Alphonso Lingis

In lieu of an abstract, here is a brief excerpt of the content:Impulsive Forces in and Against WordsAlphonso Lingis (bio)In his lecture "Nietzsche, le polythéisme et la parodie" given at the Collège de Philosophie in 1957 and published in 1963 in his Un si funeste désir, Pierre Klossowski explicated certain radical passages from Nietzsche's The Gay Science, a work he had newly translated into French (two prior translations existed). In the philosophical world of France where perception seemed to have found its definitive elucidation in the phenomenology of perception of Maurice Merleau-Ponty (1945), Nietzsche's exposition of sensory experience, as Klossowski laid it out, was so radically different from that phenomenology that it could not be assimilated. In his Nietzsche et le cercle vicieux, published in 1969, Klossowski worked on texts Nietzsche left unpublished and which date from the years of The Gay Science onward. Philosophers, Nietzsche had written, do not simply coordinate and justify the works and science of society; they break at least in part with the common language by formulating their own aggressivity, tolerance, intimidation, anxieties, need of solitude, or need to forget themselves. And Nietzsche too speaks not of what is common and communicable but of what he experienced inwardly. Now Klossowski presented Nietzsche's exposition of sensory experience as an exposition of the experience peculiar to Nietzsche, in the most troubled period of his life. This experience, moreover, Klossowski aimed to show, was wholly premonitory of Nietzsche's final state, in which he could no longer say what he was experiencing nor who he was.The environment is not simply passively impressed upon our sensory surfaces; we have to awaken, move our eyes, and focus on things and circumscribe their contours with our look, and assume a posture that enables us to advance our look. When we are born, and when we awaken each day, that is, are born again to the world, we are needy and vulnerable, to be sure; the organism is porous and needs to replenish fluids and substance lost. But our organisms are material systems that generate excess energies; it is because excess energies have to be discharged that the organism moves into the environment and depletes its substance, and needs develop. Nietzsche calls these excess energies impulses, also multiple wills to power, that is, not conscious drives to acquire power, but positive forces that expand and exist only in expansion. They seek resistances on which to discharge themselves. They push against one another and become multiple.For the phenomenology of Edmund Husserl and Maurice Merleau-Ponty, the movements of perception are intentional; they are from the first correlative with objects, or, for Merleau-Ponty, intersensory things, Gestalten agglomerated by an intrinsic intelligible essence or sensory meaning, arising against a background of potential objects or latent things. Yet every glance around us encompasses innumerable unnamed and unnameable shapes, hues, textures, slidings, illuminations. Do not in fact the excess energies of life open upon an environment of swarming sensory patterns, streamings, scintillations, and shadows which quicken life before or without acquiring meaningful identities? [End Page 60]What in classical epistemology were called sensations were the information bits these forces impressed on our sensory surfaces, resulting also in sensory affects of pleasure or pain, according to the passive conception of our sensibility. For Nietzsche the multiple impulses that confront the forces of the environment are active and not reactive; confronting what is not from the first meaningful but resists or empowers, they laugh and weep, bless and curse. And it is these multiple and conflicting impulses, not a conceptual grasp of the essences of things, that know environmental events, know the forces exerted by the multiple hues, textures, glows, savors, reflections, halos, echos, projections, and shadows scattered about us.The impulses do more than know all that; they exalt and consecrate events of the world, they put over each an azure bell of blessing, they give them a space to stand forth and to dance—"they come and offer their hands and laugh and flee—and come back."1 They give themselves form and multiple forms and dance with all things. They are Apollonian and Dionysian.What is called conscious thought is elaborated in words of the common...

The intentional analysis devised by phenomenology was first used to explain the meaningfulness of expressions; it aimed at exhibiting the original primary substrates that expressions refer to, and at exhibiting the subjective acts that make signs expressive. The explanation of predicative expressions was then extended to the antecedent layer of prepredicative, perceptual experiences, explaining these by locating, with peculiar kinds of immanent intuitions, the original sensile data which evidence the bodily presence of the real - and by reactivating the informin- formulating, interpreting and the informing-forming subjective acts that make of the sensile data, or material, perceived things. Intentional analysis explains by decomposing the derivate references back to the original references, and by leading the mind's intentions back to the givens they refer to. Can this kind of explanation be extended? The investigations of this book have taken this question in different directions. Can phenomenological explanation be extended to exhibit not only the act-character of the mind, but its substance, its affective materiality, its locomotion, its impressed haecceity, in short, its corporeality (Chapter I)? Shall not the explanation explain that if the terra firma of being, in the maximum proximity where distance no longer introduces indeterminability, is never reached, this is not because of the defects and the finitude of our mind, but because being itself is not there as the answer, positive and affirmative - being itself is in the interrogative mood (Chapter II)? If the given being itself is in the x Preface

Alphonso Lingis is an original among American philosophers. An eloquent and insightful commentator on continental philosophers, he is also a phenomenologist who has gone to live in many lands. _Dangerous Emotions_ continues the line of inquiry begun in _Abuses_, taking the reader to Easter Island, Japan, Java, and Brazil as Lingis poses a new range of questions and brings his extraordinary descriptive skills to bear on innocence and the love of crime, the relationships of beauty with lust and of joy with violence and violation. He explores the religion of animals, the force in blessings and in curses. When the sphere of work and reason breaks down, and in catastrophic events we catch sight of cosmic time, our anxiety is mixed with exhilaration and ecstasy. More than acceptance of death, can philosophy understand joy in dying? Haunting and courageous, Lingis's writing has generated intense interest and debate among gender and cultural theorists as well as philosophers, and _Dangerous Emotions_ is certain to introduce his work to an ever broader circle of readers.

When someone there is standing before us, we have been cautioned that he is not speaking with his own voice but speaking the language of his gender, his family, his class, his education, his culture, his economic and political interests, his unconscious drives, indeed his state of physical health and alertness. Are we then doing no more than interpreting what he says and does? Do we ever make contact with what he means for himself when he says "I"—with his visions, the story he tells himself of his life?

Microorganisms luxuriate in, plants push through, the humus, that is, the corpses of plants, insects, birds and mammals. Insects, fish, birds, and mammals nourish themselves with the flesh of plants on hand, and also with that of insects, fish, birds, and mammals. In the natural world, everything assimilates and is assimilated. Every animal, from amoebas to the blue whales, feels moments of fear, for they know they are vulnerable and mortal. As they eat what is at hand they sense that what will eat them is already at hand.

Foreign Bodies analyzes how our culture elaborates for us the bodies we have by natural evolution. Calling on the new means contemporary thinkers have used to understand the body, Alphonso Lingis explores forms of power, pleasure and pain, and libidinal identity. The book contrasts the findings of theory with the practice of the body as formulated in quite different kinds of language--the language of plastic art (the artwork body builders make of themselves), biography, anthropology and literature. Lingis explains how we experience our own powers of perception, our postures, attitudes, gestures and purposive action; how our susceptibility to pain and excitability by pleasure acquiesce in and resist the ways they are identified and manipulated today; how cultures code our sensuality with phallic and with fluid identities; how others dress appeals to and puts demands on us