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Category Archives: arts and cognitive neuroscience

1848 edition of American Phrenological Journal...

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Cognitive neuroscience proposes that the quality of an external object is always already projected onto that object by the neuronal activity of the brain. What cognitive neuroscience lacks is a historical context, likewise what cultural studies lacks is an organic basis. An interaction between psychoanalysis, linguistics, philosophy, cultural studies, and cognitive neuroscience can break out of the closure of the humanities and give birth to the link which has come to be considered missing, between nature and nurture, organic and inorganic, empirical and conceptual, epistemological and ontological, transcendental and immanent, the objective and the subjective.  

Because of the dynamic and parallel nature of re-entry and because it is a process of higher-order selection, it is not easy to provide a metaphor that captures all the properties of re-entry. Try this: Imagine a peculiar (and even weird) string quartet, in which each player responds by improvisation to ideas and cues of his or her own, as well as to all kinds of sensory cues in the environment. Since there is no score, each player would provide his or her own characteristic tunes, but initially these various tunes would not be coordinated with those of the other players. Now imagine that the bodies of the players are connected to each other by myriad fine threads so that their actions and movements are rapidly conveyed back and forth through signals of changing thread tensions that act simultaneously to time each player’s actions. Signals that instantaneously connect the four players would lead to a correlation of their sounds; thus, new, more cohesive, and more integrated sounds would emerge out of the otherwise independent efforts of each player. This correlative process would alter the next action of each player, and by these means the process would be repeated but with new emergent tunes that were even more correlated. Although no conductor would instruct or coordinate the group and each player would still maintain his or her style and role, the player’s overall productions would lead to a kind of mutually coherent music that each one acting alone would not produce.[1]

The model of mind conceptualized by Gerald Edelman shows us that the mind is an embodied substance which has the ability to adapt to changes surrounding it. If we keep in mind that cinema, literature, art, and music show how the mind works at a particular moment in history, as well as the emotional state of that particular moment, it becomes clear why a mode of enquiry rather than a specific method is required for the analysis and critique of human consciousness and its relation to the environment surrounding it. In this context, the plot driven critique of the literary and filmic texts aims at distinguishing between the world of consciousness and the world of appearances. My claim is that it is only through looking at the mortal world of appearances with the eyes of an immortal consciousness that we can see that which is present as an absence in the predominant symbolic order. By looking at “what happens when” in a movie or a book as well as “how that thing happens,” I sustain the conditions of impossibility as the conditions of possibility for cont(r)action to take place and give birth to an immortal subject. Needless to say, this subject is also an object encountering and encountered by the unknown within the known, the chaos inherent in the order itself, that calls forth he who has died so many times and is yet to die again and be reborn many more times so as to live as dead again.

[1] Gerald Edelman, A Universe of Consciousness: How Matter Becomes Imagination (New York: Basic Books, 2000), 49


Creatureliness and Immortality (via Speculative Humbug)

 [I now think the opinions expressed here are massively too hasty – this issue of meaning and finitude requires a lot more thought – but I’ll leave the original post up anyway.] I’ve just watched the first episode of this interview with Simon Critchley, and I thought I’d take the opportunity to note a key disagreement I have with Critchley’s position while the thoughts are still fresh. Critchley makes the point – with which I agree – that our soci … Read More

via Speculative Humbug

Excerpt from Cengiz Erdem’s Ph.D. thesis

In his Critique of Judgement, Kant distinguishes between the determinative and the reflective modes of judgement. If we keep in mind that the reflective mode of judgement reflects on particulars in such a way as to produce universals to which they can be subjected, and that the determinative mode of judgement determines a particular by subjecting it to a universal, it becomes understandable why among these two I shall be using the reflective mode which splits as it unites the subject of enunciation and the enunciated subject. But it must be kept in mind that the subject of enunciation which refers to the universal is itself a constitutive illusion, or a regulatory idea necessary for the emergence of the immortal subject as the enunciated content.

