Deep Calls to Deep: Reading Together

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Going deep together into the "Classics" that have called from "Elsewhere" to the unfathomable depths within. David Tracy thought of a "Classic" as a work that was open to multiple, productive interpretations, which could be anything from a text to a work of art to a religious practice. Jean-Luc Marion thought of "Elsewhere" appearing here as the sort of "Saturated Phenomena" that allowed for radical otherness to speak for itself without exhausting or reducing its meaning to the understandable, which he thought of in terms of Maurice Merleau-Ponty's the invisible appearing without becoming merely visible. Communities of interpretations, called by Hans-Georg Gadamer and Paul Ricoeur "Hermeneutic Circles" after Heidegger's teachings on the matter of the interpretation of being, are religious rituals that form a community of interpreters.

  1. 1d ago

    Deciding to Stay Sick: Backrooms

    What about when we choose our disease? There is a scene in Backrooms in which the protagonist "Clark," played by Chiwetel Ejiofor, decides to stay in his disease because coming out of it would mean taking responsibility for things that he doesn't feel responsible for, and what's more, giving up on the enjoyment of blaming others. There is an ambiguity about who or what is responsible where mental illness is concerned. Is environment, genetics, or something else to blame? Regardless, the conundrum is that often with mental disorders, nothing can change unless the sufferer takes responsibility for what he is not responsible for. Clark's therapist Mary, played by Renate Reinsve, realizes too late that she has gone in to Clark's psychosis too far to rescue him, and that she has put herself into great danger. Her mistake was her misunderstanding that she was crossing the line with a truly sick person not entirely to rescue him, but more because she still had an unresolved desire to save her now-dead, mentally ill mother. Horror often deals with the psychological mazes that we trap ourself in. The terror is the built in ambiguity of these interior, dream-like spaces, which is the ambiguity of the monstrous other's connection to oneself. Good horror asks the question as to where the evil lays in such a way as to show how implicated in what we would prefer to see as the outside Other we are. Check us out at the Desire of Horror podcast by following the link below: https://www.buzzsprout.com/2509184/episodes/19326558 https://youtu.be/QDc0TWDH8ns https://www.martinessig.com Baddass vibes mixed by James Reeves of Midnight Radio https://www.jamesreevesco.com

    1h 6m
  2. Jun 3

    When Isn't Nostalgia Poison? BOC: Inferno

    Nostalgia is poison. So why do I like BOC so much? BOC's nostalgia isn't saccharine but complicated.  When remembering is blocked by a nostalgic concept, the past becomes a projection of the rememberer's wish-fulfillment fantasy. The general structure of this sort of fantasy projection is that of the fascist who imagines a past greatness, or a lost Eden, that never was to recover the past from a decadent present. It is a well worn and now all too obvious observation that "Make America Great Again," is a totalitarian dog whistle. But there is a sort of remembering that also enjoys imagining the past, but which includes those parts of the past that the nostalgic concept tries to screen out. The nostalgic concept can be rehabilitated when it is used to present the pass by way of contrast to how the nostalgic concept presents it. This dialectical way of remembering takes the concept and contrasts it with what it tries to repress about the past. BOC's uses of nostalgia are like this latter sort of dialectical remembering that includes the otherness that was previously suppressed by the screen memory of the concept, so that their uses of nostalgic musical concepts and samples highlight the menacing dissonance of their dips back into the "innocence" of childhood. I am reminded of Terrence Malick's "Tree of Life" when I think about how BOC does this. Malick created the most convincing depiction of childhood ever to be laid down on film because he allowed the cloudy nostalgia of his subject matter to by vitiated by the lurking, cloudy threat of violence and transgression. James and I are back at again. You're going to want to hear this one. https://www.martinessig.com Baddass vibes mixed by James Reeves of Midnight Radio https://www.jamesreevesco.com

    54 min
  3. May 14

    Jesus Is Tested

    I post this crossover episode as an example of the possibilities for hermeneutic circles as a religious practice. And as a reminder that our only freedom is the open and even playful interpretation of being. And I always love pointing out to people that if they want to follow Jesus, they would do well to adopt the curiosity about the meaning of being that led him out into the wilderness to have a conversation with Satan, and which led him to reinterpret scriptures according to his hermeneutic of love. It is often pointed out that Jesus would have be considered a poor interpreter of the bible in the light of modern Biblical scholarship, and that much to the chagrin of modern "Biblical Literalists," neither he nor any of his interlocutors held to such a limiting and deluded principle, except for maybe Satan, but that his open relation to his tradition allowed for him to understand himself and religious community in a new way. True followers of Christ seek to "make all things new." 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 My podcast in which I develop the theory of interpretation, or hermeneutics: https://failureisfreedom.buzzsprout.com https://www.martinessig.com Baddass vibes mixed by James Reeves of Midnight Radio https://www.jamesreevesco.com

    1h 3m

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About

Going deep together into the "Classics" that have called from "Elsewhere" to the unfathomable depths within. David Tracy thought of a "Classic" as a work that was open to multiple, productive interpretations, which could be anything from a text to a work of art to a religious practice. Jean-Luc Marion thought of "Elsewhere" appearing here as the sort of "Saturated Phenomena" that allowed for radical otherness to speak for itself without exhausting or reducing its meaning to the understandable, which he thought of in terms of Maurice Merleau-Ponty's the invisible appearing without becoming merely visible. Communities of interpretations, called by Hans-Georg Gadamer and Paul Ricoeur "Hermeneutic Circles" after Heidegger's teachings on the matter of the interpretation of being, are religious rituals that form a community of interpreters.

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