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Showing posts with label time. Show all posts
Showing posts with label time. Show all posts

Sunday, March 5, 2017

Spirit and Body: Levinas on the Cusp of an Awakening of Religion


To arrive where you are, to get to where you are not,
You must go by a way, wherein there is no ecstasy.
---T.S. Eliot, 'East Coker'


Whether on the roads to Marion's Damascus of the saturated phenomenon or Falque's metamorphosis of finitude and the spread body, Levinas's ghostly philosophy lurks in the shadows of forethought. It sometimes seems that all contemporary French phenomenology seeks its origins in Descartes' cogito, the ego that constitutes the world, the ego that thinks its therefore and finds being. Certainly Marion begins here, as does Husserl, the one discovering the straw that breaks the backs of noema and noesis, the other discovering a more pristine and powerful intentionality. Falque, of course, does phenomenology, but bends it toward his own wits, a phenomenology even splintered and splayed open to a post-metaphysical metaphysics, thereby releasing the event of just what goes on between the Cartesian res extensa and the phenomenological 'lived body'.  Levinas, on the other hand, remains skeptical of ontology and intentionality, and his eyes and ears are drawn less to the therefore, and far more intently to the fore-there.  

Il y a. The Levinassian there is. The 'there' prior to the there that is indeed there, the fore-there, where therefore is not even a forethought, where Prometheus sleeps. Such is what comes to Levinas's mind. Levinas's is a ghostly thinking, not quite ghastly, yet open to horror, the night that crutches the insomniac's watch, the creepy indolence that paralyzes before being, and the instinct to retreat into alter[ed]-states of consciousness. Walpole and Shelly have nothing on Levinas. The gothic shades of dark that recede in the Levinassian landscape give proof through this night that Heideggerian ecstasy is a little late to the party of being: there is a hauntology prior to ontology, some more fundamental difference anterior to ontological difference. There is a haunting.

Before the ethics of Levinas's signature work, before the stark alterity and priority of the Other, this remarkable thinker has given us a preliminary study of his concerns, and certainly a critique of Being and Time. As a critique of ontological difference, Existence & Existents ( trans., A. Lingis, Pittsburgh: Duquesne, 1978, henceforth EE; page numbers in parentheses refer to this translation of the work 1st published in 1947 unless otherwise stated) stamps an indelible ethos upon what will later follow in his masterworks, Totality and Infinity, and Otherwise than Being. EE does not present a full-blown theory of the body, or a fleshed-out spirituality; but it certainly outlines an anatomy of consciousness, even a physiology of consciousness, that thinks the fore-there---that hypostasis precedes ecstasis, that position precedes being-in-the-world, that Being itself precedes beings. Do not ask what is it; let us go and make our visit.

Levinas makes haste to describe the there is (il y a going forward to honor the term's untranslatability, unless it appears as there is in Lingis's translation) as the thing unresolved by death, the irreducible term that remains insoluble in the liquidation of finitude. Il y a comprises the locus where subjective and objective existence merge and blur in the event of being (4-5). Indeed, "ontology...affirms that what is essential in human spirituality...is determined by a relationship...with...the nakedness of this bare fact" of Being (3), which "harbors something tragic" (5). The human spirit is always already encountering a tragedy. The merging of existents with existence takes place within the il y a, an otherwise than being that seizes us by the throat.

The maternal wellspring from which an existent gets itself born, or from which birth yanks an existent into existence, is not sufficiently anterior for Levinas; he searches more deeply into that nook, to "that event of birth in phenomena which are prior to reflection" upon any regional ontology (11). He thinks the matrix from which a maternal wellspring might spring. In this regard, he analyzes 'fatigue' and 'indolence', not as mere mental contents, but as modes of a relationship with being, and cleaving of (to?) being. These mental contents express a 'weariness' before existence, and mark the mode of 'refusal' or balking at the contractual terms binding an existent with existence; yet such a refusal marks not a reflection upon such terms, but a pre-reflective, unthematic encounter with, engagement of, immediate response to, a generic document, whose lines remain unread, but remains a threat nonetheless (11-12).

The markers of refusal, though placeholders of retreat or evasion, point to an engagement with being. To engage being, to commit to a contact and contract with being, comprises the act through which an existent enters existence: "If the present is thus constituted by the taking charge of the present, if the time-lag of fatigue creates the interval in which the event of the present can occur, and if this event is equivalent to the upsurge of an existent for which to be means to take up being, the existence of an existent is by essence an activity" (25). This upsurge goes by the name of hypostasis, and the contractual contact of an existent with existence forms a hypostatic union threatened only by time, by another present which can put the union asunder. The hypostatic union, a term Levinas never uses, creates the locus of spirit, of the event of spirituality, though he never formulates this event in quite this manner. Regardless, here, in the hic et nunc of taking a position from which hypostasis becomes an upsurge into Being, time coalesces into the sacrality of a most vulnerable moment.

