It's time for the second in an ongoing series of question challenges! Please consider joining us for a midweek roundtable to share ideas.
ethics, with 392 questions, is one of our community's strongest subject areas overall, although it remains a distant second to the behemoth logic ...
I don't really have much of an agenda or anything besides just opening the floor for discussion on the weekly theme
It will probably take some time to build interest in the challenges and especially these chats -- though there has been a lot of activity around ethics, but it's kind of hard to separate the challenge out from such a popular subject
Anyway, I'll just leave the floor pretty open for the next hour or so. --But of course I would be curious if you have ideas for applied ethics questions...
So welcome to the first of hopefully a series of weekly discussions!
Well, Guattari uses the phrase somewhere, I think that's where I'd go trying to explain it point blank
> But he [Lacan] did not realize the consequences of his rupture with Freudian determinism, and didn’t appropriately situate “desiring machines” — whose theory he had iniated — within incorporeal fields of virtuality. This object-subject of desire, like strange attractors in chaos theory, serves as an anchorage point with a phase space (here, a universe of reference) without ever being identical to itself, in permanent flight on a fractal line.
> In this respect it is not only fractal geometry that must be invoked, but fractal ontology. It is the being itself which transforms, buds, and transfigures itself. The objects of art and desire are apprehended within the existential Territories which are at the same time the body proper, the self, the maternal body, lived space, refrains of the mother tongue, familiar faces, family lore, ethnicity… No existential approach has priority over another.
> Thus it’s not a question of a causal infrastructure and of a superstructure representative of the psyche, or of a world separated from sublimation. The flesh of sensation and the material of the sublime are inextricably interwoven. Relationship to the other does not proceed through identification with a preexisting icon, inherent to each individual. The image is carried by a becoming other, ramified in becoming animal, becoming plant, becoming machine and, on occasion, becoming human.
Guattari's final book is a succinct summary of his socio-philosophical outlook. It includes critical reflections on Lacanian psychoanalysis, structuralism, information theory, postmodernism, and the thought of Heidegger, Bakhtin, Barthes, and others.
Yeah, it's the last book
At least singly-authored; I wonder if What is Philosophy? was finished later
@ChrisSunami Yes, perhaps; but I think it's just an interesting "metamodel" for them; it motivates a theory of fuzzy aggregates and smooth, amorphous spaces "constituted by an accumulation of proximities"
@JosephWeissman where does the household come in for Plato? Also, you forgot the universe for a level. The soul is structured in similar way to the universe as a whole for Plato and many of the pre-Socratics.
Oikos has the same root that we get economics, etc., from; to my mind this points to the role that importance that discussion of different roles in the city plays in the Socratic dialogues (the tradesmen and politicians and artisans, etc., etc)
@JosephWeissman I was checking out your blog. Can you recommend a representative post to look at to see if it is of interest to me? I am having a hard time navigating from your front-page of just images.
Well, in the classical model, you expect to see different behaviors at different levels of scale. But in the fractal model, if it doesn't work on the person to person level, it won't work on the society to society level either
Tomorrow, the World! is a 1944 black-and-white motion picture starring Fredric March, Betty Field, and Agnes Moorehead, about a young German boy who had been active in the Hitler youth who comes to live with his uncle in the United States, who tries to teach him to reject Nazism. The film, directed by Leslie Fenton, was based on the successful 1943 Broadway play of the same name.
The title comes from Hitler's famous threat: "Today, Germany; tomorrow, the world."
== Background ==
The play Tomorrow, the World opened on Broadway in New York City, New York, USA on 14 April 1943 and closed 17 June 1944...