Peirce's notion of "Hypostatic Abstraction" was formulated to reflect the "Hypostatic Union" of the history of Christian theology. Both relational schemas reflect the necessary dependence that oneness has on multiplicity and that multiplicity has on oneness, which can also be formulated as the dependence of self on other(ness), or presence on absence. The immediate, given oneness of Peircean "Firstness" flows into the relational, cause-and-effect, self-as-other twoness of "Secondness" generating the incarnate trinity of the "Thirdness" that is the Hypostatic Abstraction of the appearance of "thirds" (phenomenal objects), which comprise Peirce's semiological ontology of the Firstness of first person, subjective experience.

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Cosmic Stew 

1. The voice of Q, Q: At the sound of the interplanetary voice of Q, you will be shot straight into hyperspace, which is strange because Michael Forte and Bruce Weeden wrote this for their “South Philly” record label as a novelty track response to the popularity of 1982’s E.T.  
2. Magic Midnight, Beam Me Up: Next, you will be beamed up from 1982 Philly and beamed back down in the 2010 Brooklyn of Midnight Magic, but not much has changed sonically as this disco shuffle groove will teleport you right back to 80’s era Paradise Garage with its space-age vibes and Larry Levan-style, disco-diva vocal. 
3. Everyman, Double Exposure (Dam Swindle): There are approximately one million remixes of Double Exposure’s Everyman, and I love almost every one of them. It received the re-edit, 12inch treatment, as did much of the Salsoul catalog, immediately after its release in 1976 by such luminary, disco deejays as Tee Scott, Tom Moulton, and Walter Gibbons, and has had endless other house remixes and samples throughout the last four decades by such house producers as Todd Terry, Shep Pettibone, Joey Negro, and Late Nite Tuff Guy to name only a few. 
4. First Choice, Let No Man Put Asunder (Alan Dixon): There are approximately two million remixes of First Choice’s Let No Man Put Asunder, and I love almost every one of them. And the reason for all this remix and sampling love is probably because, as with most of the disco that got heavy attention from the house community, it was played by Frankie Knuckles at the Warehouse and remixed by Ron Hardy at the Music Box. 
5. First Choice, Love Having You Around (Late Nite Tuff Guy): Philadelphia soul, particularly Salsoul, gets remixed and sampled to death because it absolutely kills on New York and Chicago dance floors. Furthermore, any Stevie Wonder sample or rework, such as this First Choice cover of Love Having You Around, will send any Chicagoan within earshot into an uncontrollable Ecstasy. A little tip when deejaying in Chicago, play one of the great remixes that samples Stevie’s “As.” Human beings will lose their minds and love you forever. 
6. Parliament / Funkadelic, Mothership Reconnection (Scott Grooves): This remix f-ing rocks. It brings all the power and joy of P-funk's euphoric, crowd chants and deep funk grooves. Funk and Disco had a kind war of distinction between the street-cred of funk and the heavy orchestration of disco, but House producers often saw no problem employing either or both to get asses moving. Are you going to “ride when the Mother Ship comes?” Yes! 
7. First Choice, Dr. Love (Late Nite Tuff Guy): Tom Moulton did House Music a huge favor by remixing that “di di di di de” string hook that drives so many House tracks, especially Terrence Parker’s total banger Your Love, as well as a bunch of the Henry Street catalog. New Yorks’s Henry Street Records is another huge reason that many of the 70s disco classics get so much love. Famously, it was a huge struggle for Moulton to loop that di de string section because the percussionists hadn’t kept consistent time. I guess they hadn’t used a click track, which was the norm for disco of the time. 
8. Instant Funk, I Got My Mind Made Up (Alan Dixon): A classic Larry Levan 12inch that gets anyone anytime. 
9. K-Alexi Shelby: Ron Hardy Memo (Riva Starr): There are so many amazing tributes to Ron Hardy, and this is one of my favorites from Chicago, hometown, hero K-Alexi. And speaking of Ron Hardy remixing Let No Man Put Asunder, this track has “got something for your mind, body, and soul!” 
10. Natasha Kitty Kat, Windy City: Such a wonderful sample from Carl Davis’s Chi-Sound Orchestra! Just sink into this 70’s soul-jazz classic. It’ll put a pep in your step as you stroll along the Chicago lake front on a breezy summer day. 
11. DJ Scratch, Electric Stew (We Can Get Down): DJ Scratch is a super prolific, New York, Hip Hop producer since the 1980s, but he’s produced a couple of house tracks lately based on some of the folks that he’s worked with in the past, such as EPMD and Q-Tip. Let’s get down to this soulful groove. 
12. The Detroit Emeralds, You’re Getting a Little Bit Smart: Westbound records from Detroit, not to be confused with “West End Records” from NYC, came from Detroit, but just like many West End releases, these funk-soul gems wound up in the hands of New York’s Tom Moulton and Larry Levan for the 12inch disco dance floor treatment. “You’re Getting a Little Bit Smart,” was first sampled the hell out of by the Hip Hop community in the 80s for its beginning drum break. I don’t remember how I found this house-y rework, or who did it, but such is the way with some of these white label productions. 
13. Double Exposure: My Love is Free (David Morales): Here’s a classic, rapturous romp! Philly’s Sal Soul, New York’s Paradise Garage, and Chicago House fit like hand(s) in glove(s). Let love set us free. 
14. Qubiko: Raw Love: Whoops! I didn’t mix into this one well at all, so if you want to hear what it sounds like when a human deejay f---s up his beat matching, here it is! I had it in the very beginning but quickly lost it and couldn’t get it back. The track is a classic sample of Roy Ayers and Sylvia Striplin’s “Give Me Your Love.” 
15. DJ Scratch, Go!: Here’s the other new DJ Scratch House track, which like Electric Stew, was released on OG Chicago Househead, Terry Hunter’s, “Mirror Ball” records. 

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In Chicago in the 90’s, I learned about House Music from Derrick Carter. I had first heard House Music on WBMX, Oak Park like most Chicago area youth. My mind was blown in 1987 when I heard Armando Gallop play his song “Land of Confusion” on the radio. I felt strongly that the aliens had landed and that nothing would ever be the same. I already loved Chicago’s Wax Trax “Industrial” music, which was soon to be renamed “Electric Body Music” in the 90’s for its use of dancing drum machines, synth lines, and samples, but Armando’s, and his then partner Mike Dunn’s, “Acid House” took whatever psychedelic escape into alternate sonic textures and dance rhythms I was looking for as a fourteen-year-old to a whole new level.  

