Babette Babich

Nietzsche and Heidegger pose important philosophical questions to science and its technological projects. The resultant contributes to what may be called a continental philosophy of science and the author argues that only such a rigorously critical approach to the question of science permits a genuinely philosophical reflection on science. More than a thoughtful reflection on science, however, the heart of philosophy is also at stake in such reflections. The author defends that if Nietzsche proposes the resources of art to defend us against truth and the deadly insights of tragic knowledge, then Nietzsche's more arresting claim is his equation of science and art, just as Heidegger aligns techne and poiesis. For Nietzsche, science and art draw upon the same creative powers and both science and art are directed to the purpose of life. /// O ponto de partida deste artigo é o reconhecimento de que Friedrich Nietzsche e Martin Heidegger são dois filósofos que colocam questões profundamente relevantes acerca da Ciência e dos seus projectos tecnológicos. Neste sentido, o plano da autora consiste em demonstrar a viabilidade e a importância do modo não-analítico, ou continental, de fazer Filosofia da Ciência, argumentando que uma reflexão genuinamente filosófica acerca da Ciência não se pode dispensar de um confronto com o modo crítico de fazer filosofia representado tanto por Nietzsche como por Heidegger. Para a autora, os pensamentos críticos destes pensadores acerca da Ciência são bem mais do que uma mera reflexão filosófica acerca da Ciência; na verdade, o que aqui está em causa é propriamente saber de que se trata quando a questão é a da própria Filosofia. Assim, e na medida em que Nietzsche propõe os recursos da arte para nos defender contra as invectivas da verdade e as intuições fatais do conhecimento trágico, a autora do artigo defende que o mais interessante na posição nietzscheana tem a ver com o seu modo de equacionar a relação entre Ciência e Arte, tal como Heidegger acabará por alinhar techne e poiesis. O fundo da questão está em que para Nietzsche tanto a Ciência como a Arte recorrem aos mesmos poderes criativos, para além de que a Ciência e a Arte estão orientadas para a defesa do mesmo propósito: a Vida.

The question of Heidegger’s reflections on technology is explored in terms of ‘living with’ technology and including the socio-theoretical notion of ‘entanglement’ towards a review of Heidegger’s understanding of technology and media, including the entertainment industry and modern digital life. I explore Heidegger’s reflections on Gelassenheit by way of the Japanese aesthetic conception of life and of art as wabi-sabi understood with respect to Heidegger’s Gelassenheit as the art of Verfallenheit.

