Ryan Johnson

This paper draws an antigonal line leading from Sophocles’s Antigone to the lynching of Emmett Till. Drawing this line is an attempt to celebrate and honor that spirit of defiance in the name of loving the dead and memorializing loss. In particular, it takes up that portion of the line that centers on lynching. An overarching goal is thus to argue that lynching and its afterlives deserve more philosophical attention than they have received, especially from American philosophers. It is long past time that philosophers take on lynching as a meaningful while volatile topic, especially insofar as it makes claims on the racial identities of the philosophers doing so. But rather than addressing lynching in general, this paper looks at one particular point on this line: the lynching of Emmett Till and the defiant mourning of his mother, Mamie Bradley. Doing so is meant to invite others to locate other points on this antigonal line. Upon sketching Sophocles’s play and Till’s murder, I consider some of the key features of Hegel’s influential interpretation. While philosophy has been mostly silent on lynching, Hegel’s Phenomenology provides essential, while problematic, material for initiating a philosophical approach to this neglected topic. Building on Hegel’s reading, I next consider the nature of “white law and order” and its complicity in extrajudicial murder and terror. Then I turn to Black mourning, where I explore what Fred Moten calls Mamie Bradley’s “Black Mo’nin”—her antigonal refusal of the white drive to annihilate Black life—and consider her as a practitioner of Christina Sharpe’s notion of “wake work.” I then turn to an artistic intervention in lynching photography to take up Sharpe’s challenge for how to respectfully engage lynching given different racial identities. Finally, I conclude by sketching an opening for a possible next antigonal point: the work of Ida B. Wells.

I examine the role that Descartes’ theory of optics shapes the entire Cartesian methodology. After explaining the importance of methodology in Descartes’ project, I his method in terms of the three dimensions of time. I put this method to work by describing Descartes’ search for the elusive hyperbolic lens, a lens that would offer the type of perfect vision that is necessary for the Cartesian scientific process. It will soon become clear that this lens is the mind itself. The task of this project is thus to sculpt the mind so as to achieve the highest clarity and distinctness of scientific vision. Thus, by focusing on how the eye works and how seeing can be improved, the subject and the objects it sees both radically transform in structure, content, and kind. The Cartesian corpus thus initiates a sort of specular regime that produces a new subjectivity and a new world.

In 1984, Harvard University asked Italo Calvino to deliver the next Charles Eliot Norton Lectures. After working obsessively for a year, Calvino died the day before he was to travel to Boston. Fortunately, Calvino had already written out all but one of the six planned lectures, which were framed as meditations on Lucretius. These are the titles of the five completed lectures: (1) “Lightness,” (2) “Quickness,” (3) “Exactitude,” (4) “Visibility,” (5) “Multiplicity.” The last lecture - worked out but unwritten - was entitled: (6) “Consistency.” These are the names of concepts that fill Deleuze’s oeuvre. Our essay follows the structure of Calvino’s lectures - each section corresponding to each of Calvino’s titles - in order to offer one take on minor ethics. As the title of Calvino’s lectures is Six Memos for the Next Millennium, we now begin A Memorandum for Past Millennia.

Shows how Deleuze’s engagement with Stoicism produced many of his most singular and powerful ideas Reveals a lasting influence on Gilles Deleuze by mapping his provocative reading of ancient Stoicism Unearths new possibilities for bridging contemporary philosophy and classics by engaging a vital yet recently rising area of scholarship: continental philosophy’s relationship to ancient philosophy Introduces the untranslated Stoic scholarship published by pre- and post-Deleuzian French philosophers of antiquity to the English-reading world Deleuze dramatises the story of ancient philosophy as a rivalry of four types of thinkers: the subverting pre-Socratics, the ascending Plato, the interiorising Aristotle and the perverting Stoics. Deleuze assigns the Stoics a privileged place because they introduced a new orientation for thinking and living that turns the whole story of philosophy inside out. Ryan J. Johnson reveals Deleuze’s provocative reading of ancient Stoicism produced many of his most singular and powerful ideas. For Deleuze, the Stoics were innovators of an entire system of philosophy which they structured like an egg. Johnson structures his book in this way: Part I looks at physics (the yolk), Part II is logic (the shell) and Part III covers ethics (the albumen). Including previously untranslated French Stoic scholarship, Johnson unearths new possibilities for bridging contemporary and ancient philosophy.

