Showing posts with label philosophy. Show all posts
Showing posts with label philosophy. Show all posts

Thursday, June 26, 2008

philosophical trajectories

Nassim Nicholas Taleb offers some speculative refutations of the European assumption that philosophy's geographical trajectory flows from Greece eastward (Read notes 94 and 94b). His thesis is interesting, but I don't believe that he successfully makes his case, in part because he's doing little more than inverting the wrongheaded Eurocentric knowledge-transmission paradigm he's critiquing. I'd argue that the paradigm is wrong, not just the directionality implied in Western historical account.

[Do read Taleb's account even if you're not particularly interested in speculative philosophical histories, as his opening paragraph offers some great observations on poverty and elegance in India vs. The West, among other things, and there's a terrific excerpt from a Herman Hesse short story (in French) at the end of 94b.]

I agree with Taleb's assertion that the Syriac roots of many later Academy philosophers implies that the pre-Umayyad Levant was likely a center of a now-lost philosophical tradition. However, I think that the timeline offered by Taleb's evidence for Syriac import in the Greek philosophical tradition implies that this center may have been a product of Hellenization. One could plausibly argue that Neoplatonic thought was largely spearheaded by a Syrian tradition that existed in both Syria and Greece (Agathias attests to the Syrian influence in Athens; the lack of Syrian sources leaves an open question as to Syrian side of the equation). Perhaps there was an Apameia-Athens Axis in this period? Iamblichus founded a school in Apameia, where Numenius also practiced (and where Posidonius was born in the waning days of the heavily Hellenizing Selucid Empire). This idea of a Syrian-Greek philosophical axis fits with Taleb's suggestion that Greek was a lingua franca for Syrian intellectual life even during the Umayyad. Doesn't this imply the deep impact of Greek culture in Syria during the post- Alexander period? Taleb also points to the prevalence of Syrain skeptics to support his thesis. I'm not familiar with the specific skeptics he cites, but Pyrrhonism and Academic skepticism are both products of the Hellenized period.

The roots of this Syriac philosophical tradition could be from one of two sources: an already established Syrian philosophical tradition is fused into / incorporated within Greek traditions, or Greek cultural influence creates a philosophical tradition in Syria that draws on Syrian intellectual heritage while existing simultaneously under Greek and Syrian cultural umbrellas. The line between these two concepts is very close indeed, as all societies have implicit ontologies that can be found in (and grow from) language and social structure, and few societies find themselves without a philosophical tradition of some sort. What's perhaps most important are the mechanisms of transmission and incorporation, a process we can explore through one of Taleb's other examples: Pyrrho.

Taleb's note that "Pyrrho went east with Alexander & almost certainly encountered all the syncretistic systems developed there" is extended in note 94b, where Taleb 'traces' the notion of αταραξια (ataraxia) to the philosophical worldview of the "Orient." There's not much of a case made here for sourcing the concept; instead he explicates αταραξια via 2 stories: one in Arabic (which I cannot read) and another fragment from Hesse in French (which I recommend). Taleb's claim that this sort of knowledge seems irrevocably a part of his experience with Arabic wisdom strikes me as irrelevant to the source of this knowledge, an anecdote that says more about the legacy of these ideas than their source.

The task of actual conceptual sourcing is of course impossible, but we can establish a few basic principles of cultural transmission. First, we should remember that at certain moments in human history there are ideas that seem logically inevitable next steps. Human culture frequently finds itself addressing the same dilemmas even in distant locales. Secondly, we should note that cultural transmission invariably entails the work of translation in more than just a linguistic sense: concepts must be made to fit into different systems of knowledge than the one(s) from which they come. An idea lifted from one place may become something entirely new upon landing in a new one. The processes by which it changes are multiple, but I consider two main modes of change to be primary ones. The new cultural contexts may be different enough that a faithfully-rendered concept becomes something entirely new (as cinematic montage changes the meaning of shots by way of changing the surrounding material). Alternately, the mediator may be responsible for choosing methods of mediation that warp the original meaning and create a new set of contexts that would be new even in the original language and culture.

