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David Auerbach on literature, tech, film, etc.

Tag: peirce (page 3 of 3)

Kira Muratova: The Asthenic Syndrome

To begin with a tangent: one of the things that I love about the Times Literary Supplement is how dutiful they are about getting experts to review books in their fields, so that instead of, for example, hearing praise for the wonderfully informative, picturesque prose of Louis Menand’s The Metaphysical Club, as happened in countless American publications, you get to hear how badly Menand’s book misrepresented the pragmatic philosophical tradition, as Bruce Wilshire discussed at length, concluding:

Menand’s failure to grasp the purport and consequences of distinctively philosophical ideas becomes damagingly clear. What is the meaning of truth, persons, groups, reality, matter, mind, the meaning of meaning itself, the meaning of “pragmatism” itself? James’s pragmatic theories of meaning and truth depend on his metaphysics of radical empiricism or pure experience, but references to this metaphysics are absent in Menand, and so James’s pragmatism cannot be grasped. Neither can Dewey’s, nor Peirce’s.

It would be nice to say that The Metaphysical Club is on balance worth having. Menand provides interesting and valuable historical knowledge often overlooked by “pure” philosophers, touching on important thinkers such as Chauncey Wright, Horace Kallen, Alain Locke, Randolph Bourne, W. E. B. Du Bois, Arthur Bentley, Edward Ross, Learned Hand and many others. But I cannot say this nice thing. Menand’s valuable information about the circumstances surrounding the emergence of ideas will badly mislead unless one already knows quite a bit about the ideas themselves. It is not safe to assume that even many learned, educated, or inquiring people possess this knowledge and discipline.

Right on, Mr. Wilshire. (Sorry, the article is not publicly available, but it’s in the subscriber archive of the TLS.) More recently, Stephen Greenblatt picked a fight with Alastair Fowler, who had slammed Will in the World, over seventeenth century European population statistics, and Fowler came out the more knowledgeable winner.

The point is that there is often a real difference between presenting one’s experience of a work and critiquing the work itself, and often people present themselves as qualified to do both when they can actually only do the first. So I fess up: I don’t know enough about life in the Soviet Union during perestroika to claim that I truly understand Kira Muratova‘s The Asthenic Syndrome. But then, I’m not sure that Jonathan Rosenbaum does, either. He describes the first forty-five minutes of the film in detail, then throws up his hands, declaring:

Doubtless there are other details referring specifically to aspects of everyday postcommunist Russian life that are too local to register with much clarity to outsiders like me. Truthfully, I found the movie a lot easier to follow when I saw it a second time and knew not to look for too much plot continuity, though I can’t claim there weren’t parts that still baffled me. The movie’s a treasure chest, and if we get to see it more, more will surely become clear.

Nevertheless, the fundamental aspects of The Asthenic Syndrome come across loud and clear–and you certainly don’t have to be Russian or postcommunist to recognize them as central philosophical as well as behavioral strains in our public life.

(Now I don’t have to feel so bad about discussing the film.) I disagree with Rosenbaum; the movie has a very specific context and makes allusions within it, and speaking to some Russian friends after the movie, it was clear that they were both essential to the film and presented only by allusion. The film is bereft of political (or even markedly cultural) references, yet unlike Alexander Kluge’s The Blind Director or the work of Bela Tarr, which also deal in elusive allegories, Muratova’s film exists within a very definite time and space, that of Gorbachev-era perestroika in the Soviet Union.

If you don’t know that perestroika is seen as the source of millions of deaths stemming from deregulation, corruption, and crime, the melancholy and despair that fill The Asthentic Syndrome seem disconnected from a particular cause: what is Muratova critiquing, exactly? Rosenbaum sees it as a general critique of politics and systems, but that is to deny its overwhelming sense of specificity. Muratova made a film for Soviets, and to reduce it to a series of abstract statements, as Rosenbaum does, sells it severely short. Without the context, the film is simply an ugly, abstract meditation on nothing in particular, one that can be used in assorted political contexts, but which lacks much innate value. Knowing the context reveals the emotion behind the puzzling surface.