I grew up on the Northside, a few blocks from the Campus of Northwestern University in the “village” of Wilmette, which was still on the Chicago “grid” of numbered north-south and east-west blocks, and which was the northern-most stop of the “El,” Linden St, but which seemed like a million miles away from the home of House Music in the 80’s on the Southside. House Music had a special home in Southside Catholic school fundraiser dances for reasons that I can’t get into right now, but besides my exposure to it on WBMX, when I went to Catholic youth summer camp in Wisconsin, the Southside campers came equipped with House mixtapes and new ways of dancing. 

In Chicago in the 90’s, I saw Derrick Carter spinning at a club called “Belin” on the Northside. I had already been to some amazing warehouse parties where I heard House and Techno played at proper volume and on proper sound systems. I was completely obsessed with the sort of ecstatic trance that a 4 on the floor bass kick could evoke completely drug free. Electric body music, indeed. Derrick’s wise shamanism took the whole crossing the threshold of liminal realms-thing to a new level for me that evening. He mixed stuff, as a lot of Chicago Deejay's did, with a lot of disco and funk samples, which got me back in touch with the dreamy disco of my hazy younger years, which made it extra magical, extra liminal, extra ecstatic. I realized then that he was my favorite Deejay, so whenever I went to Gramophone to buy mixtapes, I only bought his from that point on.  

His taste is what is reflected in this mix. I learned what was good from him. I probably heard him play each of these tracks over time on various of his mixtapes and outings and events. It has taken many years to track down these tracks, but it has gotten much easier now that I have learned how to cheat by using AI search engines rather than digging through the bins at gramophone.  

1. Sound Stream: Motion: frolicking, 70’s, light jazz organ stutter-stepped and screwed up for the sampled-based collage crowd, perfect bliss 
2. Chris Simmonds: Rush N Soul: ohh, the rush of bursting phantasms of alien light grounded in a chugging rhythm of many subtly textured hues  
3. Chris Simmonds: New Old Shit: Wash me in the warm oscillations of the unwinding siren. I think she’s saying, “I'm going get you,” and she’s right, of course. 
4. Mood II Swing: Ohh: funky bouncing bass, dreamy synth lines, and the capacious, rhythmic musing of elsewhere. One of my all-time favorites. This is paradise, I want to stay here. 
5. Kerri Chandler: Bar a Thym: cowbell and one of the most abundant synth lines of all time from a true master of electric sound manipulations. I want some more. 
6. DJ Spen: War Cry: Don’t go into spiritual warfare without this track, guaranteed to defeat demons. Wow! What a banger! You cannot lose when you step to this gospel. 
7. Mood II Swing: Do It Your Way: how moving your own way and crisp, crunchy cymbals whipping their tight cycles all around a doppler effect room can show you novel, bodily intensities 
8. Eddie Amor: House Music (Robosonic): from “Together Forever” by Exodus, one of the best disco samples ever! Wow, when this thing kicks in, I shiver with delight. 
9. Todd Edwards: Wishing I Was Home: wistful and whimsical for your esoteric journey home. This is a Carpenter’s record all cut up and rearranged in a very particular order that makes your body buzz with pleasure. 
10. Omar S: Gonna Luv You: This is that uncanny place that they call into being in Detroit somewhere between melancholy and deep joy when they mix up a batch of their hi-tech soul. 
11. Julius Knight: Find a Friend: Sylvester from his song “Over and Over” along with the folks at a mythic, underground disco party chanting “Find a Friend” just before the whole scene disappears into a Brigadoon-like mist.  
12. Mark Broom: Jackson Edits: This sample has got to be illegal, but Holy Shit does it jam, and the Fast Eddie acid line that it goes out on is to die for. 
13. Le Visiteur: Let the Sunshine in: Herman Kelly’s “Dance to the Drummer’s Beat” has been sampled a lot, most notably by Run DMC, NWA, and Public Enemy, and it is put to very good use here. But when the Fifth Dimension’s love chant “Let the Sunshine in” comes ripping in, every hidden burden that you’ve been carrying will be lifted. 
14. Chez Damier: Chez B. Untitled: The sound design on this synth line is unmatched. It just slams into you in euphoric, disco waves.  
15. Jamie 3:26:Funkanova: Ron Hardy used to play the original Jazz-Funk “Wood Brass, and Steel” version from 1977, but this incredibly numinous and gleeful, late 70s Chicago Dance Floor favorite has been sampled, so many times in House Music, and for good reason. 
16. Mark Broom: Break 97: I don’t know where these samples are from, but they are the sort of super fun, chanting and clapping, coupled with some wonderful piano house loops, that I love. These are the sounds of the lost, stomping dance floors full of ruckus weirdos that we all long for. 
17. Kenny Dope: Tribal Seagulls: I think of this as electronic, Brazilian carnival music. This is the exact carnival parade that I want to march in either when I die and can do whatever I want, or some time before that if the opportunity pops up.  
18. Mood II Swing: Move Me: Barbra Ann Teer spoken word samples appear through Mood II Swing’s catalog but listen to this track and tell me that it doesn’t sound like Basic Channel’s “Dub Techno.” Super psychoactive stuff.  

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Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Nigredo Studies:  

1. Mark Henning, Jaguar: bouncy rays of twice-negated darkness 
2. Mark Broom: Satellite (Alex Bau Repaint): take the line of flight found in the maw of these soft laser beams 
3. Luke Slater, O-Ton (Reassembled 1): breathe through this precipitous sound machine, feel your guts tremble in vertiginous ecstasy 
4. Juan Atkins, Transport (Carl Craig): the Detroit masters arrive with offerings from the unseen realm of deep, sonorous, rubbery bands as well as skull-smashing four on the floor bass drums 
5. Juan Atkins, Starlight (Mike Huckaby): wash in the dub streams of fuzzy, dynamic bliss 
6. Parallel 9, Quanan: time for a long swim in the river Styx, bathe in its electric biochemical flows  
7. Parallel 9, Quantico: the warm rushes of nonbeing deterritorialize the determinate biology of being  
8. Blawan, 993: open wide and let the deep resonances of the body without organs fill the air 
9. Robert Hood: Higher! (Ben Sims): Praise and worship the capacious love from which you come 
10. Terrance Parker, Alarm the Sound: (Tiefschwarz): let all with ears hear, elsewhere’s glorious groove is far-near, already but not yet, and revealed as hidden 
11. Mark Henning, Exit Acid: cast out demons so they can wonder in the fatuousness of their own dry places and your daemon will find your house cleaned and hospitable for its gratuitous musings 
12. Terrance Parker: Alarm the Sound (Dirty Channels): emergency dance meeting at my house 
13. Luigi Madonna, Unconditional Beauty: beauty is a sublime horror, as the Italians well know 
14. Truss, Beacon: The radiant, green snake speaks, so listen 
15. Randomer, Stupid Things: stupidity is the new wisdom of alchemy’s synchronistic errors, only confusion can save us from clarity 

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Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Paul Ricoeur also formulated semantic meaning in terms of the relative degrees of freedom given to the intention of the interpretant, which for Ricouer was the hermeneutic circle of interpretation itself. The signifier determines its signified incompletely, which leaves room for possible interpretations in the gap between them. The irreducible ambiguity of this gap is generative because new semantics and new concepts can be formed in the clash of interpretations within the conceptual mediation of the intention of the interpretant, which mirrors Ricoeur’s depiction of a metaphor as a clash of meanings that poetically renewed and increased being within the degrees of freedom given by the virtuality of the imagination. 