It is only in and through a position of non-mortality within and without mortal life at the same time that the exploitation of mortality can be brought into the spotlight. A critique of the exploitation of mortality inherent in particularly exemplary cultural products will be achieved through putting them in a perspective that analyzes the life death drives in such a way as to expose the exploitation of the fear of death as the driving force inherent in them. The point is that it is indeed necessary to fantasize being what one is not, in our case being non-mortal, to be able to become self-conscious of one’s self-reflexivity in the way of creating an order of signification not caught up in the rotary motion of drives locked in Klein’s projection-introjection mechanism, but rather one which breaks this vicious cycle and at least attempts to subtract death from life in a counter-act to the post-structuralist idea of life as a process of dying and death as an absent presence in the midst of life. It is only through such a subtraction of the absent presence of death within life that the productive interaction between Deleuze’s transcendental empiricism, Foucault’s bio-politics, Badiou’s theory of infinity, and Kant’s reflective mode of judgement give birth to the immortal subject as the womb of a new thought, a new life, and a new mode of being, free of the exploitation of mortality and engagingly indifferent to this mortal, all too mortal life.

The immortal subject within and without the pre-dominant symbolic order is not only the cause, but also the effect of its own alienation from mortal life. This regulatory idea of immortality, which is also a constitutive illusion, is inspired by the post-structuralist theme of becoming non-identical as we see in Deleuze and Derrida. If one could become non-identical, why would one not also become non-mortal? If one could become alienated from one’s identity, why would one not also become alienated from one’s mortality?  Why not become immortal so as to become capable of criticizing the exploitations of this mortal, all too mortal life? But what motivated me to take immortality as a virtual mode of being was Badiou’s theory of infinity which aimed at secularizing the concept of truth. Badiou’s technique of secularizing the truth is inspired by the 19th century mathematician Georg Cantor’s technique of secularizing the infinite. As Badio claims, the secularization of infinity started with Cantor who stated that there was not one, but many infinities varying in size and intensity. From then onwards it became possible to link Deleuze’s concepts of impersonal consciousness and transcendental empiricism with Badiou’s theory of infinity and Kant’s assertion that for reflective judgement to take place and turn the object into a subject a transcendental ground is necessary.  Now I can say that for me a transcendental ground is necessary only to the extent that it enables the subject to shake the foundation of its own mode of being and opens a field for immanent critique to take place. In other words, the untimely indifference of immortality is required in order to actively engage in an exposition of the exploitation of mortality in this time.

This interview was conducted by Bram Ieven to accompany the Dutch translation of Ray Brassier’s essay ‘Genre is Obsolete’. It was published in the printed edition of nY # 2, as part of a feature on Noise (2009). 

 Bram Ieven – Your work has a fairly unique position within the field of contemporary philosophy. On the one hand you are critical of much of recent philosophy, which you reproach for its hostility toward major developments in contemporary cognitive sciences that demonstrate how consciousness can be explained as a natural phenomenon triggered by neurological processes. In Alien Theory (2001) you describe this philosophical hostility to neurosciences as a form of ‘reactionary philosophical protectionism’ and you urge philosophy to ‘emphasize – rather than minimize – the corrosive power of scientific reductionism.’ (21) On the other hand, specifically in your more recent work, you are equally critical of certain forms of reductive naturalism. Such a naturalism you argue in Nihil Unbound (2007), risks being ‘impoverished metaphysics’ (25). Instead you propose a speculative realism that avoids both these pitfalls. Could you elaborate on this philosophical stance a bit? ✎ 0