This essay is dedicated to elaborating some of the stylistic elements at work in Nietzsche's polemical book, On The Genealogy of Morals with particular attention to the nature of the aphorism from its inception in ancient Greek literaure, Nietzsche's specific deployment of the aphorism as such, including Nietzsche's argument structure and rhetorical technique as well as the language of Greek and Jewish antiquity, master and slave. In: Christa Davis Acampora, ed., Nietzsche’s On the Genealogy of Morals: Critical Essays (Lanham, Md., Rowman & Littlefield, 2006), pp. 177-190.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nietzsche, Biology and MetaphorBabette E. BabichGregory Moore. Nietzsche, Biology and Metaphor. New York: Cambridge University Press, 2002. Pp. viii + 228. Cloth, $55.00.Gregory Moore's Nietzsche, Biology and Metaphor is a well-written book on a topic of growing importance in Nietzsche studies. Not only concerned with offering an interpretation of Nietzsche in terms of biology and metaphor, Moore's approach offers a literary contextualization of Darwinism in the history of ideas but also in terms of an important reflection on the idea of decadence so important to Nietzsche and so influential in theorizing public health and law in the twentieth century, most perniciously in its deadly expressions in Nazi propaganda. Moore is thus able to bridge the fields of the more specifically linguistic study of metaphor and source-scholarship. To Moore's great credit, he seeks to emphasize the extent to which Nietzsche's thought was developed in active correspondence with the scientific literature and debates of his age. But this reviewer thinks it important to warn those with classical or traditional interest in metaphor that the text presupposes that the reader (and this is also to say that Moore) knows a Nietzschean metaphor when he sees one.Moore begins with the question of Nietzsche's Darwinism, focusing on the physiology of power to explore the relations between Darwin, Spencer, Lamarck, and Rolph, but also Nietzsche's favorites, Malthus and Lange, etc. The discussion of the history of the reception of Darwin's ideas is careful and extensive and offers an insightful clarification of Darwin (necessary to distinguish Darwin from Darwinism, "social" and otherwise). Some readers will find it even more Anglophone than seems justified by Darwin's heritage, despite Moore's passing references to Cuvier and (at rather greater length) Haeckel and Roux.This reviewer notes that the latter references have been well-discussed in the German literature and to some great part Moore is fair to this tradition even if it is also true that the discussion never enters the level of the history of science as this reader, for one, might have wished. In the case of Moore's interpretation of Nietzsche's texts, the readings sometimes suggest a reprise of what has come to be the consensus (and not just among Nietzsche scholars) of views on Nietzsche's thinking. Thus where certain secondary authors are in force in Moore's well-documented account (Pick, Moles, and Ruse), others are missing. Indeed, in the case of Nietzsche and Darwinism, Frederick Gregory's Nature Lost? Natural Science and the German Theological Traditions of the Nineteenth Century (Cambridge, 1992) offers an important supplement. Another book that seems to have been overlooked is Timothy Lenoir, The Strategy of Life: Teleology and Mechanics in Nineteenth Century German Biology (Dordrecht, 1982), and those interested in von Baer and other proponents of teleology in biology will find Lenoir's broader account useful.The second half of the book addresses degeneration and like most contemporary discussions, Moore's book is charged with the political history of the last century. Moore reviews the association of decadence with jazz music and—via physiognomy as its external signifier—to the ugly, the Jew, the Black, and, of course, to women who broke with the family role. As an instantiation, Moore uncovers the nineteenth century antipathy to "allegedly aberrant behavior such as masturbation and homosexuality" in Nietzsche's "restrictive" [End Page 348] (133) view of sexuality and precocious eroticism (134) as degeneration. However, the issue of masturbation is complicated. The nineteenth-century perspective on masturbation was less a matter of prudishness than a judgment backed with considerable social and medical force, which equated the practice with sickness or criminality, the counterpart to which today would be our judgment with regard to an addiction to cocaine or heroine. This censure drove Wagner's "exposure" of Nietzsche's personal dependence on this practice. Readers interested in this question can either take themselves to the easy-to-find because eponymous chapter in Marc Wiener's Richard Wagner and the Anti-Semitic Imagination (Lincoln, 1995) or to David B. Allison's account of this as the occasion for the break between Nietzsche and Wagner in Reading...

This essay revisits Meyer Schapiro’s critique of Heidegger’s interpretation of Van Gogh’s painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger’s ‘Origin of the Work of Art’ and conclude by taking Heidegger’s discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation.

Nietzsche's discovery of the "breath" or spirit of music in the words of Greek tragedy was his testament to oral culture in antiquity and it is significant that his theoretical account of the prosody of ancient Greek endures to this day. Drawing little emaphatic resonance from his readers , Nietzsche reprised yet another tradition of poetic song composition, namely the art of the troubadours in order to rearticulate his argument in The Gay Science. I here explore the passion of the 'knightly art', of poetic song and explore in addition Nietzsche's conception of Wissenschaft . The art of poetry was less an antiquarian rhetorical concept than a practical guide for those of us who seek to be "the poets of our lives".Mit der Enteckung des Geistes oder 'Artems' der Musik in den Worten der grichischen Tragödie deutete Nietzsche die orale Kultur in der Antike auf eine neue Weise. Bisher wurden diese Entdeckung und ihre Konsequenzen für Verständnis der modernen Kultur aber kaum beachtet. Die Abhandlung untersuchtd Nietzsches Auffassung der 'gaya scienza' am Beispiel des Troubadours und der mit ihm verbundenen, jedoch verlorengegangenen mündlichen Tradition von poetischer oder liedhafter Komposition. Nietzsches Deutung der Leidenschaft der ritterlichen Gesangskunst wird en einen Zusammenhang mit seiner Auffassung von Wissenschaft gebracht, und diese wird mit der provençalischen scienza sowie der englischen und französischen science verglichten