The more distantiated the relation between the signifier and its signified, which was the relative level of abstraction of the interpretant, the more degrees of freedom contained in the possibility space actuated by the relation. Even semantic possibility spaces that seemed mostly determined, such as the indexical relation of cause and effect, can be reopened to reinterpretation, or reimagination, through the clash of possible interpretations given by the interpretant of the metaphor. One of Ricoeur’s favorite examples is GM Hopkins’ metaphorical predication, “The mind contains mountains,” which clearly contains sublime degrees of freedom for the poetic imaginations of a community of interpreters. For Ricoeur, as for Giles Deleuze, imaginal virtuality was actual and as ontologically real as a physically actualized possibility space, just as a conceptual realization in this actual possibility space was as ontologically real as a physical realization. Finally, CS Peirce’s “Hypostatic Abstract” has many illuminating overlaps with Ricoeur’s notion of semantic realization in the poetic imagination to be covered in the next episode. 

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1. Pagan horror, such as Wicker Man, The Witch, and Midsommer, are the horror of the World-for-Us because pagan techne is for the instrumentalization of the world. In Pagan religious praxis the spiritual realm is studied to transact with according to the intentions of the practitioner. From the perspective of Demonology, which is how the Christian Church viewed pagan praxis, demons were identified by name to bind them for a transactional intention. However, once summoned, demons often were able to trade their binding for the binding of the summoner. The mythological structure of the Faustian Bargain reveals this reversal in which obtaining the demon’s favor exacts a high price. 
2. The Horror of the unknowable intention of the Other explored in narrative troupes such as the “Slasher” or demonic possession is the horror of the World-In-Itself. The world of the unknowable other withdraws from us as the enigma of Being-In-Itself. This is the same enigma as that of the Being-for-Itself of Heidegger's Present-at-Hand intention, but the Other’s intention withdraws from subjective intention in a sinister manner in the Horror genre because the paradox of intentional ambiguity appears as the threat of desire’s inherent unknowability. It is not just unclear what motivates Jason Vorhees or Michael Myers to kill, it is unknowable. This unknowability is the horror of the “in-itself” of desire’s eternal withdrawal from the intention. When this indeterminacy shifts from the external Other to the internalized Other of the voice from within, the question shifts from “What does the Other want from me?” to “What does the Other who speaks as me want?”. This internalization of unintentional desire is ultimately the reason why the desire of the Other is unknowable i.e.: the Other’s desire is also unknowable to himself. Jason Vorhees and Michael Myers also don’t know why they do what they do, even though the narratives of both include various versions of “Origin Stories.” Origin Stories may go some way to suggesting the Slasher’s intentions but offer no final or definitive account of the ambiguous excess of his desire. The demonic possession narrative simply conveys the unknowability of the desire of the Other to the ambiguity of the desire within. The intention of the Other withdraws from the subjective intention in the same way that the subject withdraws from itself as the subjective unconscious, which is why the unconscious is the fount of all horror. 
3. The Cosmic horror of no-intention is most associated with HP Lovecraft. The end of entropy is not the unintentional relations of chaos but the total absence of relations. Cosmic Horror such as Stephen King’s The Mist or Lovecraft’s The Color out of Space present the absence of intention as what cannot be brought into relation with the subjective intention. This is not the unknowability of intention, nor the negation of intention, but the before and beyond of both. 

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Do you believe in god or any spiritual dimension to the universe?

“I guess the real question is: Does God believe in Himself? I prefer a God who isn’t really sure if He exists or not. In all the best religious experiences, nobody’s certain about what’s going on, including and especially God.”

“When God showed up in a whirlwind and upbraided Job about how he wasn’t there at the foundation of the Universe, God starts talking about those weird and heady creatio ex nihilo times all cool like were you there when Deep calls to Deep? and this sounds badass, but then God gets lost in rambling about Behemoth and Leviathan and stuff that nobody’s sure why He made or what exactly they even are—but God wanted to seem like He was in more control than He actually was.”

“God reveals His unconscious in this diatribe when He disavows His part in the evil that Job is suffering. Jung interpreted God’s “shadow self” as His repudiation of His relation to His son Satan—which is to deny that if you are the author of everything, then you are also the instigator of evil.”

“For me, God’s shadow is ambiguity, which is His inability to determine all there is of the Universe. In other words, God has an unconscious just like the rest of us. He can’t be omnibenevolent because of His part in the evils of the world. But this lack of at-oneness, this lack of control, allows for whatever cool but incomprehensible stuff might follow from this impotence.”

“My favorite Talmudic passage depicts rabbis arguing about the Oven of Akhani, which was a dispute about the purity of said oven for kosher cooking. God shows up to settle the controversy because it’s His law after all. But Rabbi Joshua tells God that He doesn’t have a say in the matter since the Torah is in their hands now.”

“The gift of ambiguity is better than clarity because it is always open to
further interpretation, and the joy of humanity is the community of interlocutors that indeterminacy gifts to us. Belief as a test of faith was a huge mistake. Religion took a wrong turn when it started to lift up psychosis as its preferred position. Psychosis is fine and has its place, but neurotic doubt is an undeniable salve for too much belief.”

“I’m whatever religion they were at Gobekli Tepe. Religious practice should be a celebration of irreducible ambiguity. I was so excited when they uncovered Gobekli Tepe in Southern Turkey and Klaus Schmidt was like, “What the hell was going on here?” and decided it was a prehistoric zoo. Here was a city almost twelve thousand years old, built not for sedentary and hierarchical people but for the sacred practices of hunter-gathers who came together uncoerced to celebrate holy mysteries with ambiguous trickster gods in liminal spaces designed for music, dancing, stories, feasting, and shit-tons of carved animals doing stuff, like a vulture presenting an orb to a man without a head but with a prominent phallus, and the sublime wonderment of a submerged room with benches along the walls and loads of giant stone penises in the middle for some reason.”

“Schmidt and countless others have speculated on what these people thought that they were doing there. I for one, perhaps naively, hope they didn’t precisely know what they were doing there. Hegel famously pondered the “mysteries of the Ancient Egyptian religions,” to which Žižek postulated that “the mysteries of the Ancient Egyptians were mysterious to the Ancient Egyptians too.””