Ray Brassier – My stance is not particularly original: it’s indebted to the work of several more genuinely original philosophers. The confluence of their influence in my thinking represents my attempt to address what I see as the fundamental issue facing contemporary philosophy: how does human experience fit into the world described by science? Contemporary philosophers can be sorted into two basic camps: in the first, there are those who want to explain science in terms of human experience; in the second, there are those who want to explain human experience in terms of science. The former argue that science cannot explain human experience because there’s something about it that will always resist scientific explanation. The latter maintain that the explanation of experience will require us to revise both our understanding of it and our relationship to it. As I see it, this dispute about what ‘human experience’ is and our relationship to it lies at the heart of contemporary philosophy. I side with those in the second camp who insist that we can attain an objective perspective on our own subjectivity. Philosophers in the first camp dispute this on the grounds that to explain experience objectively would be a contradiction in terms which would only ‘explain consciousness away’ and ultimately alienate us from the subjective core of our own humanity. Some philosophers in the second camp try to defuse such worries by insisting that it’s perfectly possible for us to reconcile our humanity with science’s objectification of experience. My own view is that despite its fundamentally reactionary tenor, the objection above registers a genuine difficulty, and that it is unrealistic and a little panglossian to insist that we will remain ‘human’ much as we are now even after the explanatory ‘reduction’ of experience. My conviction is that the sources and structures of human experience can and will be understood scientifically, but this integration of experience into the scientific worldview will entail a profound transformation in our understanding of what it means to be human—one as difficult for us to comprehend from within the purview of our current experience as the latter would have been for our hominid ancestors. However, while I remain fundamentally committed to a naturalistic perspective which defers to science’s ultimate epistemic authority, I think it’s a mistake to hypostatize the entities and processes invoked by current science as though they were immutable metaphysical realities. We know that scientific theories constantly supplant and replace one another, and that if the history of science is anything to go by, even our best current theories will probably turn out to be fundamentally mistaken or deficient in some regard, much as their predecessors did. Some cite this as a reason not to invest science with any fundamental epistemic authority. I think this is an overreaction. The fact that our best current science will probably turn out be only partly true does not license the conclusion that it is all wrong and that it has no authority whatsoever. There is a world of difference between something’s being partly true and its being all wrong. (The fact that science has allowed crafty apes with opposable thumbs to grasp even a tiny part of the truth about reality is astonishing—indeed, the more we learn about ourselves from science, the more astonishing our capacity for science becomes.) As I see it, science is slowly and painstakingly excavating the deep structure of a reality whose fundamental features may turn out to bear little resemblance to the kinds of entities and processes with which we are currently familiar. Consequently, it would be a mistake to let current science dictate our account of the ultimate structure of reality. That’s why naturalism as a metaphysical doctrine which states that whatever is real must fall within the ambit of actually existing scientific theory strikes me as mistaken. I would like to maintain a commitment to science’s ultimate epistemic authority while resisting the dogmatic temptation to enthrone the entities, mechanisms and structures postulated by contemporary science as ultimate realities. ✎ 0 This is not to say that we cannot draw ontological consequences from science: on the contrary, we can and we should. But the relationship between science and metaphysics is complicated: science says nothing about how to tell the difference between what is and what is not ultimately ‘real’. It becomes difficult to let science dictate metaphysics once we acknowledge that what science says is real continues to undergo fundamental revisions. That’s why I endorse a ‘transcendental realism’ according to which science knows the real but the nature of this ‘real’ is not strictly speaking objectifiable. The basic idea is that we know the real through objects, but that the real itself is not an object. ✎ 0

Bram – You were the driving force behind the Speculative Realism conference (London 2007), which brought together you, Graham Harman, Iain Hamilton Grant, and Quentin Meillassoux. The name ‘speculative realism’ was quickly picked up to designate a supposedly new wave in philosophy, but you quickly became more critical of it. Why is that? ✎ 0

