Jeffrey Reid

Kate Crawford presents AI as “both reflecting and producing social relations and understandings of the world”; or again, as “a form of exercising power, and a way of seeing… as a manifestation of highly organized capital backed by vast systems of extraction and logistics, with supply chains that wrap around the entire planet”. I interpret these material insights through a Marxist understanding of ideology, with reference to Marx/Engels, Guy Debord and Louis Althusser. In the German Ideology, Marx and Engels present ideology as the alienated and alienating discourse of exchange, dissimulating the material forces of production and its science. Guy Debord presents the spectacle as the further representation of capital. The spectacle is a total Weltanschauung, pure appearance, where “whatever appears is good and where what is good, appears.” Above all, the spectacle is ideology, representing “the impoverishment, enslavement and negation of real life”. Louis Althusser presents ideology as essential for the reproduction of labor-power and capital. His notion of “interpellation” explains the subjective uptake of ideology, how we respond, “yes!” to its call. The algorithms of AI are enactments of surplus value generating capital as data. The AI data-world is the spectacle, “the autonomous movement of non-life” (Debord) where the proletariat/consumer is the producer of their own ideological subjection. Is resistance possible? What form might it take? And if AI is understood as ideology, i.e. as a language that obscures the true conditions of real life, then what are those true conditions? What is “real life”?

Why does Hegel change “Dreaming Soul” to “Feeling Soul” in the 1830 edition of the Philosophy of Subjective Spirit? By tracing the content of the Dreaming Soul section, through Hegel’s 1794 manuscript on psychology, to sources such as C.P. Moritz’s Magazin zur Erfahrungsseelenkunde, the paper shows how the section embraces a late Enlightenment mission: combating supposedly supernatural expressions of spiritual enthrallment by explaining them as pathological conditions of the soul. Responding to perceived attacks on the 1827 edition of the Encyclopedia by Schleiermacher, Hegel alters the section and its heading, thereby including the pastor’s religion of feeling in the pathology of Schwärmerei.

Through reference to Karl Löwith's reading of time in Hegel as fundamentally inspired by the temporality of Aristotle, the paper shows how the absolute "now" is thoroughly informed by historical time. Hegel's preferred tense is that of the Perfekt, the present perfect, where the present "now" is always also what it has been. Hegel thus reconciles Greek and Christian forms of temporality, the distinction that Löwith reads as unreconciled and tragic in Hegel's "young" followers: Feuerbach, Stirner, Bauer, Marx and Nietzsche. Nonetheless, the Left Hegelian heritage is right in comprehending Hegelian time as fundamentally past-oriented. Their own stunted philosophical endeavors are aimed at the future.

Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, terrible in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today.

In the Philosophy of Nature, Hegel describes at length and in detail the particular workings of animal digestion and excretion, referring to the empirical research of his day (Berzelius, Spallanzani, Traviranus). By becoming engaged in the scientific disputes and insights of the time—regarding, for example, the mechanical versus chemical nature of digestion, immediate digestive assimilation and the chemical composition of feces—Hegel arrives at the novel idea that what the animal excretes as superfluous is its own particular entanglement with inorganic otherness. The animal’s subsequent feeling of triumph and satisfaction constitutes the affirmation of individual purposiveness, a form of immediate ideality that Hegel presents as animal subjectivity.

This is a version of a book chapter included in a mss on Hegel and the Absolute. It deals with metaphysical issues in Big Bang cosmology (the Big Crunch, the Big Chill, the anthropic principle, singularities...) from a Hegelian point of view. If human consciousness is an undeniable feature of the universe, then can we not say that the universe possesses or has possessed consciousness and therefore is or has been conscious? Similarly, Hegel's Absolute knows itself through the self-knowing agency of human thought. And so should we not attribute to the universe the same divine existence that Hegel's Encyclopedia evokes, in its last paragraph where he refers to Aristotle's self-contemplating, self-enjoying god?

