestell, the scientific-technological organization of the modern world”. The task of thought, then, is to interpret the real as this organization and structure. Just as there is no seeing without seeing-as (Wittgenstein), all being is adverbial.

***Just as information theory posits that the fundamental nature of reality is the transfer of information, the hermeneutic-semiotic equivalent here is simply to say that to be is at least to be a sign.

Nihilism then has a positive destiny for Vattimo not only in the destruction of the highest values (Nietzsche) but in the narrative construction of communal existence. But this existence has neither ground nor justification in anything other than the possibility of its coming-to-be in persuasion (which, of course, need not be exclusively discursive). The destiny of humanity consists in nothing other than the re-definition of what it means to be human as the principal task of interpretation. Instead of deploying a voracious will-to-truth as scientific victory, hermeneutic thought posits the possibility of truth neither as given nor to be found either objectively or in the confidence of an inner certitude but, rather, in a world that we, together, might one day actually affirm in good conscience.