“Amen.”

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But the limitations of situated-being's facticity was also the horizon of any possible knowing because knowing is intentional, which is to say that knowing is motivated, motivated in the first place by "Dasein's" thrownness, which is the limit and horizon of its knowing, and then motivated in the second place by the uncertainty reduction of niche construction. Therefore, all knowing is motivated by care about being and not by knowing itself, or rather, knowing itself is care for being. Ontic beings care about the Ontology of the Being from which they were thrown, as well as the particularities of the situation into which they have been thrown. Ricoeur's great contribution to knowing about being was to formulation how an observer's situated intention can contributed to an open circle of other intentional situations. The differences of intentional situations require interpretations of being rather than a closed, determinate identification of being-in-itself. Ricoeur's version of the hermeneutic circle was formulated as the circle of "Self as Another," in which each self knows itself through another, or through the indeterminacy of otherness.

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We left Bloomington, Indiana in 1995 with our totally useless degrees in Religious Studies and Philosophy. Scott had a moment of no return seeing DJ Bone blowing minds at an abandoned building with stolen electricity "somewhere in Detroit," and then visiting Submerge to spend what very little money he had on Underground Resistance records, which explains the heavy presence of UR on this mix. Thankfully, the first time that he went shopping, Mike Banks was there to help him spend his money right. 

For me, it was DJ Hyperactive showing me what to buy at a record store on the Southside of Chicago that I can't remember the name of right now, but it wasn't Gramophone, which is on the Northside and where fellow IU grad Miles Maeda worked. I first heard Jeff Mills, Robert Hood, Juan Atkins, and German techno, mostly Tresor records, from Hyperactive. I once went to a party when I was an undergraduate at IU where Miles Maeda was spinning, and he was playing a lot of Detroit stuff too. I specifically remember hearing Derrick May, Juan Atkins, and Aux 88 for the first time at that IU party, and this taught me that whatever beef there supposedly was between Detroit and Chicago, it wasn't very deep. In terms of Chicago house music, my hero was Derrick Carter. I would buy his mix tapes at Gramophone, and then spend the rest of my life trying to find those record. Thirty year later, I've been able to discover quite a few.

1. Convextion, Miranda: This one tickles the brain into a remembrance of forgotten dimensions of the body. This was one of the first records that an anonymous member of the UR crew handed to Scott when he politely asked for some help one day at Submerge back in 96.

2. Thomas Barrett, Re-synthesized: Pure UR madness. It builds and builds without a breakdown or a break of any kind. We're just marching the f— forward into the post-industrial collapse of the the lost future. Get in line or get lost.

3. Psychofuk, Pyschofuk: I really don't know what this is, other than it was one of the records given to Scott at Submerge. Oddly it's on Strictly Rhythm, which is a New York label that isn't associated with this sort of synthesized psychosis. Whatever "Psychofuk" is, it is properly named because it has the correct affect that "Hi-Tek" funk should on one's nuero-biology. These esoteric esoteric sounds call the far near.

4. Basic Channel, Phylps Track 11/11: Scott and I had a Hyperactive mixtape with it on it, and we use to call it the "Train Song," until Scott asked Carlos Soulffront what it was when we heard him put it on at a 90Detroit party. German Dub Techno was the perfect combination of groovy and electronic. A synthesizer manipulates and amplifies electricity. Human bodies are run on electro-chemical grooves. German Dub Tech Scientists were able to put electricity into these enchanted kinds of body grooves because of their past experiments with "Electric Body Music" and Dub Reggae. They then ran the whole tincture through an echo chamber, and this is what came out. Play it loudly on a good sound system.

5. Sender Berlin, Sendersuchlauf: Trust the Germans with their electronic dub machines. They understand post industrial collapse and the weird, wonderful noises that it makes. They loop these sounds and run them through strange filters, and then they slam a four on the floor bass apocalypse down, which really ties the room together. You'll love it.

6. Juan Atkins, Session 1: The Originator! Germany and Detroit have had an uncanny connection from the begging of this electronic music thing. Kraftwerk and Can got electronic noises moving towards body movement in the 70's. And then the Electrifying Mojo introduced Detroiters to both German synth music and Italio-disco in the late 70s / early 80s. Juan Atkins had no idea how his music was being regarded in Europe in the early 80s, but it was regarded and highly so. Germans have enthusiastically followed Detroit's techno output ever since. Juan took a class in high school about "Futurism," and then he bought the proper machinery to create the Future's soundtrack.

7. Suburban Knight: Echolocation: What an eerie UR banger. Thomas Nagel wrote a famous essay about how we can't really know what it's like to be a bat because we know the world visually rather than through echolocation. Thankfully, James Pennington was able to disclose the "what-its-like-ness" of bat-ness with this track.

8. I think this track is called "One Sparkle" by Fumiya Tanaka: I remember it being on a Tresor compilation of some kind, but I can't find it right now. It sounds like a Jeff Mills track to me. The Japanese loved Detroit techno too, and I love this track's hauntological, driving vibe. There's some sort of deformed signal that might be a ship lost at sea in a storm ringing its warped, liquid-metal bell for help. But when you get there, its a massive 1950's fly saucer, and it ripples with the aquiferous music of the raging sea, as if it and the sea had always sung like that to each other, so no emergency after all, I guess.

9. Luke Slater (Planetary Assault Systems), Dungeon: I have no idea why Luke Slater called this track "Dungeon," but those are not the vibes that it gives to me, unless we're talking about the famous Tesor club in Berlin that in many ways resembled a dungeon because it was in the basement of what had been a fallout shelter in East Berlin. But Slater is an Englishman from Reading who definitely spun in some pretty dank place, including Tresor. This track sounds like some very esoteric alien creed with those staccato, metallic xylophone loops. And then there are those Kraftwerk Autobahn rushes employing the doppler effect to its proper ends.

10. Sender Berlin, Tragerfrequenz: Yes, twice. I'm just now realizing that I don't really know anything about Sender Berlin, except that they're German and on Tresor's record label, which is how I first heard them. This one is like an accidentally overheard, alien chant. When alien's get together for spell casting, it sounds like bouncing fuzz. 

11. Octave One, Eniac: The track is named after the world's first electronic, general-purpose digital computer. The Burden Brothers of Octave One are a perfect example of Underground Resistance's combining of funk, jazz, soul, and technology. This track sounds like the sort of trains of the future that we were promised but never materialized. Detroit is famous for having a monorail that runs around its downtown, which very few people ever ride because it really doesn't go anywhere useful. It was a particularly odd sight in the 90s before any of the revitalization efforts began in the downtown area. It just continually ran around a decrepit city scape providing a haunting contrast between the Detroit of the past and its seemingly cancelled future.

