Torbjørn Eftestøl

This article explores Rudolf Steiner's Christology within the framework of cosmic evolution, focusing on the Second Coming of Christ as a pivotal metaphysical event. Identifying a scholarly lacuna regarding Steiner's developmental cosmology and the work of Yeshayahu Ben-Aharon, the study adopts an immanent-synthetic methodology to demonstrate a sacramental, participatory epistemology. The first part unfolds Steiner's vision of the 'Mystery of Golgotha' as a cosmic turning point where a macrocosmic death process is reversed into a resurrection life-stream. The second part examines Ben-Aharon's esoteric development of these ideas into a contemporary 'knowledge drama of the Second Coming.' Through the spiritualization of consciousness, Ben-Aharon describes an individual 'essence-exchange' with the Christ impulse within the 'abyss of nothingness' of our age. Finally, the article discusses the social-metaphysical implications of this drama through the 'Reversed Cultus.' Here, the indwelling Christ is recognized as humanity's 'Higher Self,' grounding a new community and 'school of love' capable of responding to the techno-scientific challenges of mechanization of intelligence and life. By positioning the human being as a co-creative agent in cosmic becoming, the article argues for a renewed understanding of the Second Coming as a new step in humanity's spiritual evolution.

Rudolf Steiner conceived of his work as a ‘spiritual science’. In his book on the history of philosophy 'The Riddles of Philosophy', he writes that one can expect philosophy in the future to develop in the direction of a spiritual science. Hundred years after Steiner the question arises whether such a development can be seen. The following article explores this question on the basis of the work of Dr Yeshayahu Ben-Aharon. Ben-Aharon claims that in the philosophy of Gilles Deleuze such a development can be perceived. Taking Ben-Aharon’s work as point of departure, the article explores this claim by focusing on Steiner’s idea of a living death process constitutive of human consciousness and shows how this can be found also in Deleuze’s thinking. According to Steiner, what he terms an ‘imaginative cognition’ is related to the experience of this process. The notion of a spiritual science is then discussed with regard to the works of Deleuze and his co-author Félix Guattari and their notion of a ‘nomad’ science of intensity and the virtual. Ben-Aharon’s reading of Deleuze and Guattari is contextualized by Ben-Aharon’s own account of the creation of imaginative cognition. This shows how the idea of an immanent relation between life and death can be brought to bear on Deleuze and Guattari’s claim that philosophy creates a new virtuality. The article ends by outlining Ben-Aharon’s critique of Deleuze, pointing to a difference between Steiner’s spiritual science and Deleuze and Guattari’s philosophy of impersonal intensive individuation without any identity.

In his account of the individuation and creation of thinking in Difference and Repetition Gilles Deleuze claims that there belongs “an experience of death.” What does this mean and imply for an attempt to come to terms with Deleuze’s transcendental empiricism? The following article presents a reading that explores this question, arguing that Deleuze’s account of what it means to think has two aspects that must be understood in relation to each other. On the one hand, Deleuze’s ontology of intensive difference involves an image of human individuation grounded upon a “death present in the living.” On the other hand, Deleuze writes that in the creation of “thinking in thought” there is an experience of death. Understanding the relation between the individuating aspect of death – as the emergence of the pure and empty form of time as the basis for representational thinking and judgement – and the experience of this individuating factor in the creation of thinking in thought, Deleuze’s claim can be made sense of and its centrality in his system clarified. When death as an individuating factor becomes experience, thinking is transmuted from dead representation to intensive life, and transcendental empiricism is operationalized.

In this essay I explore the encounter between religion and music via ideas taken from Olivier Messiaen. I first present his categorization of music and the concepts of sound-colour and dazzlement as the 'directional meaning' of music. I then show how Messiaen relates this to the phenomena of natural resonance and afterimages, and based on this, I present-via Goethe and Rudolf Steiner-the notion of an etheric, evanescent or incorporeal matter. This understanding and experience of matter is then brought to bear on music. In this context the notion of a 'religious experience' can be understood as both referring to content and sentiment related to a religious belief, and, in a more general sense of 'religare' (to bind), as a deeper bond with the material-temporal flow of nature. This gives way to a Johannine vision of Messiaen's musical thinking where the creative-sounding Logos or 'word' is both spirit and matter, and where music may represent a potential awakening to this reality.

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it develops transcendental empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces.

What does it mean to think? In the following article I will show Gilles Deleuze’s answer to this question. According to him ’to think is to create — there is no other creation — but to create is first of all to engender ' thinking ' in thought ’. To understand what this means, to grasp the radical nature of such an event, we need to see how for Deleuze to engender thinking in thought means a repetition of that genetic process which has brought forth the thinking subject in the first place. In this event that which otherwise subsists beneath normal experience, as life- and consciousness sustaining forces, now become conscious experience. The implication of this is that true thinking means the creation of a new life and consciousness. Via a close-reading of chapter two of Difference and Repetition I show how this leads the thinker into a radical metamorphosis of consciousness, a process of Stirb und Werde.