Anders was a preeminent critic of technology and critic of the atomic bomb as he saw this hermeneutico-phenomenologically in the visceral sense of beingand time: the sheer that of its having been used as well as the bland politics of nuclear proliferation functions as programmatic aggression advanced in the name of defense and deterrence. The tactic ofsheerly technological, automatic, mechanical, aggression is carried out in good conscience. The preemptive strike is, as Baudrillard observed, the opponent’s fault: such are the wages of evil. Violence in good conscience characterizes the postwar, cold war era and the present day with its mushrooming effects ofneo-fascism under the titles of national security and anti-terrorism. Karl Krauss’ 1913 bon mot regarding psychoanalysis as the very insanity it claims to cure [Psychoanalyse ist jene Geisteskrankheit, für deren Therapie sie sich halt] has never been more apt for political translation—straight into the heart of what Lacan called the Real which has ‘always been’ the political register. Where Habermas and heirs have tended to disregard Anders , just as most philosophers of technology have ignored the political as well as theethical in their eagerness to avoid suspicion of technophobia, we continue to require both critical theory and a critical philosophy of technology, a conjunction incorporating Ander’s complicated dialectic less of art in Benjamin’s prescient but still innocent age of technological reproduction but and much rather “on the devastation of life in the age of the third industrial revolution.” Thus rather thanreading Anders’ critique of the bomb as limited to a time we call the Atomic Age—as Anders himself varied Samuel Beckett’s 1957 Endgame asEndzeit that is “Endtime,” here invoking the eschatological language of Jacob Taubes as Anders does—this essay connects his reflections on the bomb with his critique of technology and the obsolescence of humanity as of a piece with our dedication to hurling ourselves against our own mortality. This concern with the violence of technology, this hatred of the vulnerability of having been born and having been set on a path unto death inspires Anders’ engagement with the sons of Eichmann—the heirs of those who designed and executed the Nazi death camps and extermination chambers of the Holocaust—and the sons of Claude Eatherly—the heirs ofboth those who designed and those who as pilots deployed the bombings that exploded nothing the stuff of the sun itself against the Empire of the Sun in the attacks on Hiroshima and Nagasaki. We, embroiled as we are in wartime after wartime, suppressing public protest on a scale like never before, in country after country across the globe, cannot dispense with Anders today

This volume contains new and original papers on Martin Heidegger’s complex relation to Friedrich Nietzsche’s philosophy. The authors not only critically discuss the many aspects of Heidegger’s reading of Nietzsche, they also interpret Heidegger’s thought from a Nietzschean perspective. Here is presented for the first time an overview of not only Heidegger’s and Nietzsche’s philosophy but also an overview of what is alive – and dead – in their thinking. Many authors through a reading of Heidegger and Nietzsche deal with current issues such as technology, ecology, and politics. This volume is of interest for everyone interested in Heidegger’s and Nietzsche’s thought. Contributors include: Babette Babich, Charles Bambach, Robert Bernasconi, Virgilio Cesarone, Stuart Elden, Michael Eldred, Markus Enders, Charles Feitosa, Véronique Fóti, Luanne T. Frank, Jeffery Kinlaw, Theodore Kisiel, William D. Melaney, Eric Sean Nelson, Abraham Olivier, Friederike Rese, Karlheinz Ruhstorfer, Harald Seubert, Robert Sinnerbrink, Robert Switzer, Jorge Uscatescu Barrón, Nancy A. Weston, Dale Wilkerson, Angel Xolocotzi, Jens Zimmermann.