Glen Mazis

Cyborgs are ongoing becomings of a doubly “in-between” temporality of humans and machines. Materially made from components of both sorts of beings, cyborgs gain increasing function through an interweaving in which each alters the other, from the level of “neural plasticity” to software updates to emotional breakthroughs of which both are a part. One sort of temporal in-between is of the progressive unfolding of a deepening becoming as “not-one-not-two” and the other is a “doubling back” of time into itself in which moments that were once disparate are conjoined or enjambed. Tracing the experience of Michael Chorost during a four year period of coming to terms with his cochlear implant, related in Rebuilt: How Becoming Part Computer Made Me More Human, the essay pinpoints shifts in awareness, perceptual belief, and being-with others that unfold within the in-between of person and machine.

The critique of tourism as being only a distanced, detached, and consumerist passing through of foreign landscapes and cultures isdisputed in this essay. The idea that tourism necessarily fits the paradigm of inauthenticity as the tranquilized and alienated hopping from spot to spot in prepackaged, superficial presentations is contrasted with another sense of tourism as drawing upon the potential power of the glance to disrupt the everyday, to focus on the particular, to be surprised by the new, and to bodily join up with the rhythms of place being as shifting. Authenticity is seen in both Heidegger and Merleau-Ponty to be primarily about a greater bodily awareness of surround and transformation of the self as an ongoing process of “selving” that yields a more singular sense of who one is in relationship to places and their interconnectedness. To gain a better sense of oneself in one own being or uniqueness is to gain more meaning through emplacement within the surround. The glance at a new world can open up an “interplace” which expands anddeepens the sense of who we are in the interconnection and reverberations among places.

This essay details wolves’ sense of their surround in terms of how wolves’ perceptual acuities, motor abilities, daily habits, overriding concerns, network of intimate social bonds and relationship to prey gives them a unique sense of space, time, belonging with other wolves, memorial sense, imaginative capacities, dominant emotions (of affection, play, loyalty, hunger, etc.), communicative avenues, partnership with other creatures, and key role in ecological thriving. Wolves are seen to live within a vast sense of aroundness and closeness to aspects of their surround (compared to humans), a highly charged intimacy and cooperation with other wolves, and a caring and non-aggressive attitude that goes beyond the pack, despite their loyalty and defense of territory. The cultural myths and history that absurdly demonize the wolf are explored in their self-righteous attempts to exterminate wolves, which I call “speciocide” and probe for projections of human viciousness. The supposed rapaciousness of wolves is re-examined by expanding Barry Lopez’s sense of the silent dialogue of death with other creatures to be reconsidered as a kind of respect, assertion of vitality, recognition or mortality and cooperation.

This essay discusses how our traditional ethics may harbor assumptions that place humans in a position in which overt violence towards animals is an almost inevitable outcome since their formulation involves violence towards ourselves and our animal fellows in our cutting our embodied ties with them. The essay explores Derrida’s Animal that Therefore, I Am, in its detailing of the two discourses within European intellectual history of those who felt they were “above” animals and were not addressed by them versus those who could acknowledge that animals do address us. Derrida also cites the “lyconomy” of this tradition that brandishes the image of the “wolf” within us as a streak of rapacious violence that we can only fight with violence, thus projecting onto the wolf a false identity to justify our own demons of violence. Merleau-Ponty’s notions of embodiment further this idea that we are enmeshed with animals in a basic affective, perceptual and visceral way and that to ignore this interweaving of lives is to do violence to ourselves as well as violence towards them. I then cite ethologists for evidence that wolves are one of the most social, non-violent animals on the planet and detail how two million were slaughtered in the name of eradicating an “evil” being. Such behavior on our part I call “speciocide,” as heinous as genocide. Finally, phenomenology, as one particular philosophical approach, may have a critical edge in helping us to see our animal fellows more clearly, to understand them better, and discern our truer moral obligations to them

The critique of tourism as being only a distanced, detached, and consumerist passing through of foreign landscapes and cultures isdisputed in this essay. The idea that tourism necessarily fits the paradigm of inauthenticity as the tranquilized and alienated hopping from spot to spot in prepackaged, superficial presentations is contrasted with another sense of tourism as drawing upon the potential power of the glance to disrupt the everyday, to focus on the particular, to be surprised by the new, and to bodily join up with the rhythms of place being as shifting. Authenticity is seen in both Heidegger and Merleau-Ponty to be primarily about a greater bodily awareness of surround and transformation of the self as an ongoing process of “selving” that yields a more singular sense of who one is in relationship to places and their interconnectedness. To gain a better sense of oneself in one own being or uniqueness is to gain more meaning through emplacement within the surround. The glance at a new world can open up an “interplace” which expands anddeepens the sense of who we are in the interconnection and reverberations among places.

The original Gallimard edition of Merleau-Ponty’s last-published essay, "Eye and Mind," which was printed as a slim, separate volume containing only this essay, includes a visual preface of seven artworks, chosen by Merleau-Ponty. This essay takes the key assertion of "Eye and Mind"—that rather than seeing depth as the “third dimension,” as seen traditionally, “if [depth] were a dimension, it would be the first one” (180)—and applies it to the reading of these artworks preceding the text. There is an analysis of how and why depth is the first rank in not only rethinking art, but also in rethinking Being itself. The development of the idea of depth as the going together of incompossibles in time and in space is explored by turning to Merleau-Ponty’s texts, beginning with the Phenomenology of Perception through to his last works. The last section of the essay carefully analyses six of the seven visual works of art (omitting Cézanne about whom so much has been written) to see the ways in which they instantiate this new notion of depth as the motive force of art and the heart of the flesh of the world

This wide-ranging work explores what the emotions, "if approached on their own terms," can tell us about our world and our selves. By doing so sensitively, it fills a missing space in Western philosophy, literary theory and psychology, in which the emotions are seen for the first time as the primary way of understanding experience through the depth of the sensual-perceptual, rather than as mere handmaidens to reason or biology. The work weaves together diverse philosophical and literary works, from Merleau-Ponty to Melville, Duras to James, contrasts Eastern and Western perspectives, and arrives at a new vision of reality as "becoming" and philosophy as "fragile ontology."

This essay seeks to supplement Arnie Naess’s avowed project of replacing the often cited model of “humans and environment,” which retains a dualistic and anthropocentric connotation, with the articulation of a “relational total-field image” of human being’s insertion in the planetary field of energy and becoming. In response to the interview “Here I Stand” in which Naess rejects Merleau-Ponty’s ontology, this essay details the ways in which Merleau-Ponty provides the kind of ontology that Naess requires for his deep ecology. Naess’s use of Hindu terms and metaphysics is shown to be at odds with his descriptions of human’s relations with the world. Much of the essay critiques as well Naess’s rejection of poetic language as inadequate to the philosophical task of articulating the human-world intertwining. Using Merleau-Ponty’s work, the need for the poetic as uniquely articulating “the flesh of the world” and “reversibility” is described, hopefully showing that deep ecology’s goal of making people feel their insertion in the world’s field of becoming can only occur through inaugurating poetic uses of language.

The phenomenology of home requires a differing notion of embodiment, perception, space/time, imagination, and animality. Home is in lived space, a deep psychic structure, and a dialogue with built structures and the natural world. Home requires cultivation that can increase our sense of belonging, shelter, direction and purpose. Home shows us trajectories of the back and forth dialogue with the inanimate world, deep past, ancestors, qualities of the things, animals and the natural world. Home is key to dwelling in space in a centered way and appropriating the deep past. The meaning of home can lead to social efforts at providing homes and deepening ecological and historical awareness.