We can see the combined approaches of these first two methods of concept-transmission in the development of Christian religious ideology in the first 100 or 200 years after the death of Jesus. I'm referring to the way in which Christianity is a remolding of various ideas common in the mystery cults of the Graeco-Roman world. Most of these mystery cults themselves were products of this process, with roots in deities worshiped in conquered lands (though the resultant belief systems had little to do with the original beliefs associated with the deities). Early Christian iconography seems closely related to the iconography of Mithraism. The cult of Isis and that of the Magna Mater seem to prefigure the special roles assigned to the Virgin Mary. Resurrection is an important theme in these mystery religions (easily seen in the cults of Osiris, Attis, Adonis, Dionysis, etc). The Eucharist combines traditions of sacral kingship and theophagic rituals that entail eating the body of a fertility god. There was even a Christian defense of these prior practices as false imitators set forth by the devil through interpretation of the Hebrew Bible's prophetic references to Jesus. Justin Martyr, in his Dialogue with Trypho:
"For when they tell that Bacchus, son of Jupiter, was begotten by intercourse with Semele, and that he was the discoverer of the vine; and when they relate, that being torn in pieces, and having died, he rose again, and ascended to heaven; and when they introduce wine into his mysteries, do I not perceive that the devil has imitated the prophecy announced by the patriarch Jacob, and recorded by Moses?"
It's also important to mention that these mystery cult beliefs - which were widespread throughout the Roman Empire of the early days of Christianity - lay a partial groundwork for conversion that helps Chrisitianity flourish, but that also effects Church doctrine as the Church hones its message to broaden its reach [think of the importance of the Council of Jerusalem in making Christianity available to the cultures of the Roman Empire].

Sandmel makes the point that these connections are not necessarily influences but perhaps natural expressions of tendencies of human mythmaking. All this implies the question: is Pyrrhonian αταραξια a philosophical 'discovery' common to humans, or is it (also) the product of a world of influences?

An excellent example of the third method of appropriation is the development of 20th Century philosophy in France, a story that 'begins' with Alexandre Kojève. Kojève (Kandinsky's nephew, incidentally) studied philosophy in Germany, where his major influences included Heidegger and Marx in addition to his primary interest in Hegel. From 1933 to 1939, Kojève lectured on Hegel's The Phenomenology of Spirit at the École Pratique des Hautes Études in Paris. For his seminar, Kojève translated Hegel himself, as well as translating on the fly from German to French during his lectures. Kojève's translations reflected an idiosyncratic post-Hegelian system of his own creation, combining a Marxist teleology with a rereading of Hegel using the vocabulary of Heideggerrian subjectivity (sadly, my notes on his rpecise chocie of words in French are not at hand). In fusing Heideggerrian terms to Hegelian ontology Kojève plants the seeds of postwar Continental philosophy in any number of directions: his students included Raymond Queneau, Georges Bataille, Maurice Merleau-Ponty, Andre Breton, Jean-Paul Sartre, Jacques Lacan and Raymond Aron, and his influence has also been cited by Derrida and Foucault. The encounter of these thinkers with Hegel (and Heidegger) via Kojève is a traceable root of many works by these thinkers.

Similarly, Pyrrho's return to Greece with a modified "Eastern" notion of αταραξια was a tremendous influence on later Greek thought, though not directly through Pyrrho. Pyrrho's influence was mainly felt after Aenesidemus's publication of the Pyrrhonian Discourses more than 200 years after Pyrrho's death. Likewise, it seems that Pyrrho's pupil Timon was mainly influential for his poetic and dramatic works - until his philosophical influence was picked up by Sextus Empiricus in the 2nd (?) Century AD.

Timon is an important stepping stone towards our quest for sourcing Pyrrhonian skepticism and the (translated) wisdom of "the East"; when Timon was asked by Aratus how to obtain the pure texts of Homer, he answered: "If we could find the old copies, and not those with modern emendations." We encounter the same problems not just with Syriac philosophical traditions, but also with the Greek, and with Pyrrho in particular. Pyrrho seems not to have written down his ideas (shades of Socrates); Timon, like Plato for his teacher, is the key written source for Pyrrho's later disciples.

Pyrrho's travels with Alexander's army led him to study with Indian Gymnosophists and Persian Magi. However, to attribute his knowledge to encounters with eastern philosophers seems misleading; Pyrrho's thought seems in many ways an extension of the skepticism of Zeno of Elea and the Sophists (a form of acatalepsia), combined with the Cynicism of Antisthenes (a precursor to ataraxia?). I find it plausible that his studies in the "East" allowed for a renewed approach toward the knowledge of his Greek philosophical tradition, and that his thought upon returning is a sort of reverse-Hellenistic syncretism - that is, a return of the foreign ideas to Greece in the form of already-existent Greek philosophical ideas. That these ideas are not picked up by the Greek philosophical tradition in earnest until centuries later adds another level of abstraction and cultural translation, but we should be aware that our contemporary view of the Greek and Asian philosophical traditions is colored by the incompleteness of our knowledge and the works now forever lost.

How did the Pyrrhonian skeptics arrive at their ideas of happiness and possible knowledge? We cannot know; we can only be happy that they did.