12. Daniel Bell: Science Fiction. This was a short but very cool phase in Daniel Bell's career in which he made bleep and boop techno. I love the 1960 Sci-fi vibes. Bell takes us to a clandestine laboratory of officially banned but secretly performed experiments with this one. Someone is trying to revivify something awful, and it's working. Just keep turning those knobs and let's see what happens.

https://youtu.be/AXgrppWd5Vs

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Thanks to James R for helping me to get this posted. He's been getting me acclimated to the world of modern technology for a couple of years now, and much to everyone's chagrin is the main reason that I have a website for my writing and podcasts and stuff like that.

I redid the mix to be more to my liking from the party at which I was pretty rusty and didn't hold together some of the tracks as well as I would have liked. I don't have the modern mixing equipment that matches the beat for you, so I had to do it manually, as we did back in the day. This is a continuous mix, so there are no track breaks, but here is what I remember of what I mixed plus some other tracks as well:

1. I love this first track so much, it's a remix of the Fleetwood Mac song "Sarah." I think it was done by this dude who calls himself "Doctor Soul." He ran it through all kinds of filters and effects to make Stevie Nicks extra dreamy, and then sped it up and gave it that "four on the floor" house beat that gives the body the universal signal to move.

2. I heard this one really early in my warehouse party days because it was very popular in Chicago. It was a "French house filter track," as we used to say, by DJ. Gregory called "Sunshine People," I think the sample is from Chic. This version is from Darrio D Attis.

3. This sample, which I always called "Street Life," because that's the name of the Crusaders song that it was taken from, was super popular in Chicago. I think that I first heard Derrick Carter playing the version by Cricco Castelli. Everyone used to go crazy when that organ stab started to play and loop in joyful circles. This version is from Purple Disco Machine who is this Turkish German guy, if I understand correctly.

4. This song is called "Soul Power," by Full Intention. It's a good example of "Gospel house." The four on the floor beat of house music is from Gospel music. It's like when people start catching the Holy Ghost, and the organist is slamming all four bass pedals to the floor like she's banging out a bass rhythm, but there's a lot of disco elements in this song too, like the staccato string stabs and bubbly rhythm sounds. Full Intention have been around since the beginning.

5. I just call this next track "chucking" because it sounds like the disco chucking on guitar that Nile Rodgers used to do. It's from another Turkish German guy who's been around forever called "Mousse T." 

6. This one was called "Ron Hardy's Revenge" after a famous saying by Ron Hardy that house music was disco's revenge. This contains a now very popular sample that Ron Hardy used to play over tracks that he was spinning. It's a Disco Diva, maybe Loleatta Holloway or Evelyn King or Thelma Houston or Norma Jean Wright giving a speech about resilience in the face of adversity. I always forget who this is, and it's hard to figure out a good way to search for it, but Ron Hardy (RIP) definitely invented playing an inspirational a cappella track over a beat.

7. I call this one "Jack Chicago," and I know very little about it. But it's full of fun, filter builds and horn stabs and a great sample of someone saying "jack Chicago," and "He's really the only one for me." It like a super badass, radio advertisement for Chicago house music.

8. This one is super disco-y. The sample is people saying "Break down the door," I think, which sounds like some super awesome disco emergency in which you have to get into the club to "dance your ass off," as Sal Soul used to say.

9. This one is Nick Holder, and it's called "Paradise." I really love the disco dance floor peaks and swells in this one. Holder takes us all to Paradise here, especially with those high pitched synth chirps that sound like the birds of paradise or angels calling us to a tropical heaven.

10. I call this one "keep on trucking" because that was a popular saying in the 70s, and this track sounds like a disco trucker rolling down the highway, but then there are these awesome deep strings making it sound like that "Disco Fever" track that I remember from the double album from the movie soundtrack that my parents had, which was called something like "Journey to Disco Mountain." I used to beg my mother to play that disco mountain song because that was one disco peak I yearned to scale over and over again in 1978. Whatever else is going on in this song, it almost sounds kind of country too, like that "Devil Went Down to George" song, which I also begged my mother to play over and over again in 1978. Fiddle battles between the Oakridge Boys and the Devil were pretty epic.

11. This is an Ian Pooley track, who is my favorite German producer and deejay. This one feels like a swirling, Latin rumba or something. I saw Ian once at the Detroit Movement festival a long time ago, and he seemed to raise his larger to me as I would lose my mind to each new groove that he mixed into. When Germans raise their steins to you, it means, "Respect, bro, thank you for acting like an out of control loser when play my tunes. It means a lot to me since I've come all the way here to Detroit from the far away land of the German people."

12. I only know that this one has a Sister Sledge sample in it, and it might be called "Disco Tools." It's so fun, and what a great build to a tremendous disco eruption! 

13. This one is Karizma, and it was a very popular gospel house track maybe a decade ago or so. The sample is from a classic gospel song, which I don't know the name of, but the lead singer and the choir are singing about having bills due and how God is going to "Work It Out." James Baldwin wrote in his classic "Go Tell It on the Mountain," that when the church music hits you, there is no question of doubt, you're just fully ensconced in belief. We all need a few moments of full on religious psychosis on a daily basis, especially when bills are due and there isn't much in the bank, because somebody's got to work that out.

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https://youtu.be/LVgJOT9PXxA and this is the YouTube link to the episode if you'd like a visual of us hashing out Annihilation.

We get deep into the weird genetic refractions of Alex Garland's very loose take on Jeff Vandermeer's Annihilation. Area X seems to be a place of infinite possibilities, except for the possibility of remaining untouched by the mysterious, churning flows of organic codes that produce mixed bodies of unknowable intention. What is the intention of this alien presence in what seems to be a swamp somewhere on the Florida coast of the Gulf of Mexico? Maybe, it doesn't have one. Join us as we think about the human proclivity for self-destruction, the ambiguity of identity, and how the intentions of organic bodies arise from the non-intention of inorganic processes.

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https://youtu.be/Fgjqb6bKJ_s

My Uncle Father Herb, my Dad Bob, and I discuss Jesus's testing in the desert. I chose the passage this time. It has always spoken to me about how we are left to interpret the Word of God for ourselves but as a community of interpreters. There will be no one "absolute" interpretation that excludes all the others. However, there will be interpretations that cannot withstand the practices of a hermeneutic circle of responsible interpreters. A hermeneutic circle tests possible interpretations against a set of criteria, which for our circle of Biblical interpreters includes: historical-critical techniques and scholarly information, the history of the theological interpretations of the Church, and our own experiences of trying to apply Biblical teachings and narratives to our lives. But the most important principle for the interpretive practices of those who seek the God of love is love, which is sometimes called the interpretive practice of "Christ the Key" in the Church's tradition of Biblical interpretation. Our faith is that the histories, mythologies and even the laws of the Bible must be interpreted, which means they are open, except for those interpretations that would close one off to hope or love. Unloving Biblical interpretation is without the inspiration of the Holy Spirit and is what proliferates most rampantly today. This is the consequence of both our fallenness and our freedom to interpret without love's lure. 