Kant’s Critique of Judgment is a storehouse full of provocative concepts and structures, which is why, since at least the 1970’s, many contemporary Kant scholars and philosophers of other sorts have attempted to mine and explicate this text to varying degrees of success. Among these concepts and structures, there are a few that continue to evade complete elucidation. One of the most well tread, albeit still contested, grounds that appears in the third Critique is “purposiveness without purpose.” Picking up from some recent interpretations of Kantian aesthetics, I contend that it is possible to discover at least three forms of purposiveness without purpose in aesthetic judgments. A second concept, the sensus communis, I will contend, is as important as the three sites of purposiveness without purpose. In fact, I will show how the sensus communis, in its ternary form, can be mapped onto the three sites of purposiveness without purpose; the two concepts cannot be separated. Finally, this mapping will allow for an attempt at what I could refer to as an “inconstruction” of the Deduction of Aesthetic Judgments that will engage many of the long-standing questions surrounding this text

This paper begins with a pressing question for contemporary philosophy: What does it mean to read Spinoza’s Ethics today? Before we can address this particular question, we pose another, one possibly prior, question. The question is situated within Spinozism itself. It asks, ‘What does it mean to read, for Spinoza?’ Given Spinoza’s commitment to the theory of parallelism, reading affects both the body and the mind. We first show how an explicit formulation of the three kinds of material bodies allows us to understand the process by which the meaning of a text can affect the body of the reader. We then show how the three kinds of knowledge evince the order in which textual meaning can affect the mind of the reader. We then claim that these tripartite orders map directly onto each other. After demonstrating the structural parallelism at the corporeal and cognitive levels, we return to further characterize the nature of the meaning of the meaning of a text in order to understand what it means to read, for Spinoza. We conclude with an observation about the necessary interrelatedness of metaphysics and ethics

This is a short story about vision, thought, and contradiction and the role they play in the first half of Hegel's Science of Logic. The Logic begins with a descent, in this case, the fall from Being into Nothingness. Later, at nearly the exact middle of each text, there is a certain paradox in which everything is at stake, the category of contradiction. At this exact moment, thinking both fails and is birthed anew in a speculative guise. In this section, we engage some of Analytic philosophy's influential interpretations of Hegel's strange use of contradiction. In order to get there, we turn to a curious art work, James Turrell's Pleiades, as an aesthetic example of that first fall. We will then progress through the text, with thought and vision as our dual guide, at quite a quick pace, not slowing down until we enter Hegel's story of contradiction, where I will show the explosive nature of contradiction. This will allow us to see how Hegel harnesses the power of contradiction in order to generate the second half of the story of the Science of Logic. I begin with the descent of being into nothingness, the moment when darkness

“Towards the end of a sultry afternoon early in July a young man came out of his little room in Stolyarny Lane and turned and in the direction of Kameny Bridge in central St. Petersburg.”[1] Right then, this young man, a former law student named Rodion Raskolnikov, is caught in an agonizing conversation with himself over whether or not to commit the ultimate crime: to murder an innocent person. Exasperated, wondering what to do with such a weighty decision, he cried aloud, “that’s why I don’t act, because I am always talking. Or perhaps I talk so much just because I can’t act.”[2] On this occasion, he decided not to actualize his thoughts, and so kept on pondering. A little later, as he wandered through the dusty streets of the lively St. Petersburg public market, the young man again relapses into contemplation of the character of his existence, its worth, and its meaning. If he ever did decide to commit such evil, the act would determine what kind of man he is. It is a question of the movement from thought to action...

I examine the role that Descartes's theory of optics plays in Cartesian methodology. After explaining the importance of methodology in Descartes's project, I outline his method in terms of the three dimensions of time. I put this method to work by describing Descartes's search for the elusive hyperbolic lens, a lens that would offer the type of perfect vision that is necessary for the Cartesian scientific process. It soon becomes clear that this lens is the mind itself. The task of this project is thus to sculpt the mind so as to achieve the highest clarity and distinctness of scientific vision. Thus, by focusing on how the eye works and how seeing can be improved, the subject and the objects it sees both radically transform in structure, content, and kind. The Cartesian corpus thus initiates a sort of specular regime that produces a new subjectivity and a new world.

