Being in Flux. Rein Raud

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discursive framework that bases human society and culture on a continuum not only with other life-forms, but also with things, natural phenomena, and any other way of existence, because only this, and not the premise of cutting us off from all other types of entities,6 makes it possible to describe what are the specifics, if any, of being ‘human’ in this world.

      It should be clear by now that I am going to reject the set of methodological axioms of ‘hard’ physicalism (‘everything that is real can be most adequately described in the language of physics’), which is considered to be the prerequisite of scientific thought by a large number of philosophers. At the same time, however, I will admit the possibility of ‘weak’ physicalism (‘everything that is real can also be described in the language of physics’), without, however, considering it to be very informative. The problem with ‘hard’ physicalism consists in its self-centredness – I am going to argue that there are real phenomena with real causal powers that cannot be adequately accounted for by their reduction to underlying specific physical processes, while a physical description, albeit often a clumsy one with little or no explanatory power, can nonetheless be constructed for them.

      A person, it follows from this, does not need to be continuous in time as a substance or ‘thing’, or even as a pattern, which persists even when the parts it arranges are replaced one by one, until nothing from the original remains. The only kind of ongoing stability that selfhood must have, on this view, is what I have called ‘processual continuity’, or significant overlap with immediately preceding and immediately following stages. The significance of this overlap, as I will be arguing in Chapter 1, is for any process inevitably bound to a vantage point, from which it can be observed and conceptualized. Such a vantage point, comprising the parameters according to which we can call something – a segment of a process, a part of the reality flux – an entity in the first place, need not be occupied by a real observer. It can be completely heuristic, such as the imaginary gaze that moves around among quarks and bosons, or travels in space at nearly the speed of light, or describes to us from the inside the life in an anthill or a bee swarm. Nonetheless, we need to conjure it as the perspective from which certain phenomena can in principle be observed and evaluated. To repeat: one of the central claims of this book is precisely that the human perspective – complete with the speeds, sizes and observed differences between, say, solid and liquid things – is just one of such perspectives among many, and the reality in which we are inextricably immersed can, in theory, legitimately be described from an infinite multitude of vantage points and not just the one our perceptual apparatus is suggesting to us. Moreover, it is our immense privilege that our mind enables us to transcend the boundaries of our own conceptually structured environment and at least wonder what is it like to be a different kind of creature or entity, as Thomas Nagel (1974) and David Chalmers (1996: 293) have famously done for bats and thermostats, respectively.

      Building up from that base level, and always emphasizing the vectorial character of minimal instances of being as well as their selective openness towards some, but not all, of their others, I introduce a version of process ontology that develops certain insights of Alfred North Whitehead, Henri Bergson, Nicholas Rescher and other process theorists into a broader discourse that includes accounts of internality, individuality, temporality, causality and other relevant phenomena. This discourse credits only the immeasurable ‘now’ with absolutely real, material existence, which nonetheless contains the past as traces of causal processes and the future as a range of possibilities. From any perspective, this ‘now’ is disclosed not as an organized structure, but as a field of constitutive tensions – a field without a stable centre, but with a multitude of points vying for this role. Just as, in the cultural semiotics of Yuri Lotman, a work of art cannot be captured in full by any particular reading of it, but exists as a space of multiple contradictory interpretations (1970: 86–7), the momentary state of any entity always consists in both striving for balance and falling out of it at the same time.

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