In PPM14 I continue to explore [nb: from now on the term for my phenomenological 'exploration' should be 'jam,' in order to best describe the improvisational style of the writing] evocative speech as dramatic, and write of "the drama of evocative speech [that] opens up the play of possibility." Drama, play, playing, free playing, all different ways of describing improvisational philosophical musings. The new idea that appears in PPM14 says that the 'turning,' or 'turning around' [towards Being's presencing] is a "turning around of one's place in relation to what has been, i.e., tradition. Learning is the possibility of 'leaping beyond' tradition, beyond the fixity of the social script's narration that assigns us 'roles.'" This 'post-traditional' move, which is still very significant for me today in my work, sets up the claim that thinking is an-archic, or beyond the authority or weight of the past; it is a break. In turn, I conclude the meditation with the quotation from Heidegger: "Hermeneutics is Destruction!"
February 13, 2014 was the 10th anniversary of the original experiment that produced 363 phenomenological mediations, published as 'Being and Learning' (Brill: 2012). Each day between Feb 2014-15, I returned to the original meditations, and my commentary is documented here. And then, again, on February 15, 2024, on the 20th anniversary of the first days of the original experiment, I revisit and comment on a daily basis, once again.
3.0 (20/10 yrs later) - there are not coincidences...apparently not! That or memory is truly a mystery, which isn't saying anything truly novel! Point being: just last night I was working on the presentation I'm going to make at the end of next week at PES 2024, a presentation of my work on Nancy, and I described my writing to Kelly as "dramatic." This morning after I am indeed surprised but, again, not, by the recollection I wrote 10 years ago today that highlights the original meditation's focus on the "drama" of evocative speech. Each day of this 3.0 as I think back I am increasingly aware that the poetic praxis project has remained on course all these many years, but at this juncture the aesthetic experience has emerged as the significant event. For to speak of the "drama" of evocative speech is, again, to denote the dialogic event of education as performative in the artistic sense, and, again, the command of the Muse to Socrates, "Make music and work at it!" is heard.
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