Explores how Deleuze's thought was shaped by Lucretian atomism – a formative but often-ignored influence from ancient philosophy More than any other 20th-century philosopher, Deleuze considers himself an apprentice to the history of philosophy. But scholarship has ignored one of the more formative influences on Deleuze: Lucretian atomism. Deleuze’s encounter with Lucretius sparked a way of thinking that resonates throughout all his writings: from immanent ontology to affirmative ethics, from dynamic materialism to the generation of thought itself. Filling a significant gap in Deleuze Studies, Ryan J. Johnson tells the story of the Deleuze-Lucretius encounter that begins and ends with a powerful claim: Lucretian atomism produced Deleuzianism.

With the introduction of Deleuze’s conception of the flow of desire, Foucault’s explication of Velasquez’s Las Meninas is enhanced through a new interpretation of Picasso’s lengthy cubist study of Las Meninas. By examining the arrow-headed structuration of the painting as filtered through panopticism, the single sided diamond that Foucault discovers in Velasquez’s painting is rendered as only half of the picture. Focusing the cone of sight on the panoptic figure and inverting the cone, with the bodies at the edges of the painting serving as the hinges that hold the double perspective together, completes the diamond structuration of the painting with the inclusion of the synoptic dimension. As the viewer’s eyes are drawn across the figures in the forefront of the painting towards the circular mirror hanging on the black wall at the back of the painting, the opposite maneuver is happening simultaneously. The viewer usurps the position of an ambiguous and ever changing subject, and fills out this pan-synoptic scene. A new diagram that conjoins the operative structure of surveillance can decode the valuations of desired commodities, diagnose the economy of control, and program a mode of becoming that breaks our complicity in the social machine and produces unfamiliar, unforeseen, and transgressive behaviors that blaze lines of escape from the predominant system. The goal in this paper, by drawing together these Deleuzian and Foucauldian ideas and applying them to contemporary art, is to map or diagram the manipulation and reproduction of gender identities in the modern world.

By applying a few of the concepts and transformative tools presenting in many of Deleuze’s texts, Barnett Newman’s paintings receive a much-needed re-interpretation. In many of Newman’s paintings, the fields of colors and the pulsating zips that sear through these vast landscapes can be seen as intensive sensations pushing away from philosophical and artistic domains that cling to images of thought rooted in recognition and binarism. The function of such a Deleuzian reading of Barnett Newman is to evoke the potentiality for destabilization so that one is able to create new sensations, new ways of conceiving of painting and life that are never able to be captured by a single system of signification. Rather than the desire to imitate, represent, or capture, Newman is able to mark an intensive threshold of becoming. Beneath a representational regime is a plane of imperceptible forces that traverse the face of the painting and extend beyond the canvas infinitely in every direction

While many of the most important figures in the history of philosophy have employed the concept of the simulacrum in one way or another, a detailed study of this usage has yet to be written. In this essay, I will attempt to tell the story of a sequence in that history of that usage, by focusing on one of Deleuze's case studies of the concept of the simulacrum. To do so, I will focus primarily on one the appendices to The Logic of Sense: ‘Lucretius and the Simulacrum’. In order to understand what I will call the Deleuze–Lucretius encounter, I will proceed as follows. After a few initial guiding remarks regarding the general project of the ‘inversion of Platonism’, we will outline some of the most fundamental features of atomistic physics. This will allow us to discuss Lucretius’ thoughts on the clinamen, the swerve. This, in turn, leads directly to the concept of the simulacrum. With such a picture of Lucretian physics in hand, I will pivot to a discussion of Lucretius’ ethics. The ethics consists of a critique of superstition in terms of a general project of demystification. Although this sequence will concentrate mostly on what became one of the appendices to The Logic of Sense, I will end by looking at the more general usage of Lucretian atomism, especially as it functions in Difference and Repetition and The Logic of Sense.