Love is revealed anew throughout ours lives as it has historically been reveled through out the lives of those who have sought it, but it is always a lure to love and never compulsory because love according to its nature must be freely chosen. Even when things seem dark or evil, it is our faith that God is still speaking as the lure to love. Jesus's test in the desert reveals His ministry and is character to Himself and to those that would follow Him. Satan's job as God's "prosecuting attorney," is to test and reveal. In the desert Jesus reinterprets the figure of the "Messiah" from his Jewish tradition and scripture according to the law of love, so that it becomes a figure not of power but of weakness as love does not overpower or control. Jesus passes His test by refusing to test, which is to choose the revelation of love over whatever revelation is given by tests of strength.

If you want to check this episode out on YouTube: https://youtu.be/Fgjqb6bKJ_s

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Raw or unmediated percepts have to be copulated with other percepts to be perceived, which means that at least the categories of relation and difference are necessary mediators of whatever appears as given. The primary relation, or category, of cause to effect is given by the relation of space-time to matter-energy according to the categories of the natural laws. But causes cannot be directly observed, as David Hume famously pointed out, and effects, especially those considered as what appears as the phenomena of the world, cannot be reduced in total to material causality as is demonstrated in the work of Jean-Luc Marion by his concept of "Saturated Phenomena." The too-much givenness of Saturated Phenomena leaves any possible reduction to physical causality or to conceptual reasons constitutively incomplete, and therefore, they produce the non-objects of "Counter-Experience," rather than the objects of the material reduction or to the phenomena of the Eidetic reduction. 

This incompleteness, which Marion describes as the mismatch between intuition and intention or between what is given as affective, or felt, phenomena and what can be reduced to causes, leaves room for the virtual space of the subjunctive Imaginary in which possibilities can be actuated and realized, but also in which these realizations actualize more open possibility, which Deleuze thought of as the difference given by a repetition without a concept and Meister Eckhart thought of as God's revealing by withdrawing deeper into His infinite depths. This is the infinitely open, constantly multiplying possibility that does not mean a hermeneutics of anything-goes, but rather of a dialectic with the creative processes of being's becoming other than itself in the relation of identity to difference or self to other or interior to exterior or the One to the many, and so on. Hermeneutics is then where we will turn to next in season three because it is how we participate in creation by making being eternally new.

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Perhaps, nonbeing's victory will eventually be absolute in its ultimate, self-defeating, heat death. But until then, the void will speak in the deformations and clumpy configurations wrought in matter's inconsistent dispersal into the abyss that birthed it. For now, being's excess coincides with its lack, which is its lack of oneness, or its inability to unify all of its multiplicity under a single intention. The One that "fails to be at one with itself" is being's intimacy with the nonbeing endemic to it. Let all things be made new in the continual baptism of the dialectic of love, in which the beautiful, sublime, and horrific erotically twist around each other in Blakesque songs of experience.

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Lacan saw the projection of the virtual object, which he called "Objet-Petit-a" in a similar manner, as a fantasy projection of wholeness onto what was essentially incomplete, disunified, and ambiguous, like Deleuze's differential background from which any temporary repetition emerged, which Deleuze called, "Difference-in-itself." Lacan's phenomenology can be said to be that of object-small-a because it was a fantasy projection that unified a multiplicity or positivized a lack of oneness as if a one, which was the oneness imagined in Lacan's register of the Imaginary. Badiou, referring to the work of Meillassoux, called this projection of oneness the "take-as-one" function of Set Theory, in which oneness is imposed by defining what belongs in the set and what doesn't. The outside definition of a set, or its externally given intention, functions as a classical substance because it defines what it contains like a substance used to contain its attributes. 

In Kant's phenomenology, the subjective intention "synthesizes" objective phenomena via intuitive categories, and then projects these objectifications as what appears as the objective, exterior world. This intuitive synthesis accords with the general structure of the take-as-one unification because it synthesizes a one from perceptual difference, as in Whitehead's definition of a perception or a conceptualization as at least two percepts joined together according to a rule. However, this synthesis isn't complete as Hegel showed in his dialectical double negation, which didn't resolve into a synthesis but was always left with an irresolvable remainder, which could be called "irreducible ambiguity." Irreducible ambiguity might be thought of as a contradiction that cannot be resolved into a synthesis, but a nonetheless, productive irresolution. If irreducible ambiguity is what withdraws from any interpretation, then, perhaps, it is a productive withdrawal, just as the Lacanian Real is what resists symbolic identification but is also the ground of the Symbolic, or as the void is the negation whose inability to negate itself produces whatever appears as the world.

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But this Eden in which "men were men and women and minorities knew there place," like all other fantasy, lost objects never really was. There has never been a time when the categories of the "Big Other" didn't encounter their failure in the Real. It is just that the repression of this failure has been more or less successful, and with the distance of time, it becomes easier to imagine through the lens of nostalgia that there was a halcyon time when the world knew what it was. But what about the a priori categories that Kant taught were necessary to have even our most basic perceptions? Do those internalizations of the natural laws also fail? Harmon shows that something is lost in what he calls the "overmining" of Structuralism and Process Philosophy, which is for him the withdrawal of the "thing-in-itself" from the relations of symbolic difference so essential for language users to make a world through the copulation of the signifiers and concepts of the Symbolic with percepts. The thing-in-itself also famously withdrew from the pre-conceptual, or intuitive, perceptions of Kant's phenomenal representation in the subjective intention, which he saw as the synthesis of the things that appear to us from the intuitive relations of the categories and the noumenal things-in-themselves. 

This "withdrawal" at the level of the natural laws had been the focus of much of Zizek's recent work on Quantum indeterminacy in which the causal categories of perception fail to determine the things-in-themselves. This failure at the level of the internalized natural laws is mostly due to the unavoidability of the most basic category of cause and effect and its basis in space-time for perception, which is sometimes described as the "observer effect." Quantum fields do not seem to be determined by causes in the same way that the macro level of reality is, which means that they do not seem to be in space-time in the same way either. How can observers totally dependent on causality to either perceive or conceive, know anything about a thing-in-itself that withdraws beyond the a priori categories of quantity, quality, mode, and relation? Let's get into it.