The film proceeds for its first segment as Rosenbaum describes: a washed-out, black and white portrait of a woman, Natasha, grieving after her husband has died. But the actress playing Natasha is so hysterically over-the-top, and so unrealistic and disconnected in her mood swings as to be off-putting. So it comes as a relief forty-five minutes in when, with absolutely no prior indication, the camera pulls back to reveal that the film so far has been a film within a film. Everything is now in color, and an audience is bored with this art-house movie, not bothering to question the actress who played Natasha, who is the special guest. Eventually only one man is left in the theater, our hero Nikolai, who has fallen asleep.

Nikolai, it turns out, has some kind of (highly symbolic) narcolepsy, and spends much of the film asleep. He teaches, but rarely displays any emotion beyond resignation and exhaustion. He is clearly the opposite of Natasha, almost comically so. He wanders in a world filled with unpleasant people throwing decadent parties where the party game of the hour is to pose two nude people to make a scene depicting “love.” Nikolai repositions himself and a woman to, pace Kafka, appear to be lying next to each other in a coffin.

So it proceeds. The visuals are mostly drab and underplayed, and the extras in particular make a point of not intruding with much visible emotion. This is, evidently, a portrait of society in despair, a society which has lost a principle of order, albeit a cruel, totalitarian one, and is lost. Historically speaking, given the popularity of Putin’s return-to-authoritarianism regime, Muratova’s vision seems quite prescient.

Yet the relation of the two parts puzzles me. The film-within-a-film, never named, is so artificial as to even be considered a “bad film,” and thus something being rejected; certainly it seems to have no resonance for any of the “real” characters. But the balance of the opposites–lack of affect vs. hysteria–makes it out to be something more complicated. My tentative conclusion is that the film-within-the-film is intentionally designed to have an alienating effect, to be so extreme as to push the audience into the corner of the narcoleptic who is the film’s true protagonist. The old violent extremes, Muratova seems to say, have vanished and are no longer relevant, but that means that there is no revenge to be had, no purgation of anger for the descendents of the victims of Stalin. Rather, the rug has just been pulled out from under them, and they are left in an unregulated void.

I was intrigued by The Asthenic Syndrome, but often confused, sometimes bored, and rarely moved. (An anomalous, memorable sequence of a unlikable old matron ineptly playing the trumpet is a notable exception.) But this film was not made for me. It is a portrait of a unique situation that I never experienced, and it does not go out of its way to generalize or polemicize, though it has its strong opinions. It is of its time in a way that Tarr’s The Werckmeister Harmonies is not, yet that gives it a strength that allows it to easily best Angelopoulos’s tepid, feeble Ulysses’ Gaze, which is more concerned with making a pompous statement than capturing life.

Correspondence vs. Metaphysics

I.

Brian Weatherson at Crooked Timber has a dissection of the latest latest battle between Rorty and the analytics. I’m neither schooled in nor particularly concerned with the vagueness part of things, but I do feel strongly about the Kripke-derived school of essentialism and metaphysics, and Rorty’s original review uses vagueness as more of a arbitrarily chosen example than as a special case. I’m not certain why Rorty chose it, since the study of what is and is not a “heap” isn’t as bewildering to common sense as certain other thought experiments, such as this one:

Consider the following version of the PMC taken from the writings of the Stoic Chrysippus. A man named Dion undergoes the amputation of his left-foot. Assuming that he is identical to his body, we may then ask: what is the relationship between Dion, the amputee, whom we shall call &#x93Leon,&#x94 and &#x93Theon,&#x94 the erstwhile aggregate of all of Dion&#x92s body parts minus his left foot? Shall we say that it is Dion who is (has become) the amputee Leon, Theon having perished? Or is it Theon to whom Leon is identical, Dion having perished? A third option is that both survive the operation as the amputee. I believe that the third answer is the correct one.

