Art and Objects. Graham Harman

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Art and Objects - Graham Harman

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description. The world is already there before us for rational consideration, with no “absurd” noumenon lying beyond all possible mental access. Like Hegel, Husserl is an idealist and a rationalist; unlike Hegel, he is fascinated by all sorts of specific entities – mailboxes, blackbirds, imaginary battles of centaurs – that can be understood only when their concrete sensual profiles are analyzed and their essential properties sifted from their inessential ones. We will soon see that there is more to Husserl than this. But first, we should speak of his student Heidegger’s effort to challenge and radicalize his phenomenology.

      Over the next decade he continued to develop this model, culminating in his 1927 masterpiece Being and Time, regarded by many – myself included – as the most important philosophical work of the twentieth century.9 Here, Heidegger gives an even more detailed version of his tool-analysis. A hammer is usually not noticed, but silently relied upon as it works to help us achieve some more conscious ulterior purpose. It helps us to build a house, and the house in turn assists our aspiration to remain dry and warm, which in turn provides support for more intricate family life and personal health. All the items of equipment in our environment are locked together in a holistic system, so that in a sense there are no individual pieces of equipment at all. This situation of unconscious holism can be disrupted in a number of ways, with the most famous such case occurring when equipment breaks or fails. If the hammer shatters into pieces, is too heavy, or is otherwise ineffective, our attention is suddenly seized by this individual utensil. Only at this late and derivative stage does the hammer finally become an individual phenomenon viewed directly by the mind in Husserl’s sense.

      But ultimately, it is not Heidegger’s own statements that authorize us to interpret his tool-analysis as leading back toward the Kantian noumenon. Thought experiments are often better understood by later figures than their original authors, as is clear from the history of science: Einstein’s ingenious reinterpretation of the Michelson/Morley experiment on aether drag comes immediately to mind. As soon as we realize that unconscious practices fail to grasp the reality of things just as much as theory and perception do, we come to see that Heidegger’s tool-analysis is not just a new theory of practical reason, but the demonstration of a noumenal surplus beyond all praxis no less than all theory. Furthermore, we must reject Heidegger’s claim that the system of tools is holistic, with all tools linking together in a totality that is determined by the purposes of some human being. For we must never forget that one of the chief features of tools for Heidegger is that they can break, and that nothing would break if it were seamlessly assigned to other tools in its environment. A hammer can break only because it has more features – such as feebleness or fragility – than the current practical system takes into account. While Kant seemed to place the noumena in another world far from human everyday life, Heidegger shows that the thing-in-itself enters and disrupts all thought and action in this world. We are always merely caressing the surface of things, only half-aware that they are more than our theory or praxis takes them to be at any moment. To summarize, what Heidegger bequeaths to philosophy is a model of individual beings impenetrable to the human senses and intellect, but equally opaque to everyday human use. Though he was too focused on the internal drama of human being ever to read his own tool-analysis in quite this way, I believe it would be possible to convince him of this interpretation if he were still alive.

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