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The Lacanian Imaginary register does something similar because it is what makes the whole and complete objects of the phenomenological world that appear on our intentional screen. However, the perceptual or conceptual unity of a "natural" category according to the physical laws or of a virtual category according to the dictates of the concepts of a given Symbolic are projected into the noumenal realm in the Imaginary register, this unification covers over a fundamental lack of oneness constitutive of the "inconsistent multiplicity" of whatever is "before" this imaginary projection, which is how the fundamental binary opposition of indeterminacy, or space, and the determinations of the physical laws on matter / energy "synthesize" whatever there is, or the Universe as a whole. However, there is no complete synthesis, or determination, of being because being isn't a one, except in the imaginary "take as one" function of Set Theory. The Lacanian Real is the inconsistent multiplicity, or the deferential background, of any possible foregrounding of an objective whole in the Imaginary register. The Real exposes that both the wholes of the Kantian intuition as well as the Lacanian Imaginary and the signifiers of the Symbolic are incomplete, which means that the noumenal is the differential background that is always breaking through and warping the foregrounded phenomenal "world." Joan Copjec calls the warped phenomenal objects of the subjective intuition "object-small-a's" because they are the incomplete "wholes" that Lacan outlined as his "abject-petite-a."

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The incompletion of this separation reflects the inherent incompletion of the determination of being into either the positivity of presence or the negativity of absence. The irreducible ambiguity of what is, is that it also "isn't," which is reflected in such bizarre quantum phenomena as "interposition" and "non-locality," as well as in macro level phenomena described best by Jean-Luc Marion's adumbration of "Saturated Phenomena." Saturated Phenomena produce indeterminable hermeneutics from this irreducible ambiguity that resists determination because it resists separation into the most basic categories of being and nonbeing. Binary oppositions give whatever there is to being's self-knowing, but the resistance to knowing in the Lacanian register of the Real allows that self-relation to move. Becoming's continual movement through the dialectical relation of difference is without complete separation, so that knowing, like the being it represents, is a flow, rather than a static determination.

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Binary oppositions are the necessary ground of knowing because when light is separated from the dark, as it is in Genesis, both the dark and the light retroactively create each other. And while they can never be put entirely back together, so that the "light shines in the darkness without the darkness overcoming it," as the Gospel according to John says, there will always be an irreducible remainder of the ambiguity from before the cut. The darkness is also not overcome, and whatever it is that resist the separation of binaries is both the limit and the ground of their dichotomization.

The same is true of the determinate negation of knowing through identification. There is no determination without indeterminacy and no identification without difference. Knowing's limit and horizon is the irreducible ambiguity of what is unknowable, just as the Symbolic co-arrises with the Real. 

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Jean-Luc Marion divides "Saturate Phenomena" into those aspects that can be taken in to ourselves through the intention and those that are intuited. There is a mismatch between intentional, phenomenological representation and immediate, affective intuition. Saturated Phenomena are defined by the too-much-givenness of the intuition that cannot be reduced by the symbolic intention to phenomenal and conceptual objects. The intuition then is a kind of awareness of "over-proximal affects" that can't be symbolize, so that they are in the Lacanian register of the Real, which is the absolute resistance to symbolization. It is this unsymbolizable otherness that connects the abyss within to the abyss without, and which allows being's becoming to be the experimental interpretation of the hermeneutical circle. 

The shift from phenomenology to hermeneutics is the shift from intentional identification in the Symbolic register to the provisional, shifty interpretation in the resister of the Real through the Lacanian Imaginary.

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Things-in-themselves aren't things or objects. They must be in relation with an outside or with otherness or with the intention of another because objects are reified by relations of difference according to physical rules, perceptual apparatuses or concepts. The outside co-arrises with the inside as a relation of difference governed by the natural laws, perceptual categories, and by the signifiers of minded things. The internal parts of an object are made whole by the intention of the whole, but the wholeness of an object isn't isolated within its objectification, but rather it is a relational intention or an intention extended into its outside environment. Evolution by natural selection is a principle that relates bodily objectification to "niche" intention, so that the body of an organism reflects its niche in its biome.

In phenomenology this co-arising of inside and outside as objectification is articulated as the necessity of consciousness to be about something, or to have an object, so that internal subjectivity is given by the difference of external objectivity, or otherness. Unconscious, or reactive, co-variable arising, or causality, is the physically determined intentionality of material objects. Non-physical, conscious intentionality is awareness-of, which in phenomenology is awareness "of" a different or other intention outside of the internal intention. In psychology the "Theory of Mind" is the awareness of the "mindedness," or of the "subjectivity" of the Other. 

However, the psychoanalytic subject does not have an objectifiable intention as other objects do. There will always be a remainder of irreducible ambiguity after an Eidetic reduction is intentionally performed. And this resistance to identity or to intentional conceptualization is what is singular or different or other about the psychoanalytic subject, not only about the outside other but also about the internal other of the subject itself. Psychoanalysis is hermeneutical in natural rather than phenomenological because the irreducible otherness of subjectification requires interpretation rather than phenomenological reduction to objects.

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But mediation doesn't necessarily lessen the immediacy of being. It may be that mediated being is being showing itself to itself as another, but it may simultaneously be true that the interpretation of being is the immediacy of being's becoming through the mediation of perception and conceptualization, a becoming in which some degrees of freedom are actuated by the immediate distantiation of being from itself as an object for itself. This distantiation of being from itself injects indeterminacy into determinate being, which is the space of nonbeing necessary for being to appear to itself and to know itself as itself through otherness. The relation of being to its other, which is nonbeing, is being's becoming as an immediate, dialectical process "for" itself, or "Being-for-itself" rather than "Being-in-itself," as Hegel outlined. In whatever way Being-in-itself is "immediate," it is so immediate that it can't be "for" itself because it is without the relationality of "for-ness" or any other sort of prepositionally given appearance or knowing.

The relationality of "otherness" is the ground of any possible appearance of being "to" or "for" itself, so phenomenology must included hermeneutical interpretation without the totalizing reduction that Husserl called "Eidetic," which would mean the identification and defining of an eternal, unchanging essence or substance. Any reduction of an appearance to knowing must include the indeterminacy of otherness's irreducible ambiguity and thus precludes any complete determination of an identity. Every possible identification includes the otherness of misidentification.

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For Hegel determinate being can step outside of itself, or self-alienate, to imagine itself as an object. It is the lack of total objectification of and in the subjective intention, or the lack of symbolic interpolation, that constitutes the subject's "singularity" in Zizek's formulation, or that allows for some relative degrees of freedom in the register of the Imaginary. The Real is the absolute resistance to the symbolization and the objectification of the intention, but the Imaginary can imagine into, or across, the open spaces of the Real outside of and within determinate being. Lack of interpolation can also be seen as the excess of indeterminate being that allows for an excess of interpretations, which is too much being to determine. There is too much being because being is an indeterminate becoming, which is always becoming more than what the signifiers and concepts of the Symbolic can frame, so that there is an ongoing need for concept creation. It is this excess of being beyond objectification that allows for the imaginary freedom of interpretation. The interpretation of determinate being is the freedom of the symbolic imagination given by the indeterminacy of the void.

