Monday, February 24, 2014

Eduardo Duarte Being&Learning 2.0 PPM12 February 24, 2014 10:52 AM

In PPM12 I build a bit upon the musical terms of 'mood' and 'mode,' which were introduced in the previous day's meditation .  They serve a slightly bigger purpose, which is the introduction of Zen Buddhist terminology, specifically, the word wu-i-wu which is translated as 'nothingness' and is analogous to the 'nothing' that is referred to in the question, How is it with the Nothing?   Wu-i-wu is described as a 'keynote' that relates all other notes, and thereby attunes us to Being's presencing. [note: at this point 'the Nothing' is signifying the excess of Being's presencing, or what is always 'remaining,' and, from the perspective of temporality, stands for the 'not yet' or 'time that remains']   Finally, as I say in my commentary, it was important for me to make this move with the 'inclusion' of Zen Buddhist terminology as part of my growing lexicon.   There was and continues to be a strong need and desire to be multicultural in my approach.   I also emphasize in commentary the methodology of articulating and exploring  'first' or 'fundamental' philosophical terms. In this regard,  I recognize my debt to Reiner Schurmann, who was one of my professors at the New School when I was graduate student.







1 comment:

  1. 3.0 (20/10 yrs later) - the experiment of writing every day and picking up from the day before by necessity demanded spontaneity, and to follow the stream of thought wherever it took me. And quite early on the flow took me to the banks of Eastern philosophy, specifically Zen Buddhism and later Taoism. A week into 3.0 I recognize the principle theme I explored then and continued to explore not might best be captured one of Nietzsche's famous categories: "self-overcoming." The definitive moment where Nietzsche introduces this is in his 'Birth of Tragedy,' where he says the "artist becomes the artwork." Above in my 2.0 reflection I reiterate that the "Nothing" signifies the excess of Being's presencing, what remains. That places emphasis on the temporality of Being, or relation to the open future, to the possibility of possibility. Today the 'Nothing' signifies the place of emptiness, or the clearing, that opens up when the 'subject' (the will) is evacuated in the encounter with the excess. Perception of future and possibility still seem to imply the presence of a subject, however passive they may be. The encounter with the excess, specifically in the aesthetic experience, denotes a more radical sense of the Nothing as the place opened by the evacuation of the subject.

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