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The following are some working notes following up on my previous post on the relationship between Charles Sanders Peirce and Alfred North Whitehead, specifically on Peirce’s logical/relational/phenomenological categories (firstness, secondness, thirdness) and Whitehead’s notion of prehension and the “actual occasion.” It’s become clear to me since writing that post that any rapprochement between the two requires going through Charles Hartshorne (which is something I had been resisting due to the theological cast of many of Hartshorne’s writings, but I’ve come to see that it’s unavoidable). [. . .]

This asymmetry is what gives process-relational ontology, at least the kind exemplified by these three thinkers, its evolutionary character and forward momentum. It is also what makes it different from relational philosophies for which all things are symmetrically related to all other things, resulting in the kind of formless, changeless “ontological stew” that Graham Harman (and sometimes Levi Bryant) has critiqued (to which I’ve responded in posts like these).

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The case has often been made — by John Cobb, David Ray Griffin, and others — that Alfred North Whitehead’s process metaphysics provides an account of the universe that is, or could be, foundational to an ecological worldview. This is because it is an account that is naturalist (or realist), relational, evolutionary, and non-dualistic in […]

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My paper for this year’s Society for Cinema and Media Studies conference, coming up next month in Boston, will focus on the two films that got a lot of side-by-side attention at last year’s Cannes festival, Lars von Trier’s Melancholia and Terrence Malick’s The Tree of Life. Since a few of my favorite bloggers have […]

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I’m on my way this week to the Society for Cinema and Media Studies Conference in LA, where I’ll be presenting, in miniature, the ecocritical/ecophilosophical model of cinema that I’m developing in my book-in-progress. This “process-relational” model draws on Peirce, Whitehead, Deleuze, Bergson, Heidegger, and others, with inspirational nods to psychoanalysis, cognitive film theory (which, to be honest, is a little less inspirational, but to some extent inevitable), and individual theorists like Sean Cubitt, John Mullarkey, and Daniel Frampton. Its ecophilosophical basis is that it is primarily concerned with the relationship between cinema — as a technical medium, a thing in the world, and a form of human experience — and the ecologies within which humans are implicated and enmeshed. Here’s one articulation of that model. [. . .]

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