Though a less reckless strategy would visit the preliminary ideas of EE upon Levinas's later work, the risk of visiting Levinas's more mature elements upon EE, at least with respect to vulnerability, and even the Other, might reward; for the heart of Levinas's philosophical 'spirituality' rests in the structures thought here in EE.  Only in the fore-there of reflection, in the unthematic arena of the pre-ontological structures of consciousness, can we find the disclosure of vulnerability prone to insomnia and horror that hypostasis is heir to. True, for the most part, the Other appearing in EE is a thematic Other, one already clothed, one whose nudity finds itself clothed by form (30). This nudity, already thematic, conceals the body, and only in a relationship with nudity itself do we experience the alterity of the Other (31).

The nudity prior to nudity, the fore-there of an 'undressed being' (31), begins the entry into the il y a, the consummation of being in the experience of night (52), where the 'rustling of the there is...is horror" (55) ushering in the vigil of the insomniac so passive that the night itself 'watches' (63). Only in such utter passivity can the unthematic contents of consciousness (69) take position, a stance from which an upsurge into being poises itself as hypostasis. From such states, such stases, such static asymmetry,  a 'base', a 'place', "makes the body the very advent of consciousness", unconcealed in the vulnerability of an unthematic version of nudity. The body locates consciousness as an "irruption of anonymous being" and "is position itself" (70). The spirituality of the body is the event of its position, and the moment of its present, the sacred time of the hypostatic union, where Being and being, existence and the existent, contract a merger, "a pure event of being" (71). "Position is the very event of the instant as a present" (70).

The event of being harbored in the hypostasis, the hypostatic union, "signifies the suspension of the anonymous there is," for "on the ground of the there is, a being arises...By hypostasis anonymous being loses its there is character" (83). Truly this is sacred ground consecrated by human spirituality through the posture of the body, the body taking its position in the instant of its present, and there is no time like the present, yet is "not the future above all the resurrection of the present?" (94). Though there can be no redemption of pain, "the movement of the caress" of the consoler transports suffering " 'elsewhere' " (93). Hope should not be spent on wiping away every tear or avenging every death, for the wages of pain simply move into an instant that follows an instant; rather the object of hope should be the future itself, where every instant of every present receives salvation.

Hypostasis is anterior to, prior to, more essential than any ecstasy leaping into an already thematic being-in-the-world. It makes its upsurge from a matrix otherwise than being, and, for the visually minded, it is the photo-negative of Heideggerian ecstasis, the mold into which such ecstasy pours itself into the world. The unthematic contents of consciousness create the vulnerability that only an unthematic Other whose utter vulnerability can transgress---as the Other in the Same; not that alterity of the Other homogenizes within such sameness, but as the disruption,  the roiling of the waters in the pool of the Same; the other is totally other, despite a family resemblance. The Other in the Same provides the site of an uncontainable human spirit, a spirit that only "the gravest sin" attempts to put on the clock,  in the time of trains and the sun (101). Though Levinas can think the coalescence, a congealment, of time, any reification of the spirit within the timebound shuts down the instant, desecrates the preciousness of the present that must be cherished, and positioned for resurrection.








Tuesday, June 2, 2015

Water and Wine: A Tincture of Time

The 4th Gospel (4G) has a logic all its own. The Logos, after  all, becomes flesh, and has its way with words (certainly with the Word), and its way of destabilizing time and causality in its representation of a reality fleshed out with irony. In the Johannine world, picking up the phone causes it to ring, and adverbial signage yields to a theo-logic in which 'before' and 'after' live in the same moment.

The message of the Baptist is a message that time is out of joint, that the present is presence in which the past and future merge: "A man who comes after me has surpassed me because he was before me" [John 1:30, NIV]. That man, Jesus, the word become flesh, will later say, "before Abraham was I am" [8:58]. The logic of 4G is the logic of a late mediaeval painting depicting 'before' and 'after' events, such as Adam and Eve at once basking in the Garden of Eden and being cast out.

This tincture of time, or better, atemporal time,  even the causality-defying atemporal sequencing of events, sets up the wonderful Wedding at Cana [John 2]:


On the third day a wedding took place at Cana in Galilee. Jesus' mother was there,
and Jesus and his disciples had also been invited to the wedding. 
 
When the wine was gone, Jesus' mother said to him, "They have no more wine." "Dear woman, why do you involve me?" Jesus replied. "My time has not yet come."
 
His mother said to the servants, "Do whatever he tells you."
 
 
Nearby stood six stone water jars, the kind used by the Jews for ceremonial washing, each holding from twenty to thirty gallons.
Jesus said to the servants, "Fill the jars with water"; so they filled them to the brim.
                           
Then he told them, "Now draw some out and take it to the master of the banquet." They did so, and the master of the banquet tasted the water that had been turned into wine.  He did not realize where it had come from, though the servants who had drawn the water knew.
 