Wednesday, December 26, 2007

Crimen Falsi Redux, Part 1: The Theory of the Image

"General Nguyễn Ngọc Loan Executing a Viet Cong Prisoner in Saigon" by Eddie Adams

"The general killed the Viet Cong; I killed the general with my camera. Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths... What the photograph didn't say was, 'What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American soldiers?'" - Eddie Adams

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"a photograph does feel more like a verification of an event than an eyewitness statement (often for good reason). A story is just a story, and it's as easy to make them false as true, but a photo, or a film recording, is a literal imprint of the world (until it gets altered, of course -- the epistemological difficulties that photo manipulation cause for, e.g., consumers of the daily newspaper, are an interesting problem). Without very aggressive framing, it's hard to communicate to an audience that what they're seeing might not be true ... We're trained to think of the camera's eye as impartial, unless we have good reason to think otherwise." {emphasis mine} - Crimen Falsi


"Seeing is believing" - proverb

A photo or film recording is not a literal imprint of the world. In the capturing and transmission of the image much is lost. We can call this lost material context, which is the supplement to the image: both the missing piece, and the extra one.

An image is framed, chosen, represented; it lacks history, smell, sound. All this serves as alteration whether or not what lies inside the frame is "manipulated." "Manipulation," though, also exists in choices most viewers aren't conscious of. Lenses - which affect depth of field, among other things; the size of the image (a combination of lense choice and distance from camera from subject); the angles chosen (is the camera above or below the subject? are speakers shot head-on, at a slight angle, or at a greater one? Is a conversation shown by a shot / reverse shot patter, or in a two shot? What does lighting emphasize/deemphasize/obscure?) These choices create emotional resonances in images that do not mirror the world itself. The camera does not see as the eye sees. The eye shifts attention along with consciousness, adjusts to varying lighting conditions, grabs peripheral information without directing attention on it. The tricks of the filmmaker or photographer can attempt to mimic these perceptual schema. The tools of cinema (focus, editing, lighting et al) can be controlled to simulate human perceptual conditions and construct the perception of a narrative.

Filmmakers create meaning and context through montage. The image, like the word, contains meaning only in the interplay between context and image, whether the context is intrinsic or extrinsic to the image itself.

"Montage means the assembly of pieces of film, which moved in rapid succession before the eye create an idea." - Alfred Hitchcock



The basic psychological principles of montage have been known since at least the late 1910s, when Lev Kuleshov showed how juxtaposed images cause audience members to assert certain relationships between the two images (Hitchcock explains this process in his third example in the video clip).

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"The cinema is truth 24 times a second." - Jean-Luc Godard

"The cinema lies 24 times a second." - Brian DePalma

Godard is almost universally skeptical of the truth-value of the image (strictly defined, by which I mean: the kind of truth that Mike assigns to the photographic image in his post). Godard's "truth" is the revelatory impact of the image, but for Godard the truth and the lie of cinema is it's ability to represent the material conditions of reality. If my turn of phrase sounds explicitly Marxist, it's because Godard's political radicalism informs his ideas about the truth-value of the moving image with increasing directness as the 1960's progress. After the near-miss of revolution in France in 1968, Godard's work becomes more explicitly didactic. His work as part of the Dziga Vertov Group sets itself up as a lesson plan but rather than obfuscate the manipulations of the image, Godard and his comrades (Jean-Pierre Gorin, among others) foreground the manipulations of the image so as to undercut them. He's laying bare the structures by which this manipulation takes place, undercutting the cinematic illusion as a lesson in radical media literacy [Godard's use of the image to this effect begins well before this, but 1968 is the breaking point, the moment when his ideological agenda moves to the fore]. The final Dziga Vertov Group film, Letter to Jane, explores the process of assigning meaning to a single photograph of Jane Fonda with a North Vietnamese communist soldier.



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"Look however in Kapo, the shot where Riva commits suicide by throwing herself on electric barbwire: the man who decides at this moment to make a forward tracking shot to reframe the dead body – carefully positioning the raised hand in the corner of the final framing – this man is worthy of the most profound contempt." - Jacques Rivette's “Of Abjection”, a review of Gillo Pontecorvo's Kapo for Cahiers du cinéma, June 1961; cited by Serge Daney in his seminal essay The Tracking Shot in Kapo


"Tracking shots are a question of morality." - Jean-Luc Godard

The choices of presentation of an image are moral concerns precisely because they are images and not the world.

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If Godard is interested in the truth as a lie, DePalma seems intent on creating truth by using lies as his raw material. DePalma understands all images as considered, i.e., "fictional," even (especially?) documentary ones. His newest film Redacted follows through on his previous work by addressing the 'reality' of images as images; it ends with a montage that takes "true" (i.e., documentary) images and combines them with a culminating "false" one (i.e., created by DePalma rather than documentary) that supports the 'truth' behind his political point. Why didn't he use a "real" image here? Were there no appropriate "real" images to be had?

