Fragment: Academic Charisma

“The traditional exam had been heroic oral theater, analogized by jurists to the three trials of a crowned athlete in Roman law. That heroic theater, colored by metaphors of blood and ordeal, seems to have hurt few. The modern exam has become a mundane, meritocratic exam associated with sweat and labor, but it can make one nearly ‘sick to death.’ In extreme forms, such as at Victorian Cambridge, such exams can recur to motifs of heroism. But the first generations that endured the Prussian Abitur and the modern Oxbridge exams described the process as torture. As survivors and administrators of such exams, we should not discount the reality of mental torture in modern practices. Torture acts to break spirits and wills. Following chapters investigate more closely the rehabilitation of some of the tortured.”

Clark, William. 2006. Academic Charisma and the Origins of the Research University. Chicago: University of Chicago Press. 139-40.

Fragment: Guard Your Daughters!

“It gives me great pain to tell you I believe he is a thoroughly unreliable witness. (laughter). I do not for one moment dispute his honesty of intention, but I say he is not fit to give evidence on this occasion. A question of evidence requires examination. A man should be thoroughly unprejudiced. I am afraid my friend does not come up to that standard. (laughter) Some years ago I was a witness of some of these performances. I knew one of the media, and it so happens everyone of these persons referred to have been females. (Laughter.) I say that these young girls—Professor Barrett’s young girls—my friend’s young girls—and these other young girls-I say they are not proper persons on whom to base great superstructures such as these. (Laughter and hisses.) May I mention another thing? Did anyone ever investigate hysteria- I speak to fathers and mother’s brothers and sisters. (Laughter.) I may say, as another fact, I am the parent of fourteen children—(roars of laughter)—and I say it is a most dangerous thing to bring these mesmeric experiences into a region like that, and I had to guard with great jealousy and great care my own daughters, or they would have been media.”

Rev. Dr. McIlwaine, at a meeting of the British Association for the Advancement of science, 1876.

Fragment: The Philology of the Future

I have never been convinced that Nietzsche heralded, as Heidegger claimed, “the death of metaphysics”, but instead thought that he demonstrated, indeed, its very inevitability. Yet a student today could be excused for thinking that that word “metaphysics” was some kind of vile academic invective.  In Porter I recently found a reassurance that I am not alone in this suspicion:

Nietzsche cannot be assumed to have passed from a philosophical naivete (as if in a “precritical” period) to some emancipated, free-spirited thinking that definitively outgrew the theoretical problems (and not just the philological materials) that he had encountered early on. I doubt that Nietzsche believed in grand emancipatory possibilities at any point in his career. His readings of the Presocratics (Heraclitus, Parmenides, or Democritus) put this beyond doubt for the early period: what these reflections show is something about the inescapably, not just of the category of the subject, but of its idealism– which is always bound up, for Nietzsche, with the subject’s infinite capacity for delusion. What we learn is that Nietzsche’s inquiries into ancient philosophy do not reveal a premetaphysical thinking that points to a region beyond metaphysics, as is frequently held. On the contrary, Nietzsche’s early writings reveal the inescapability of metaphysical thinking. […] But as Nietzsche says quite plainly in both phases, early and late, ‘It is absolutely impossible for the subject to want [and hence, to be able] to see and known something beyond itself: knowledge and being are the most contradictory spheres there are.’ The ‘subjective concept’ is ‘eternal’: we can never accede to a region ‘beyond the wall of relations’ by which we are conditioned, for beyond these lies merely ‘a mythical primordial ground of things'”.

Porter, James. 2002. Nietzsche and the Philology of the Future. Stanford: Standford University Press, 21.

Fragment: “Psychic Television”

Some time ago I attended a conference at the University of Michigan where Dr. Andriopoulos gave a Skype-mediated keynote lecture in the aftermath of hurricane Sandy. During the talk he mentioned his work on the technology of television and remote viewing. I looked into his article on Psychic Television and found this interesting passage:

“The coincidence of texts from 1929 describing occult “domestic phenomena” and the magical properties of the new technology in one’s own home can be related to a more fundamental interrelation of television and clairvoyance. Walter Benjamin understood spiritualism and occultism to be the “backside” (Kehrseite) of “technological development.” In contrast, I would like to establish spiritualist research into the psychic television of somnambulist mediums as a necessary but not sufficient condition for the invention and implementation of the technological medium. Spanning a period from the late nineteenth century into the first decades of the twentieth century, television’s gradual emergence in no sense relied exclusively on “factors immanent to the technology,” as suggested by Joseph Hoppe and others. The slow accumulation of technical and physical knowledge, beginning around 1890, accelerating in the 1920s, and enabling the first wireless transmissions of moving pictures in the last years of that decade did not take place in a vacuum that could be separated from its contingent cultural contexts. Instead, occultist studies on psychic “clairvoyance” (Hellsehen) and “television” (Fernsehen), carried out in the same period by spiritualists who emulated the rules and procedures of science, played a constitutive role for the technological inventions and developments of electrical television.”