Regardless of the greater implications that such study has on realism and philosophy of language, Brian points out that many of his colleagues have no interest in the larger issue. It seems undeniable to me that the issue is one of territory.

Some of the correspondents mention that Kripkean essentialism is a way to recover ground lost when Wittgenstein and then Quine attacked language correspondence, empiricism, and the analytic/synthetic distinction. This also seems undeniable in effect if not in intent. David Armstrong once said that he thought that in comparing early Wittgenstein and Bertrand Russell (he had no interest in later Wittgenstein), he thought that Wittgenstein had gone in the wrong direction in emphasizing correspondence; Russell was the one who had it right metaphysically. My own biases prevent me from understanding this position; I stand by Wittgenstein’s critique of Russell’s weak correspondence theory. But it’s clear that Armstrong, and most likely many others, are concerned enough with what happens past correspondence that the issue itself is not especially important to them. Or, as Soames says of vagueness (among other things) in his response:

This enterprise is one of several in which analytic philosophers are forging ahead by replacing Rorty&#x92s metaphorical question — Are the sentences we use to describe the world maps of an independent reality?
— with more specific, nonmetaphorical questions on which real
progress can be made.

II.

But what is the definition of “real progress”? There’s no question that metaphysics has once again blossomed since Kripke, but aside from outliers like Davidson and Cavell, modern analytic work has had very little disciplinary overlap with other fields. As far as I can tell it has no interaction with its continental bete noir, nor much with literature these days.

One large area of overlap, however, is in the philosophy of mind, as neuroscientists, cognitive scientists, computer scientists in artificial intelligence, and philosophers engage in long turf wars that often appear as though they’re talking past each other. Baumgartner and Payr’s Speaking Minds incisively portrays the dialogue of the deaf by giving each person their own chapter and letting the differences emerge. I disagree with the review at the above link when Cooper says:

Is it really necessary, for example, to include each interviewee’s description of the Turing test? Surely a singly quote from the original source (which is in any case included in a very useful glossary) would be sufficient.

I would argue that indeed it is, since the definitions vary! Daniel Dennett, Hilary Putnam, Joseph Weizenbaum, George Lakoff, Hubert Dreyfus, and John Searle all proceed from such wildly varying starting points that they hear the questions about building/simulating minds differently and respond in kind. The computer scientists and the neurologists have lower-level problems to solve and don’t want to be bothered with the hard stuff. Putnam and Dreyfus have bigger epistemological problems to solve before this piddling stuff. Dennett wants to define most of these problems of mind out of existence. Even where there appears to be overlap, then, it is commonly incidental.

Yet there has been real overlap between philosophy and cognitive science in ontology. Metaphysical ontological work has been very significant in the development of knowledge representation structures used in, for example, the CYC project, which has been building a large, general purpose repository of object relations and the like for over a decade. Brilliant people like John F. Sowa have worked tirelessly on such projects of ontological knowledge representation, and still I admit I’m skeptical that such rigorous semantics will yield as good results even as search engines do today. See Peter Norvig’s speech on this topic.

III.

Yet clearly the ontologies have produced research with practical application; yet Sowa and others seem to owe more to Russell and Peirce than they do to the current batch of researchers. This is not to say that vagueness could not be used in knowledge representation ontologies; I’m saying that much of the progress being made no longer appears to link back clearly to “specific, nonmetaphorical applications”–rather, certain particular philosophical questions (free will, the mind-body problem, identity over time, “grue”-ness) appear to be spawning out further work at a rate that does not seem to allow for the cohesion that Soames believes there to be. That these questions seem to be based on a set of shared assumptions quite particular to their field gives me reason to pause.

There is always, however, room for epistemology; it undercuts other fields in a way that metaphysics can’t. This won’t make a case for people studying it, but the realms that were explored by Peirce and Russell seem to have been picked up as much by Godel (in the area of math and logic) as any modern analytic. But the epistemological questions have remained squarely untouched.