Contemporary reluctance to consider any complicity between philosophy and religion has led to an inability to consider, in Hegel studies, how the revelatory agency of the Absolute necessarily complements the narrative of human reason. According to Hegel, reason alone can do no more than end in the endless limitations of actuality, in the infinite approximations of a moral summum bonum and in the ad infinitum strivings for concrete political freedom. Recognizing where revelatory agency occurs in Hegel’s Science allows us to recognize the Idea’s freedom in the worldly, human expressions of art, religion and philosophy, in their philosophical study within the state University. Without such recognition, both Left and Right fields of Hegel interpretation tend to evaluate the success (or failure) of his philosophy based on inflated, unrealistic expectations of what is meant by “actuality.”

Romantic psychology is first specified in counter-distinction to Enlightenment-informed faculty-psychology, whose scientific paradigm is fundamentally materialistic and mechanistic. Romantic psychology is then presented through Fr. Schlegel’s theory and practice of the literary fragment. In the fragment, we discover selfhood that is self-positing, powered by electro-chemical forces and enlivened by the stimulating Other. Romantic psychology determines the self as an ironic system, complete and yet organically open to other selves. It is phenomenological in nature and its contemporary legacy can be found in psychoanalysis and psychoanalytical hermeneutics.

In this paper, I explore the largely ignored ethical dimension in the first section of Hegel’s Phenomenology of Spirit, Sense-certainty, which tends to be understood exclusively as an epistemological critique of sense-data empiricism. I approach the ethical aspect of the chapter through Hegel’s analysis of language, there, as unable to refer to individual things. I then show that the position Hegel analyses is akin to the one presented by Thomas Hobbes in his Leviathan, as well as in his De Corpore, and which serves to ground his naturalistic ethics. The linguistic juxtaposition consequently allows me to relate the ethics of sense-certainty to Hobbes, not only to his “shallow” empiricism, as Hegel puts it, but to the ethical vision Hobbes presents in his state of nature.

Both continental and analytic traditions have tended to associate Hegel’s idealism with metaphysics and therefore as divorced from and even pernicious to reality. Hence, contemporary Hegel studies have tended to concentrate on discrete elements of his philosophy while attempting to avoid its metaphysical dimensions and their systematic pretensions. I seek to show that rather than dwelling in abstraction, Hegel’s metaphysics, as presented in his Logics, recount the thought determinations through which being comes to be grounded and thus, scientifically knowable as nature. Such categorical determining is essentially linguistic, taking place through the grammatical forms of judgment (Urteil) and their outcome in the syllogism. The centrality of these grammatical forms reveals the anthropological goal of Hegel’s metaphysics, where the fully determined copula of judgment presents itself as the object of natural science, for us.

This paper deals with the problematic relationship between thought and nature in Hegel. This entails looking at the philosophy of nature and discovering to what extent it claims to incorporate natural otherness or contingency and how it does so. I briefly summarize other approaches to this question (Maker, Winfield, Braun, Wandschneider, Hoffheimer...) while putting forward my own solution. This is expressed in an argument articulated around the three Hegelian images (and their texts) in the paper’s title. We discover how the relation between philosophy and nature is a dynamic one, mediated by the actual content of the positive natural sciences. In other words, thought and nature are mediated by the human activity of scientific knowing, within the systematic project of knowing all of nature. This raises the possibility of conceiving Hegel’s system as open to the future.

The creation of the University of Berlin in 1810 was the result of interaction between the state and philosophy, two human expressions whose relationship, at least since Socrates' death and Aristotle's exile, has tended to be problematical. That university, which became an important model for North American institutions of higher learning, was from the outset a state university; it was designed and run by the state, as opposed to what was previously the rule: institutions dependent on the Church or princes. The bind, of course, is that this idea of a modern university, defined by its independence with regard to ecclesiastical and private interests, must henceforth depend on the state to guarantee its independence. This dilemma is already apparent in the philosophical ideas at work in the University of Berlin's early evolution.

