Chance Demands of the Day

Gideon Lewis-Kraus on Neil Gross’ Richard Rorty: The Making of An American Philosopher at n + 1:

Richard Rorty’s favorite sentence in all of Freud was from the book on Leonardo da Vinci. “If one considers chance unworthy of determining our fate,” Freud wrote, “it is simply a relapse into the pious view of the universe which Leonardo himself was on the way to overcoming when he wrote that the sun does not move.” On Rorty’s account, this “pious view of the universe” reflected a desire to see man as what Aristotle called a natural kind, something that “divides into a central essence—one that provides a built-in purpose—and a set of peripheral accidents.” To Aristotle, that central essence was the locus of human dignity; the peripheral accidents were matters of unworthy chance. Rorty spent much of his career explaining why we might all be better off if we gave up the attempt to uncover such built-in purposes, and instead located human dignity in the ability to invent novel ones. Such a view would encourage us to narrate our lives in terms of how we’ve adapted and enlarged ourselves to meet the chance demands of the day.

Read the whole thing here

Politics Now

Ideology has an interest in effecting a change in our relationship to temporality because the subject who grasps its authentic temporality exists with an urgency to act that the ideological subject does not. The subject for whom time is just ‘a pure succession of nows’ never experiences the fleetingness of a situation. As Heidegger puts it, ‘Up to the end “it always has more time”’ (1996, 389). As a result, the ideological vulgar interpretation of time succeeds in producing docility. As subjects with an external relationship to time who see time as a series of nows, we can leave the field of the political to itself; its claims never truly touch us because nothing, not even the political, is exigent. But as subjects of authentic temporality, we recognize the need to intervene in our situation without delay; we become fully politicised beings…

the film not only reverses the usual cinematic role that romance plays relative to politics, but it also reveals the pathological stain at the source of all politicisation. One first becomes a politicised subject not out of some neutral concern for larger political questions or some universal desire to eliminate injustice but because of singular desire that bears only on one’s own subjectivity.

 

Tod McGowan, “The Temporality of the Real: The Path to Politics in The Constant Gardener

The Constant Gardener, directed by Fernando Mereille

The Constant Gardener, by John le Carré