Andriopoulos, Stefan. 2005. “Psychic Television”. Critical Inquiry, Vol. 31, No. 3 (Spring ), p. 618-637.

Fragment: Harmonious Triads

“Debates concerning Paganini’s controversial virtuosity raged throughout European bourgeois and aristocratic circles. He himself reportedly started the legend that he had obtained his unparallelled skill from the Devil, continuing a centuries-old trope of violinists’ deals with Satan. His fourth string, which was rumored to be composed of the intestine of his mistress whom he purportedly murdered, elicited wondrous melodic tones. The rumors continued. He supposedly spent twenty years in prison for his murderous deed, accompanied only by his violin. During this time in solitary confinement, he was able to ferret out the secrets of his instrument, inventing a new fingering technique. As fantastic as these tales are, they seem to pale in insignificance to his very real performances. Whenever he broke a string from his passionate and forceful playing, he compensated without missing a beat, by continuing the piece with only three strings. Should another break, he could play with two. Indeed, his coup de grace was his uncanny ability to play an entire piece on only one string.”

Jackson, Myles. (2006) Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany. Cambridge: The MIT Press. 253.

Nietzsche’s Mustache

Nietzsche's Mustache

“Knowing one’s ‘particularity.’ — We too easily forget that in the eyes of strangers who are seeing us for the first time, we are something completely different from what we consider ourselves to be: usually nothing more than an eye-catching particular determines the impression. Accordingly, the most gentle and fair-minded person on earth can, if he merely happens to have a large mustache, sit, as it were, in its shade, and sit calmly – ordinary eyes will see in him the accessory to a large mustache, in other words, a militaristic, quick-tempered, under certain circumstances violent character — and they act toward him accordingly.” ~ Nietzsche, Friedrich. 2011. Dawn. Trans. Brittain Smith. Stanford: Stanford University Press, 210.

Beyond Borderlands: An Announcment

Beyond Borderlands

I am pleased to be able to announce the launch of the Facebook page for an upcoming journal, “Beyond Borderlands: A Critical Journal of the Weird, Paranormal and Occult”. I’ll be editing it along with a talented group of individuals and we hope to be open to submissions around April.

The link to the page is here:

Q is for Question: An ABC of Philosophy


Having found myself at that tenuous stage of life where friends of mine are having children with increasing frequency, my avuncular tendencies have responded by going into overdrive. The most pronounced symptom of this is the compulsion I now feel to get strange and, hopefully, insightful presents. First on my list is Q is for Question: An ABC of Philosophy by the British Colombian teacher Tiffany Poirier.

Well, that’s not entirely true. First, I usually give them a plush Cthulhu while singing: “Squamous horror from beyond the stars / I wonder what you are / you’ve come so far / to melt my mind and eat me”, because its never too early to start trying to reconcile your little ones to the vast indifference and terror of the cosmos. Then, if their parents ever allow me near their children again, I give them this book.

Addressing such concepts as causality, infinity, mind/body duality and solipsism in simple rhymes, some will no doubt be tempted to see in Q is For Question something like “baby’s first existential crisis”. I know I particularly liked the letter “Y” for You:

You: As you grow from day to day, / what parts of you will always stay? / Of what stuff do you consist? / And of this stuff / what will persist?

Yet in the back of the book, and on the companion website Poirier encourages parents to talk to their children about difficult concepts, to make games of them, and listen to what they have to say. It is, after all, an important part of preparing them for life, existential crises and all. While I’m not a parent, I believe this to be an incredibly powerful sentiment, and one worth encouraging.

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The Fearful Figures of Carlos Schwabe

Le Faune, 1923.

The German symbolist painter Carlos Schwabe (1866–1926) spent most of his professional life in Paris. He composed illustrations for the works of authors Émile Zola and Charles Baudelaire and had notable Rosicrucian sympathies. Taking up such symbolist motifs as death, beauty, mythology and the monstrous, he apparently modeled the angel in his “The Death of the Grave-Digger” after his own wife.

La Vague, 1907.

File:Mort du fossoyeur.jpg

La mort du fossoyeur, The Death of the Grave-Digger, 1895.

La Douleur, The Pain, 1893.

From Baudelaire’s “Les Fleurs du Mal”.

Poster of the First Rosicrucian Exposition by Carlos Schwabe

Medusa by Carlos Schwabe

Medusa, 1895.

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