The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality and its failure to present the Absolute in a singular, naturally infected, lively, human (made) form. The ending of art brings about a new form of the sacred: the representational language of revelatory religion. The ongoing production of modern artistic forms is a feature of actuality ("Wirklichkeit") and as such is condemned to an infinite approximation of what has been. Such actuality nonetheless "ends" in the ironic discourse of contemporary artistic expression, which Hegel qualifies as a "Vereitelung". The final realization of the beautiful art form, as a human-informed singularity embodying absolute content, may well be the Encyclopedia of Philosophical Sciences, whose performative iteration takes place in the form of "worship" practiced in the modern, state university.

Hegel uses the term Einsicht (‘insight’) throughout several key subsections of Chapter Six of the Phenomenology of Spirit (notably in ‘Faith and Pure Insight’ and ‘The Struggle of the Enlightenment with Superstition’). Nowhere else in his work does the term enjoy such a sustained treatment. Commentators generally accept Hegel’s use of the term in the Phenomenology as simply referring to the type of counter-religious reasoning found in the French Enlightenment. I show how Hegel derives the term, through the lens of Kant’s essay, ‘What Does It Mean to Orient Oneself in Thinking?’ from the Pantheismusstreit, the philosophical debate between Mendelssohn and Jacobi about knowledge of God. The Aufklärung provenance of Einsicht shows how a deep complicity between faith and reason, in the form of immediate knowing, leads beyond the Terror to a happier outcome in the Morality section. Finally, passing reference to Einsicht in the Vorbegriff of the Encyclopaedia Logic confirms its role in the ethical and political vocation of Hegel’s Science.

Mettre en rapport des textes de Hegel sur l’amour érotique avec quelques passages du penseur romantique Friedrich Schlegel permet de mettre en relief la méfiance hégélienne à l’égard du désir sexuel. Selon l’échelle hiérarchique de désirs chez Hegel, le désir érotique fait preuve d’un déséquilibre entre le sujet désirant et l’objet désiré, ce qui est typique d’un rapport purement naturel et non spirituel. C’est dire que la connaissance charnelle, avec son objet dénué de Soi propre, représente pour Hegel une forme inférieure de savoir. L’inégalité sujet-objet propre à l’amour érotique n’est dépassée que par la participation à la substance éthique, ce qui exige la reconnaissance réciproque de consciences de soi égales. Dans ce contexte, il s’agit du mariage. Juxtaposing some of Hegel’s texts on erotic love with certain passages from the romantic thinker Friedrich Schlegel throws light on Hegel’s problematic relationship with sexual desire. According to his hierarchy of types of desire, erotic desire betrays an imbalance between the desiring subject and the object of desire, typical of a purely natural, non-spiritual relation. This means that carnal knowledge, with its self-less object, represents an inferior form of knowing. The inequality between subject and object, inherent in erotic love, is only surpassed through participation in the ethical substance, requiring the reciprocal recognition of equal self-consciousnesses. In the present context, this means marriage.

This paper examines the Hegelian moment of the for-another in its negative relation to the other moment of particularity: the for-itself. I identify the dissolving, fluidifying action of the for-another by examining figures within the Philosophy of Nature, particularly comets and moons, but also Hegel’s physics of light and sound. The dissolution of the lunar for-itself at the hands of the cometary for-another illustrates how the dynamic relation between the two moments of particularity participates in the presentation of essence, within the Hegelian syllogism, i.e. as mediating between the universal and the singular. The dynamic action of cometary negativity occurs throughout the Philosophy of Nature and therefore should be pivotal to how the work is read.