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"Art is a lie that tells the truth" - Pablo Picasso

"There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization." - Werner Herzog; from Minnesota declaration: truth and fact in documentary cinema

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"We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see." - Michelangelo Antonioni (via)

DePalma's best work, Blow Out, remakes Antonioni's Blow Up and stars John Travolta as a Hollywood sound man who accidentally records the sounds related to the "accidental" death of a politician. DePalma's film, unlike Antonioni's, arrives at certainty about the mystery at the film's core. Antonioni's film is not about sound but about image; a photographer captures an image that provides evidence of a murder. Or perhaps the image offers illusions instead of evidence; the image is too hard to analyze, the photographer doesn't know all the facts, and the physical evidence is not verifiable (or rather, it is verifiable but not reverifiable). In Blow Up, Antonioni explores the creation of ambiguous images and the roots of meaning in the physical, contextual world.







Antonioni's is frequently a cinema of ambiguity for the viewer, as his films create images whose meaning can't be discerned at first glance - or even upon closer examination. Rather than emphasize the illusions of the image as moral concerns (a la Godard), Antonioni focuses on the epistomological dilemmas of the uncertainty of the process of image-making. See, for example, the incredible final shot of The Passenger. We see only ambiguous evidence, the leadup and aftermath of the climactic moment. Antonioni calls forth the unimaginability and unrepresentability of death; he shows us things we cannot know by emphasizing the fact that we cannot know.






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“We translate every experience into the same old codes.” - David Locke, in Michelangelo Antonioni's Professione: reporter / The Passenger (via)

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Hitchcock makes flawless use of these codes into which we translate experience, manipulating his audience by way of tension and misdirection. His characters, like Shakespeare's, frequently misapprehend the narrative of which they a part. Hitchcock differs from Shakespeare because in Hitchcock's narratives we see through the eyes of these characters and misapprehend what they misapprehend. Take Suspicion, one of his myriad masterworks of subjective point of view. Hitchcock's creation of point of view isn't limited to subjective camerawork; it's the creation of a worldview in which knowledge is constructed through one person's understanding. Our information is incomplete but suggestive enough to allow us to draw conclusions; only later will we be presented with enough information to make sense of events in a concrete way.

Some suggestive stills from Suspicion:






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Mike's point is not about the actual fact-value of the cinematic image; he asserts that audiences have a "greater susceptibility to moving-pictures-plus-sound than words"; and that "the degree of processing that needs to occur between the art and its consumption is higher with novels, leading to a greater opportunity to audit for a sense of falseness." There's no comparison here; it's like comparing apples and Chicago. The modes of procesing might be more conscious in literature, assuming the cinematic illusion is well-kept. The mode of cinematic storytelling that sidesteps any the sense of 'artificiality' draws on a preexisting set of codes that signal verisimilitude. We may be "trained to think of the camera eye as impartial," but this is a lie. The cinematic image is not a priori more capable of creating the illusion of reality than any other form is. Most cinema situates itself within a certain Regime of Truth (Foucault) that represent reality using certain forms. These forms qualify as 'realism' in the cinema because viewers have been trained to accept these codes as real; David Bordwell has done extensive formalist work on the develoment of the codes in Hollywood's Regime of Truth. [To counteract the Hollywood Regime of Truth, "art cinema" has created (itself as) an alternate Regime of Truth with codes of its own. I'm not sure that this is a positive development]. The establishment of any artistic Regime of Truth consists of the codification of a set of approaches toward the representation of truth. What begins as an exercise in appearance-making (as opposed to copy-making, the two types of artistic endeavor in Plato's The Sophist) becomes instead hyperreal, dependent on the Regime of Truth for its truth value. The problem of hyperreality is one of quidditas: Does an image have quidditas any more than a word does? Do 24 images shown in rapid succession contain an essence? Can an image ensconced in a Regime of Truth reveal truth?

For Heidegger, truth (ἀλήθεια / Aletheia) is a process of revealing, an uncovering. The image at once covers and uncovers. In Heidegger's The Origin of the Work of Art, art reveals the thingliness of things [Heidegger doesn't say 'quidditas,' though he might]; Heidegger considers this revealing to be the purpose of art. A pair of shoes painted by Van Gogh differs from the shoes themselves in that they serve different purposes: the shoes themselves cover feet; the work of art reveals the nature of shoes ("lets us know what shoes are in truth"). A work of art differs from its subject even when the image is exact, for it takes its place as an image, a tool of uncovering.



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"What the moving pictures lack is the wind in the trees." - D.W. Griffith



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Another essential commentary to refute the radical reality of the camera’s eye:
Documentary filmmaker Errol Morris examines 2 iconic images from the Crimean War to determine in which order they were shot. A fascinating, multifaceted, essential series, taking place on his blog Zoom at the New York Times website.
(Part One)
(Part Two)
(Part Three)
and
Cartesian Blogging, Part One (in which Morris answers reader questions on the first three parts)





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Or, I could have just suggested you see Rashômon.