Personal, if I didn’t believe that language-reality correspondence was inherently paradoxical, and that it was the fundamental basis for so many other areas of study–sociology, psychology, literature, law, organizational structure–I don’t know what other problem would take the place of the huge void it would leave in my head.

The Art of C.S. Peirce

This Public Address publishes a fascinating sketch by philosopher Charles Sanders Peirce. Trigonometry, algebra, statistics, drawings of faces (the one at the bottom vaguely reminds me of Charles Crumb), retraced figure-eights…the impression I get is one of a man concerned with surfaces, from handwriting to hair.

TPA’s Jeff Ward observes:

Peirce&#x92s realism attempted to embrace both the constructions of the mind and the mind&#x92s interface with reality through perception. It seems notable to me that his semiology did not spring from psychology, but rather informed it.

Which seems exactly right to me. Peirce was far too exacting to allow generalizations about the disposition of the mind to influence a study of what was right out in the open.

Richard Rorty: You were asking me what the definition of irony was…

onegoodmove gives us a dose of Richard Rorty (thanks to wood s lot once more):

[In my utopia:] High culture will no longer be thought of as the place where the aim of the society as a whole is debated and decided, and where it is a matter of social concern which sort of intellectual is ruling the roost. Nor will there be much concern about the gap that yawns between popular culture, the culture of people who have never felt the need for redemption, and the high culture of the intellectuals: the people who are always wanting to be something more or different than they presently are. In utopia, the religious or philosophical need to live up to the non-human, and the need of the literary intellectuals to explore the present limits of the human imagination will be viewed as matters of taste. They will be viewed by non-intellectuals in the same relaxed, tolerant and uncomprehending way that we presently regard our neighbor’s obsession with birdwatching, or macrame, or collecting hubcaps, or discovering the secrets of the Great Pyramid.

My response is the following series of topics for entries/essays that I will never get around to writing:

(1) Rorty embraces a populism that would render him (but also all his fellow academics) fully irrelevant, the same populism that Dwight Macdonald repellently but honestly scoffed at half a century ago in “Masscult and Midcult.”

(2) Rorty by his own admission takes John Dewey as a model. But is his worship of Dewey based on what Dewey thought or what he was: influential. Ideologically, Rorty should be aligned with the less sophisticated, inchoate thinker Randolph Bourne, who in all his pacifist dogmatism looks better in retrospect on World War I than Dewey. Bourne said:

Professor Dewey has become impatient at the merely good and merely conscientious objectors to war who do not attach their conscience and intelligence to forces moving in another direction. But in wartime there are literally no valid forces moving in another direction. War determines its own end,–victory, and government crushes out automatically all forces that deflect, or threaten to deflect, energy from the path of organization to that end…A good many people still seem to believe in a peculiar kind of democratic and antiseptic war. The pacifists opposed the war because they knew this was an illusion.

Bourne, “A War Diary”

(3) A few years back, Rorty wrote Achieving Our Country, a hundred-page book conspicuously architected for mass consumption. George Will insulted it in Time. The Wall Street Journal liked it for its trashing of dissociative leftist academia. The book flopped.

(4) Rorty presents himself as the mediator between disparate schools of philosophy, but he has avoided steps towards organizing a consensus to the point of being ostracized.

(5) Rorty’s epistemology is a rather non-pragmatic, pluralistic approach to coexistence of contradictory mindsets. Far from Dewey and farther from Peirce, it bears some resemblance to the ethical studies of Alastair MacIntyre, which are tied up in the establishment of a pluralistic set of good lifestyles that eliminate the need for ethical rules. In Rorty’s version as well as MacIntyre’s, the pluralism is a Burkean conservative notion, because it prescribes behavior rather than ethics.

(6) His eliminative materialistic mind/body stance is similar to those of Paul Feyerabend and Daniel Dennett, even though he has nearly nothing else in common with them. He shares their strategy of wanting to end up in a certain place and moving the logical leaps around to make it appear as though he’s gotten there. The problem is that his examples yield idealism as easily as they do materialism.

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