Reading the Phenomenology onto-grammatically means interpreting its constitutive forms of consciousness as grammatical iterations of the speculative proposition, where the subject-object relations can be read as dialogical encounters between subject and predicate, where the predicate “talks back”, creating a discursive space of hermeneutical ambiguity and openness, at play in the copula. The article begins with a brief presentation of Hegel’s general theory of language, as it pertains to the distinction between the linguistic sign (Zeichen) and the word (Wort), drawn from his later writings, before applying these grammatical terms to the ontological reading of the speculative sentence, as presented in the Preface to the Phenomenology and discussed by Jere Surber. Then, the article puts its dialogical insights into practice, examining how the onto-grammatical reading of the speculative sentence plays out in the Phenomenology’s famous "lordship and bondage" (aka "master/slave") dialectic.

Friedrich Schlegel's theory of irony is examined with reference to his theory of the literary fragment. Both are informed not only by Fichte's I = I but by Ritter's theory of galvanism as well as by John Brown's theory of medicine. In Ritter, electrical energy is created through the compression of opposite chemical elements in a closed (fragmentary) space. Brown's theory of excitability presents the compressive "other" as actually soliciting the energetic sparks that Schlegel associates with Witz. The literary fragment is an electrically charged engine for the ironic production of further fragments.

I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA), contra Gethmann-Siebert. In doing so, I also defend Hegel against the common conceit that his comprehension of music was somehow deficient. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation between selfhood’s presiding unity and its temporal ideality or self-positing. Further elements of musical architecture, e.g., rhythm, harmony and melody can likewise be traced back to temporal oscillation. Indeterminate meaning arises through beautiful music’s absolute Ur-Ton, which resonates into the soul of the listener. The temporal vanishing of musical tones is a pre-linguistic expression of meaningfulness itself, and its ambiguous oscillation between the human and the divine.

Hegel reads the poet Novalis as an expression of terminal irony, a pathological case of Gemüt, where the conscious mind is alienated from reality and turns its negativity inwards on the contents of its own natural soul. The condition of self-feeling, presented in Hegel’s “Anthropology”, is a self-consumption that manifests itself somatically in the physical disease (consumption) from which Novalis dies. The poet’s literary production represents a pathological fixation that impedes the dynamic organicity of Hegelian Science. As such, Novalis’s mental illness and death constitute an expression of romantic irony and an ongoing threat to Hegel’s philosophy.

The organic trope is a popular way of accepting the systematicity of Hegelian science. It allows for diversity and difference within the living whole, where each organ contributes to the life of the holistic "one", which, in turn, ensures the vitality of each organ. For example, in the Philosophy of Right, the organic state maintains itself in relation to the various institutions and corporations that constitute its organs. However, one element of the organic trope remains largely ignored: excretion. Briefly, if we take Hegel's system as organic, then what does it excrete? What constitutes its excrement? This book chapter examines Hegel's philosophical, syllogistic interpretation of animal digestion and excretion in the Philosophy of Nature and then attempts to apply it to the organic system of science, as an individual, purposive life form whose subjectivity arises through the excretion of what is deemed superfluous.

ABSTRACT: Within Hegel’s system of science, judgement (Urteil) is thought’s original dividing from identity into difference. In the same context, judgement is also an act of predication where “subject” must be understood in both a grammatical and psychical sense. Thus, judgement expresses a language act that is a self-positing into the difference of being. This article looks at two examples where Hegel’s ontological notion of judgement obtains, then finds, the roots of this notion in Hölderlin and Fichte.RÉSUMÉ: Dans le système scientifique hégélien, le jugement (Urteil) se présente comme une division originelle de l’esprit allant de l’identité à la différence. Dans le même contexte, le jugement est également un acte de prédication où «sujet» doit être compris dans un sens aussi bien grammatical que psychique. Ainsi, le jugement exprime un acte langagier qui consiste en une autoposition dans la différence de l’être. Cet article examine deux exemples où se trouve réalisée la notion ontologique du jugement hégélien, et ensuite retrace les racines de cette notion chez Hölderlin et Fichte.