1.27.2015

Marshawn Lynch: "I'm Just Here So I Won't Get Fined" #imjustheresoiwontgetfined

He's just here so he won't get fined. Hey, good for Marshawn. He's paid to play football. The ever increasing amount of media duties imposed on players is a form of job-creep. So don't take this the wrong way. Marshawn Lynch is a decent guy.

1.21.2015

Professor Figal Steps Down as Chair of the Martin Heidegger Society

Martin Heidegger (1889-1976)
Professor Figal steps down as chair of the Martin Heidegger Society. The Black Books have been out for a while so I'm a little surprised to hear this now, although I suppose it takes some time to arrange these things. More details from Andrew Inkpin's email on PHILOS-L with reference to the podcast interview with Figal, available at this link.

"In the interview, as one might expect, Figal is a little more differentiated in what he says. He cites, as Adriano points out, a couple of antisemitic passages (15:30) from the Schwarze Hefte as a key factor in his resignation as chair of the Heidegger Gesellschaft. He particularly criticizes: (i) a comment from the late 30s/early 40s in which Heidegger comments on the "released immigrants who are now working against Germany"; (ii)a comment about Husserl, where Heidegger wrote that "Husserl, as a Jew, got no further in his thinking". Figal comments that this is unworthy (unwürdig) of a philosopher, "that's not how philosophers think" (so denkt man nicht, wenn man Philosophie treibt). - Figal also emphasizes the difference between Heidegger's earlier work (i.e. up to an including Being and Time) and the mid-1930s, when the comments in question from the Black Books were written. Figal also states that prior to their publication he had no idea of the content of the Black Books and that it came as a "complete surprise" to him (17:15)."

1.11.2015

Husserl: "We wander through the halls and stand before a Tenier painting that portrays a gallery of paintings."

By way of illustrating his point with regard to complex, layered noetic and noematic formations, Husserl draws on the work of David Teniers the Younger, who painted paintings of painting galleries. The passage from Ideas I runs as follows:

"This [the layering of different noetic and noematic formations] holds also for the complex types: mimetic presentation and presentation of a sign. Let us take an example, one with extensively interwoven and yet easily understandable formations of presentations, from presentations on a higher level. A name mentioned reminds us of the Dresden Gallery and our last visit to is. We wander through the halls and stand before a Tenier painting that portrays a gallery of paintings. If we make the added assumption that the pictures of the gallery portrayed pictures that in turn displayed readable inscriptions and so forth, we surmise what sorts of dovetailing of presentations and what sorts of possibilities of mediation (with respect to the kinds of objects that can be apprehended) can actually be produced...." (Ideas I, trans. Dahlstrom)

Pictures of pictures, pictures of sign, embedded in a memory of series of perceptions of a tour to a gallery, and all of this prompted originally by the mention of a name. An effective illustration of a complex presentation of different layers of different noetic and noematic formations.

I collect these mentions of artworks in Husserl's writing, hoping to stumble across a description of, or encounter with, art that celebrates the pleasure of aesthetic appreciation. I am mostly not successful. 

Have a look at the generic type of picture Husserl is describing (as well as a post on the topic I ran across) -- I can't confirm which of these, if any, are the one Husserl refers to at the Dresden Gallery.