Then he called the bridegroom aside and said,
                             
"Everyone brings out the choice wine first and then the cheaper wine after the guests have had too much to drink; but you have saved the best till now." 
 
This, the first of his miraculous signs, Jesus performed at Cana in Galilee. He thus revealed his glory, and his disciples put their faith in him.
 
 
 
 
The salient features of the pericope (a parable given realism by the use of current time and place) include:
 
1. The 3rd day: the 1st and second decribing the testimony of John the Baptist and the gathering of the disciples.
 
2. The location of Cana in Galilee, and the family affair elements: Jesus' mother is there, demonstrating that the logos taking flesh is born of a woman.
 
3. The transfinalization of the water jars and their excess of contents.
 
4. The reversal of time in the sequencing of wine-events; the road of excess leads to the palace of wisdom?
 
5. The identification of this reversal as semiotic and the birth of faith.
 
 
This second chapter of 4G follows Jesus, whom John has dubbed the 'lamb of God,' from his inaugural in the Prologue, through his distinction from John, to his identification as the one who baptizes with the holy spirit, someone already in the midst of the Pharisees. Things are happening very fast. Two of John's own disciples transition to God's chosen One [1:34], followed quickly by Peter, Philip and Nathanael. In head-spinning time compression, Jesus and his disciples are invited to the Wedding at Cana (which takes place on the 3rd day) where Jesus' mother awaits their arrival from Bethany.
 
The next scene is at the Wedding and in medias res. The is no more wine; the celebration is apparently in danger of winding down, or missing the mark of its purpose. Jesus' mother intercedes on behalf of the bridegroom or wine-steward, and approaches Jesus with the dilemma. Jesus' wristwatch is synchronized neither to his mother's or the wedding's. The dearth of wine is of no concern to either him or his mother, at least according to his understanding of his 'hour,' which he locates in the future. Yet it seems that mother knows best, for Jesus commands the servants to fill the empty ritual containers with water.
 
He commands the servants to take a sample from the brimming jars to the master of the banquet, whose astonishment prompts him to compliment the bridegroom: you have saved for last that which comes first. Far from throwing pearls before swine, the best wine will not be wasted on this crowd. The nearly endless volume of wine will not intoxicate, even though it is the best, and it might well lead to a palace of wisdom. That which has come after has surpassed what has come first, because it has come 'before 'in the 'after' of what the wedding has inaugurated. The brimming uncontainability of wine demonstrates the transfinalization of the jars as the vessels of the uncontainable event of the Messiah. The 'sign' at Cana is the saturated phenomena.
 
What issues from the ablutions of the past is the future of the Messianic banquet, a marriage not of heaven and hell, but of past and future. This is not therefore a moment of supersessionism, but of new self-understanding emerging from the phenomenality of the transformation of water into wine. Here in the language of Cana is the theo-logical moment, the birth of faith in the iconic event of Christ released from the ritual waters that are now become real drink, real wine. Here in the present time of the wedding, the 'before' and 'after' meet in the Christ already in the midst of everything, in medias res.

The historical kernel of the pericope is forever lost in the evangelist's sense of time and timing. Whether the Johannine community is privvy to an authentic tradition of a wedding in or near Galilee during the ministry of Jesus shall remain an open question open to conjecture. Still, 4G is after after something bigger than history; it want to locate the truth, the way and the life (not necessarily in that order). While the wedding at Cana might be simulacra to us today, it is Jesus' first foray into semiosis, or at least the Johannine Jesus' first foray.

The wedding at Cana depicts a Christ already in the midst of things, already upon the scene, shaping and being shaped by the discourse in which he moves. His own time moves the narrative of 4G while the narrative moves Jesus to move his own time. His hour remains in the future until the wine situation dictates otherwise. The brimming ablution jars take on water on one side of the event and spills out wine on the other. This sign is a semiotically reduced saturated phenomenon. Only Jesus, his mother and disciples know the legend by which the action must be read: they have the hermeneutic that allows the event to be released in the icon. For the master of the banquet, the bridegroom has merely held the best for last. At best, they are merely perplexed, and perhaps somewhat grateful (what Jean-Luc Marion might call 'bedazzlement'). For those who are open to the event, what issues from the jars is new time, a time of 'faith' and 'glory.' The messianic wine heralds the beginning of wine-tinctured time, even as it announces the second half of the celebration, lubricated with the best wine, a libation bereft of even an ounce of hangover. A new time within time.

At Cana, events release other events. The Messiah appears in the outflowing of wine, which iconically redirects the intuition of the disciples to the person centering the Christ-event, the logos dwelling with us. The wine lets their gaze pass into miracle, and into the divine within and through the icon. It is a saturated phenomenon that breeds another saturated phenomenon: the event. It is true, that the master of the banquet shares in a saturated phenomenon as well---that of the idol---the very excess of the best wine. But in this moment, his gaze is overwhelmed with only the idolic excess. It remains to be seen if that idol of excess will yield to the icon for him and those of his moment.