In reaction to a particularly scathing review of his Practice in Christianity, Kierkegaard postulated what he called a ‘preacher-machine.’ As we will see, the preacher-machine is only one type of character-machine, for, in Practice in Christianity, there are five other such machines. Starting up these character-machines will allow for an analysis of the repulsion of the God-man, Christ himself. This repulsion is important because Kierkegaard claims that it is the condition for the emergence of faith. After discussing repulsion, Kierkegaard will locate a singular mistake of Christendom, which will allow him to offer his remedy to this problem. In doing so, I will claim, Kierkegaard makes a particularly forceful claim about the true status of Christianity. We begin by attempting an articulation of a definition of monstrosity before setting the scene of these six machines

Perhaps one of the most troubling passages in all three of Kant’s Critiques is a short, confusing passage in which Kant claims that a judgment of taste must precede the feeling of pleasure. Many interpreters have argued that such a claim necessitates a viciously circular argument. But this circularity might not be vicious at all. In fact, this revolving shape actually leads to the most important site of the entire Analytic: the logic of the “without” as in the famous “purposiveness without purpose.” From an alternative position we will see that this spiraling shape repeats throughout the text, especially the four moments of the Analytic of Beauty. We will try to distinguish this aesthetic spiral from the classic hermeneutic circle, then return to the circular order of precedence in aesthetic judgment. Finally, we will try to clarify what is universally communicated in the demand on others involved in a judgment of taste

This volume explores Nietzsche's decisive encounter with the ancient philosopher, Epicurus. The collected essays examine many previously unexplored and underappreciated convergences, and investigate how essential Epicurus was to Nietzsche's philosophical project through two interrelated overarching themes: nature and ethics. Uncovering the nature of Nietzsche's reception of, relation to, and movement beyond Epicurus, contributors provide insights into the relationship between suffering, health and philosophy in both thinkers; Nietzsche's stylistic analysis of Epicurus; the ethics of self-cultivation in Nietzsche's Epicureanism; practices of eating and thinking in Nietzsche and Epicurus; the temporality of Epicurean pleasure; the practice of the gay science, and Epicureanism and politics. The essays also provide creative comparisons with the Stoics, Hobbes, Mill, Guyau, Buddhism, and more. Nietzsche and Epicurus offers original and illuminating perspectives on Nietzsche's relation to the Hellenistic thinker, in whom Nietzsche saw the embodiment of the practice of philosophy as an art of existing.

Solomon Maimon argues that while Kantianism does venture quite a way toward the establishment of an immanent critical project that more satisfyingly addresses real experience, it does not fulfill the aims of its own project. In order to negotiate Maimon’s claim, I utilize the primary metaphorics of the First Critique: homesickness. The Kantian longing for home is an insatiable yearning, a striving for the end of something that cannot end, namely, the end of the search for home (Zuhause). According to Maimon, although home is unattainable, there is a different sense of home: home is the path itself, a sort of nomadism, a roving life of the path that never leads home. The Kant of the first Critique did not fully realize that the project could not reach an actual final resting place; in fact, this realization, that home is a transcendental ideal, might be the very motivation for the third Critique. Thus, in order not merely to justify the possibility of synthetic a priori knowledge, but also to allow the application of such knowledge to reach the facts themselves, actuality as such, the “well-groundedness” of the critical project requires some re-direction from Maimon. To do this, Maimon renders Kantian transcendental conditions truly genetic.

This paper transforms elements of Hegel’s thought into antiracism through the work of James Baldwin in three Acts. Act One offers a Hegelian Account of Honesty that is structurally inspired by “conscience” from his Phenomenology of Spirit. Honesty has two, seemingly paradoxical, dimensions. To address the unacknowledged whiteness in Hegel, we turn to Baldwin in Act Two. Baldwin deepens and problematizes Hegelian Honesty through a conceptual diagnosis of “double misrecognition”: the first is the misrecognition of Blackness as inferior, the second is the misrecognition of whiteness as superior. Act Three articulates how the structure of whiteness forecloses Schuld and shame by connecting this dual foreclosure to the two dimensions of Hegelian honesty and Baldwin’s diagnosis of double misrecognition. We conclude by formulating a sketch of “antiracist idealism” as version of what the Germans call Vergangenheitsaufarbeitung, that is, doing the hard, uncomfortable labor of comprehending how the present is not separate from but completely composed of old scars, wounds, violence, and atrocities. Antiracist idealism enables us to both learn from yet also challenge canonical idealism through contemporary forms of antiracism.