Ray – The term ‘speculative realism’ was only ever a useful umbrella term, chosen precisely because it was vague enough to encompass a variety of fundamentally heterogeneous philosophical research programmes. But people have started to pick up on it as though it was the name for a new philosophical doctrine or movement, like ‘logical positivism’, ‘existentialism’, ‘structuralism’, or ‘deconstruction’. In this context, the vagueness which was initially useful is beginning to generate more confusion than clarity. There is no ‘speculative realist’ doctrine common to the four of us: the only thing that unites us is antipathy to what Quentin Meillassoux calls ‘correlationism’—the doctrine, especially prevalent among ‘Continental’ philosophers, that humans and world cannot be conceived in isolation from one other—a ‘correlationist’ is any philosopher who insists that the human-world correlate is philosophy’s sole legitimate concern. Anti-correlationism is by no means a negligible unifying factor—but our alternatives to correlationism are fundamentally divergent and even incompatible in several regards. The first problem is that the word ‘speculative’ actually means something quite specific in the context of post-Kantian Idealism: it refers to a type of philosophy (of which Hegel is perhaps the supreme exemplar) that proceeds on the basis of the ‘speculative’ identification of thinking and being, or mind and reality, thereby repudiating both empiricist naturalism and Kant’s Critical philosophy. My naturalist proclivities make me quite uncomfortable with these associations, unlike Meillassoux or Grant, both of whom explicitly avow this post-Kantian speculative paradigm, even if only to lend it a singular ‘materialist’ twist. Harman’s stance is not strictly speaking ‘speculative’ either in this regard, fusing as it does the influences of phenomenology and Bruno Latour. Yet nor is it in any sense ‘materialist’, a tendency he abjures on the grounds that it entails privileging one allegedly fundamental stratum of reality over all others. ✎ 0 The term ‘realist’ is no less in need of disambiguation. We’re all realists about quite different things. Harman espouses a Latour-inspired ‘democracy of objects’ according to which science has no particular cognitive authority when it comes to discriminating between reality and appearance and no object can be said to be any more or less real than any other. Grant and Meillassoux retain versions of the appearance-reality distinction, but in very different philosophical contexts. For Grant it could be construed in terms of the difference between natura naturans and natura naturata, while for Meillassoux it is indexed by the difference between phenomenal and mathematical properties. I think it safe to say that neither Grant, nor Harman, nor Meillassoux shares my commitment to epistemological naturalism, or my sympathy for ‘reductionist’ accounts of subjective experience. I think they would view it as a mistake to begin philosophizing from the contrast between the ‘manifest’ and ‘scientific’ images of reality as I do, and as result their realism tends to be more catholic and ecumenical than mine, especially where subjective experience is concerned. By way of contrast, my sceptical stance towards phenomenology leads me to endorse a more austere, revisionary brand of realism that tends to undermine the reality of subjective experience, at least as ordinarily construed. Thus, given that we don’t agree that philosophy must be ‘speculative’ or about what ‘realism’ entails, the expression ‘speculative realism’ has become singularly unhelpful. ✎ 0

 Bram – What would you propose as an alternative? ✎ 0

Ray – Nothing: the label has done its work in terms of signalling possible alternatives to correlationist orthodoxy. Grant, Harman, and Meillassoux have each coined terms to describe their respective projects. My own could be characterized in terms of a new compact between metaphysics and epistemology: transcendental realism in the former and revisionary naturalism in the latter. There is a reality that transcends the bounds of possible human experience set out by Kant, but we are learning that it is populated by ‘things’ about which it is proving increasingly difficult to say ‘what’ they are using the resources of sense currently available to us. We will have to forge new vocabularies to be able to say what these things are. Admittedly, this still has a ‘speculative’ ring, but I would like to insist that metaphysical speculation be constrained by scientific knowledge. ✎ 0

Bram – The kind of realism that you defend, while certainly not hostile to reductionism, always insists on the fact that reality is far more complex than we surmise. An essential point you keep returning to when it comes to the deep structure of reality is ‘that there’s much more going on, and that it turns out to be more complicated’ (324), as you remarked during the Speculative Realism conference in London. You seem to be interested in a surplus of complexity. This also appears to be the main point in your essay on noise: instead of understanding noise as a lack of information or structure, you take noise to be a surplus of structure and complexity, as an ongoing superimposition of incompossibles. ✎ 0

Ray – Yes: I agree that there is a link and what I find particularly interesting about ‘noise’ is its informational density. In this sense, I think it prefigures (in a sense yet to be determined) the sort of challenge to intelligibility which will accrue with the gradual objectification of experience. Just as noise makes you work to decipher information by overriding familiar cognitive-classificatory sluice-gates, the objectification of experience will force us to make sense of ourselves in a quite unfamiliar and even fundamentally foreign conceptual register. Basically, I think that people who accuse science of reducing and attenuating what they consider to be life’s richness and complexity are completely mistaken: it’s quite the opposite: our conception of reality has been immeasurably enriched by scientific understanding and it’s rather our subjective experience of the world that is reductive and impoverished in comparison. But the point is not just that science enriches and amplifies our understanding of reality, but that it uncovers the truth. Noise has no such epistemic valence—it does not yield the sort of cognitive information that provides the basis for true or false judgements; but there is something of fundamental epistemological interest about the way in which it interferes with default cognitive schemas and perceptual Gestalts—epistemological in the sense that it challenges the way in which we relate to experience, rather than operating at the level of the content of experience. ✎ 0

