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Este é um conto sobre visão, pensamento e contradição, bem como sobre o papel que desempenham na primeira metade da Ciência da Lógica de Hegel. A Lógica começa com uma descida, nesse caso, uma queda do Ser ao Nada. Posteriormente, aproximadamente na metade de cada texto, há um certo paradoxo em que tudo está em jogo, a categoria da contradição. Nesse exato momento, o pensamento ao mesmo tempo falha e é renovado em um viés especulativo. Nessa seção, nos debruçamos sobre algumas das interpretações influentes do uso hegeliano da contradição. Para isso, voltamo-nos a uma curiosa obra de arte, Pleiades, de James Turrell, como um exemplo estético dessa primeira queda. Progrediremos, então, através do texto com pensamento e visão como nosso duplo norteador em um passo relativamente rápido, sem desacelerar até encontrarmos a história de Hegel da contradição, onde mostro a natureza explosiva da contradição. Isso nos permitirá ver como Hegel invoca o poder da contradição para gerar a segunda metade da história da Ciência da Lógica. Eu começo com a descida do Ser ao Nada, o momento em que a escuridão emerge.

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. 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.

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

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