Andrew Milward

In the life and work of Marcel Duchamp, there is the combination of the visual and the ideational in works such as The Large Glass, the combination of art and chess within his productive activity, the combination of this productive activity and the ways he made money to live, and the combination of the artwork and the viewer in art’s ongoing developmental movements. These combinations provide a content that can be used to create an understanding of the operation of combination itself. This combination can then be conceptualised through a demarcation of its general features: the layered structural basis of how multiple combinations constitute a combinational whole, and the way in which the purpose of combination becomes the driver of its developmental movements. Another purpose could be to open other terrains of thought for the development of philosophy, allowing a renewed source of momentum through a combinational method.

This essay develops a conceptual structure which is primarily delineated by the extremes of pure opposition and pure non-opposition. The former involves pure denial, destruction, and rejection, while the latter involves pure ignorance, indifference, and affirmation. Both of these extremes can, however, be mitigated by another conceptual element: an ethical demand whose form varies according to the field in which opposition takes place. The essay shows how these extremes along with the mitigating ethical demand can be seen to operate within the four fields of politics, art, philosophy, and the self. On the basis of this, two forms of unity are then described which traverse these fields: the dimension of developmental movement and the dimension of ethics. Finally, the essay outlines a pragmatic of opposition, which concerns the ways that opposition's conceptual structure can be used to bring opposition out of its silence and into speech within the actual circumstances that it occurs.

The Absent World is an essay about the operation of language and thought concerning the gap between sense and referent. Due to variations in the structure of this gap, when we speak or think about the absent world, without the present object to supplement our meaning, unique psychological and ethical dimensions arise as we try to understand a world that surpasses us. As opposed to phenomenology, where the concept of absence structures our understanding of the absent world, this work will posit the actuality of the absent as the basis of another relationship between ourselves and a world that is unseen. This thought of actuality will be developed through an exploration of empathy and a particular thought of death. Then it will be shown how it provides an aspect of a re-imagined concept of depth which, as it refers to a world that overflows any generality, will manipulate the gap between sense and referent in such a way that the usually silent operations of generalisation become not only manifest but pushed towards new extremes. This conceptual movement will be shown to be operative in our understanding of the absent, altering the way a subject’s world can be transformed by its interaction with the unknowns that surpass it.