Bram – In some of your essays (including ‘Genre is obsolete’) your ideas on philosophy and neurosciences are intricately related to the dynamics of contemporary capitalism. In an essay on subtractive ontology and capitalism you write: ‘Integrated global capitalism is constitutively dysfunctional: it works by breaking down. It is fuelled by random undecidabilities, excessive inconsistencies, aleatory interruptions, which it continuously reappropriates, axiomatizing empirical contingency. It turns catastrophe into a resource, ruin into an opportunity, harnessing the uncomputible.’ (57) It strikes me that this definition of capitalism is somehow connected to what you write on noise in your essay ‘Genre is obsolete.’ Do you see a similarity between capitalism’s stochastic dynamic and ‘noise’ – or would you rather say that noise and capitalism are each other’s opposites? What is the relation between noise and capitalism? ✎ 0

Ray – This is a difficult question. The suggestion that capitalism is somehow ‘like’ noise could easily be construed as some sort of dubiously Romantic aestheticization: capitalism as sublime, unintelligible phenomenon, etc. The passage you cite is problematic because it lends itself to such an interpretation. Basically, I do not think it at all illuminating or useful to construe capitalism as some sort of sublimely turbulent natural phenomenon. It’s important to bear in mind how, for all its seemingly unfathomable, impersonal complexity, global capitalism continues to supervene on the banal personal and psychological traits of the dealers, brokers, traders, executives, managers, workers, and shoppers, who are not just its dispensable machine parts but its indispensable support system, without which it would simply not be able to function. ✎ 0 There’s a temptation to hypostatize capital as though it were an impersonal, wholly autonomous agent subsisting quite independently of the myriad of little human subjects who compose it. This strikes me as a mistake. Here I think a sober appreciation of the mechanical banality of the processes through which capital reproduces itself might obviate this tendency to mystification: this seemingly fantastic, supra-personal complexity is not due to some mysterious self-moving cause or superhuman agent but an effect generated by the myriads of micro-processes that compose it: it is neither more nor less mysterious in its operations than any other complex, multi-layered emergent phenomenon. This kind of emergence and complexity are banal and ubiquitous. ✎ 0 I think there is an important dis-analogy between noise and capitalism in that noise as I understand it is precisely not complex in the way in which capitalism is alleged to be: the sort of emergent complexity exemplified by self-organizing systems is relatively uninteresting. The fetishizing of complexity in the sense of self-organization, along with emergence and irreducibility, etc., is part and parcel of the neo-vitalist tendency to prefer mystification to explanation, so prevalent today. What I consider to be interesting about noise is its dis-organizing potency: the incompressibility of a signal interfering with the redundancy in the structure of the receiver. Not transduction but schizduction: noise scrambles the capacity for self-organization. ✎ 0

Bram – What, if anything, could be the role of an aesthetics of noise in your work on neurosciences and capitalism? ✎ 

 Ray – I am very wary of ‘aesthetics’: the term is contaminated by notions of ‘experience’ that I find deeply problematic. I have no philosophy of art worth speaking of. This is not to dismiss art’s relevance for philosophy—far from it—but merely to express reservations about the kind of philosophical aestheticism which seems to want to hold up ‘aesthetic experience’ as a new sort of cognitive paradigm wherein the Modern (post-Cartesian) ‘rift’ between knowing and feeling would be overcome. In this regard, I would say that there can be no ‘aesthetics of noise’, because noise as I understand it would be the destitution of the aesthetic, specifically in its post-Kantian, transcendental register. Noise exacerbates the rift between knowing and feeling by splitting experience, forcing conception against sensation. Some recent philosophers have evinced an interest in subjectless experiences; I am rather more interested in experience-less subjects. Another name for this would be ‘nemocentrism’ (a term coined by neurophilosopher Thomas Metzinger): the objectification of experience would generate self-less subjects that understand themselves to be no-one and no-where. This casts an interesting new light on the possibility of a ‘communist’ subjectivity.


Ray Brassier, Alien Theory. The Decline of Materialism in the Name of Matter. 2001.

Ray Brassier, “Nihil unbound: remarks on subtractive ontology and thinking capitalism.” In Peter Hallward (ed.). Think Again. Alain Badiou and the Future of Philosophy. Continuum: London 2004, 50-58.

Ray Brassier, Nihil Unbound. Enlightenment and Extinction. Palgrave Macmillan: London 2007.

Ray Brassier, Iain Hamilton Grant, Graham Harman, Quentin Meillassoux, “Speculative Realism,” Collapse III. Urbanomic: Falmouth 2007, pp. 307-451.


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