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The relation between being and nonbeing gives the open indeterminacy of virtuality, which might be thought of as the relative degrees of freedom contained in "actual possibility." The virtual does have a sort of reality because as Deleuze put it, the virtual is "actualized" but not "realized" possibility. The phenomenological intention works in this same way. It imagines noumenal reality as phenomenal objects. We perceive the world in Gestalt Wholes, not as it is "in-itself." Our freedom is given to us when the wholes given by the concepts of the Symbolic fail to be whole, which is the gap given by the relation of whole objects to what resists objectification completely, which is the Lacanian Real. Zizek formulates this freedom as the failure of the Symbolic to interpolate being in the register of the Real. For example, our personal identity is singular because our "irreducible ambiguity," in Levinas's famous locution, cannot be interpolated into the Symbolic. We are the relation formed at the intersection of the Symbolic and its failure, and this relation is indeterminate. Our freedom is exactly here with this indeterminacy, which Heidegger formulated as determinate being's relation to the void, or the creativity of the imagination. Paul Ricoeur's Hermeneutics demonstrate how this imaginal freedom is properly employed.

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The disjunction between the intention and the intuition in Saturated Phenomena are not so much a disjunction as a relation, in particular, the relation that Lacan outlined as that between the Symbolic and the Real. Every attempt at an interpretation is an attempt to symbolize the Real, but the Real's resistance to symbolization is absolute. But the gift of the Real is the constant renewal of the interpretive intention. Paul Ricoeur thought of this relation as that of the dialectic between language's universality and the particularity of difference that allowed for  imaginal creativity. Much like the Lacanian Imaginary, Ricoeur's imaginal creativity makes whole, but by bringing difference into relation without the resolution of completion, which is the non-completion of the Lacanian "Non-Relation." For both thinkers this wholeness can be the relation between wholeness and its failure, which might be thought of as wholeness without completion or intention without oneness, which would be the necessary ground of the multiplicity of a possible hermeneutic community.

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But the mystical knowing of Jean-Luc Marion's "Saturated Phenomenon" involves putting the unknowable in relation to the knowable to produce a kind of knowing about what can't be known that he calls "Counter-Experience." Counter-Experience is the experience that is given by the failure to know. The failure to know in Marion's Counter-Experience is not because too little information has been given but rather because too much affect has been given to the intuition for the intention to reduce to conceptual or phenomenal objects. The gratuity of this givenness reflects the ultimate gratuity that gives whatever appears to the intention, which is the ground of both what can be known about the Universe and what can't. The unknowable ground of whatever there is, is the gratuity of the love that proceeds even God, which is the love that Marion calls "God without being."

The excess of God's Love precedes Him, and this gratuitous love shows itself as the beyond of the intention, or of what proceeded any possible knowledge, as Counter-Experience. This too-much-givenness then becomes the gift of endless opportunities for interpretations, which are endless opportunities to consider the gratuity that proceeded both being and the knowing of being. The first gift is the appearance of what can't be determined, the second gift is the ingression of this indeterminate excess into the intention via Interpretation. Paul Ricoeur's hermeneutics outlined how what can't be determined must be interpreted. Ricoeur showed how the failure to know gave raise to communities of interpretation, in which God's indeterminate love becomes not only the basis for an indeterminate creation but also the basis for communities of interpretation of the too-much-givenness of being.  

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But as the ground of the dialectic of being-at-play, it must continually love whatever there is into existence by desiring existence in such a way as not to have a final intention for it, so that becoming might have its own intentions, and as many of them as possible. Why is there something rather than nothing? Because love makes a clearing for being to play according to its own multitudinous intentions, which are the purposeless excesses of the many given by the unbecoming of the one. Love's desire for being is abundance, which is the excessive abundance of love's too-much givenness for one intention to contain. The love that grounds being's play is the utter gratuity of the ambiguity that it gives, which is being to itself as an endless becoming without the conditions of purpose. 

All lack in being is a lack of oneness, which is the lack of an end given by the without-purpose of unconditional love. Whatever there is: every beauty, sublimity, or horror is the excess given by love's uncontrolled becoming, so that love's counter-intention is indistinguishable from an unintended accident. The experience of love is Marion's "Counter-Experience," so saturated with ambiguous affect that the intuition cannot be reduced by the intention. The Counter-Experience's aboutness is the super-saturated non-object. The self-sacrificial love that grounds becoming is the sacrifice of intention to the counter-intention of the without-objectification of the intuition. Love's excessive becoming is unconditioned, unintended, and endless, but not without any of them.

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https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Edmund Husserl invented the phenomenological "Epoché" to reduce prior assumptions about what appears to us on our subjective screens, so that whatever appears might appear "as" itself. Prior assumptions can block what appears from appearing as itself because they filter out what doesn't appear according to a given conceptual schema. Giles Deleuze pointed out how concepts can mold reality in such a way as to reduce difference or block it out entirely. But is it even possible to bracket our given concepts in such a way as to encounter what appears in a state of utter Naiveté? For Jean-Luc Marion when something appears from "elsewhere," it appears as invisible, or it is visible as invisible. This is not what appears as visible because of the phenomenological epoché. Reducing or eliminating prior assumptions doesn't reveal its invisible content, so that its "Primary Naiveté," in the words of Paul Ricoeur, is built into its phenomenological structure or way of appearing. It is revealed as unseeable. In order to get a grasp on this apparent contradiction, we'll have to review Marion's phenomenology, especially his great addition to the phenomenological tradition, "Saturated Phenomena." 

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co

Mixed and reverberated tracks may include: MMMD - Egoism, Biosphere - Houses, Basic Channel - Radiance, Heathered Pearls - Beach Shelter

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co

Elements of Ghost Dubs - Chemical, Pole - Berlin, MMMD - Egoismo, Biosphere - Houses on the Hill, and Basic Channel - Radiance decelerated and run through the mystical midnight echo chamber.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Badass Remixes by James Reeves of Midnight Radio: jamesreeves.co

This episode contains heavily decelerated and filtered portions of Armando's "Land of Confusion" and Levon Vincent's "Late Night Jam." Two members of the Generation X who figured out how to get sonically free.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co

Elements of Armando - Land of Confusion, and Levon Vincent - Late Night Jams decelerated and run through the midnight echo chamber.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co

Elements of Armando: Land of Confusion decelerated and run through the midnight echo chamber.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.