Will D. Desmond

Generally, where scientistic attitudes towards the order of creation tend towards the reductive, postmodern attitudes tend towards the deconstructive. The given order of beauty tends to be made problematic. The surface of things is often invested with an equivocity that, whether reductively or deconstructively, we can only approach with epistemic-ontological suspicion. In the following reflections I focus on the connection between given beauty and the order of creation in light of issues connected to this. Beauty itself is inseparable from some sense of formed wholeness. Is there is a givenness to beauty in nature which belies the claim that order is just an imposition of power on flux? The notion of creation is inseparable from the origination of order, but the order comes to be, arises from originating sources that allow forms of beauty to be that are more than our determination or self-determination. Something marvelously original comes to be, comes to shine. There is a shine on things. But what shines on things when we come to appreciate their given beauty? Is it just our shine on things, as if we were the sole source of light? Is it the shine of things, as if the things were luminescent in their own being there? Is it a shine on things, such that the source of the light was not just ours, nor confined to the thing of beauty? These questions will be explored.

Hegel is perhaps the modern philosopher par excellence of mediation, and his criticisms of doctrines of immediacy are worthy of consideration. I see his mediation as following a logic of self-determination, and this, even when his views are clearly open to an acknowledgement of the other to self. By contrast to Hegel’s self-determining dialectic, I offer an account of immediacy and mediation, and their interrelation, in light of a metaxological conception of being. This concept ion asks for the invocation of a surplus givenness that is not the opposite of mediation, but rather than a mere indeterminacy, a set of determinations, or an inclusive process of self- determination. I draw on the account I have offered in Being and the Between. I also offer some reflections on how this approach overlaps with, and diverges from some phenomenological treatments of the matter.

The themes of this book are very fitting for the preoccupations that have perplexed Desmond. The interplay between art, religion and philosophy has been at issue in all of his work. These three, in addition to our being ethical, are of significance for themselves and for philosophical reflection. Desmond holds that there is a metaxological intermediation among art, religion and philosophy rather than a dialectical sublation, as Hegel held. The metaxological intermediations of the spaces between art, ethics, religion and philosophy are plurivocal rather than univocal, or even dialectical. The plurivocity of these intermediations is richly evident in the diverse contributions of the different writers in this volume. Desmond responds metaxologically to their main concerns.

The central conflicts of the world today are closely related to cultural, traditional, and religious differences between nations. As we move to a globalized world, these differences often become magnified, entrenched, and the cause of bloody conflict. Growing out of a conference of distinguished scholars from the Middle East, Europe, and the United States, this volume is a singular contribution to mutual understanding and cooperative efforts on behalf of peace. The term paideia, drawn from Greek philosophy, has to do with responsible education for citizenship as a necessary precondition for effective democracy.

Rather than abstracting Augustine’s exploration of time from the whole of the Confessions, as philosophers have been tempted to do, I take up his exploration in terms of what I call a ‘companioning relation’ between philosophy and theology. There is a porosity between religion/theology and philosophy in Augustine that need not be taken as a philosophical or theological deficiency. This reflection speaks of Augustine’s intentions and intuitions in terms of the theme: Wording Time. How might one word this wording, and how might Augustine’s approach to time be thus illuminated? I approach the question in different stages, dealing first with theological, ontological, and psychological considerations. Then I follow the breadth of Augustine’s concerns to a sense of sacred heterogeneities that yet are deeply intimate, and to a sense of time that is in communication with what is above time. In keeping with the musical motif that runs through this reflection, I offer some thoughts on agapē as not only an agapē sonans but an agapē personans. I will sometimes be transcribing Augustine’s themes, sometimes offering variations on them, and sometimes composing improvisations in tune with Augustinian themes.

Science can reveal or conceal the breathtaking wonders of creation. On one hand, knowledge of the natural world can open us up to greater love for the Creator, give us the means of more neighborly care, and fill us with ever-deepening astonishment. On the other hand, knowledge feeding an insatiable hunger for epistemic mastery can become a means of idolatry, hubris, and damage. Crucial to world-respecting science is the role of wonder: curiosity, perplexity, and astonishment. In this volume, philosopher William Desmond explores the relation of the different modes of wonder to modern science. Responding to his thought are twelve thinkers across the domains of science, theology, philosophy, law, poetry, medicine, sociology, and art restoration.

© 2016 by Ephemerides Theologicae Lovanienses. All rights reserved. I want to reflect on the nature of revelation by means of the idea of the "godsend". While seeming to be ordinary this word carries communication of what is beyond the ordinary. A godsend suggests something like a chink or crack through which something is revealed - a kind of gap, or permeability, a porosity to a light that comes from a source beyond. In that gifted porosity is there an opening to revelation? Does the godsend say something about the surprise of revelation? In response I follow three steps: from word, to idea, to story. I begin by looking at the word and its etymology and consider what this implies. Then I look at the idea of revelation in connection with the claims of philosophical reason. Here my concern is to illuminate some theoretical considerations concerning reason and revelation, from the more reflective conceptual point of view, especially in relation to the modern sense of reason. Third, I turn to story as true to the godsend, and I pay particular attention to a story that witnesses to a kind of fidelity to singularity, the story entitled "Revelation" of Flannery O'Connor.

The article is a reflection occasioned by an impression of Aristotle’s irritation at the views of the Heracliteans. It offers a reflection that is inspired by, companioned by Heraclitus. It looks at aspects of the approaches of Hegel and Nietzsche as also taking a companioning approach. There is something resistant in Heraclitus’s mode of articulation that makes one diffident in claiming that now at last one is the privileged one to understand him. Heraclitus offers us striking thoughts that strike one into thought—that open up philosophical porosity to the deepest perplexities. In more detail, the author considers what is intended by flux-gibberish and how this bears on the determinacy and constancy of intelligibility. If some pervading sense of the flow of becoming must be granted, how does this bear on the constancy of intelligibility? How can we think the flow and the constancy together?

This is a reflection on the gift of beauty and the passion of being in light of the fact that today we often meet an ambiguous attitude to beauty. Beauty seems bland and lacks the more visceral thrill of the ugly, indeed the excremental. We crave what disrupts and provokes us. Bland beauty seems to be the death of originality. How then be open at all to beauty as gift? In fact, we often are disturbed paradoxically by beauty: both taken out of ourselves, hence disquieted, yet awakened to our being at home with beauty. Beauty arouses enigmatic joy in us, and we enjoy an elemental rapport with it as other. Surprised by beauty, our breath is taken away; we are more truly there with the beautiful yet taken outside of ourselves: both at home with ourselves and not at home, in being beyond ourselves. We are first receivers of the gift of surprise and only then perceivers and conceivers. My attention to the passion of being stresses a patience, a receptivity to what is other. What happens is not first our construction. Our being disarmed by the beautiful I hold to be in tune with our being as marked most deeply by what I call a primal ‘porosity’ to being. Beauty sensuously communicates in and through this awakened porosity. We are a patience of being before we are an endeavour to be. In modern aesthetics and culture, originating receptivity tends to be downplayed as a depreciation of our claims to creative power. The predominant stress often falls on human autonomy, such that we love only what we construct ourselves, not what we receive. By contrast, I argue there is something of the godsend in what is truly beautiful. This might not be a fashionable way of talking but the vocation of the philosopher is not to be fashionable but to be true.