Dial: Is how does one express the relationship between mind-body-universals - or class thereof - when the very currency of the world is immanence - aka embodiment, aka assemblages. To my mind it's really not possible by means other than realized embodied expression. That is to say, it can't be propositional but must be expressive, rhetorical, performative, resonant.
Integral affirms this when it says the only spirit is embodied spirit. OOO does the same when it dismisses ontotheological conceptions that have no basis in actual experience. Rather it views reality as a flat ontology of material and immaterial objects impacting upon each other.
The logical trajectory of thought that evolves from these suppositions is toward an embodied thought. This would include, but cannot be restricted to, the analytical laying-bare-of-all type of intelligibility that Bryant and IPM often seem to be aiming for. I can't help but suspect that as 'looking for knowledge in all the wrong places'. And, as Neitszche suggests, precisely so as not to find it, and by such means maintain an imagined control.
If we cannot muster an embodied thought - myself, included - then can we at least have a discussion on what an Integral thought should aim for. Or, perhaps, how should an Integral thought that knows its own defeat conduct itself? Might there be an overcoming there, even?
theurj: You've complained before about a lack of embodiment in integral and OOO thought in general, and in my writing as well. I just don't see it, as that has always been one of my main focuses and is a near constant recurring theme. If you're referring more generally to style instead of content, I don't see the criticism their either. I am quite proud of my clear, concise, and aesthetic rhetorical acumen that embodies the content. Much like dance I've invested quite a bit in developing this artistic form. (As have both Bryant and Wilber, part of why I like them both.) Granted you might find other authors like Bennett more to your tastes in this regard, but that is more a matter of preference than of any lacking in those referenced.
Also keep in mind Morton's comments on rhetoric in the very first post in this thread.* While I often do not like or prefer Morton's rhetoric, I nonetheless acknowledge his able rhetorical style that embodies his content.
* "Rhetoric is not simply ear candy for humans: indeed, a thorough reading of Plato, Aristotle and Longinus suggests that rhetoric is a technique for contacting the strange stranger."
Dial: [referencing more of Morton's quote above, and a Sloterdijk quote in the thread] I am curious how you square the above with your comment below. Perhaps also keeping in mind some of the distinctions Sloterdijk is making between 'dispositionary knowledge' and that knowing where the 'seeker's eye is broken by the object.'
theurj: I don't need to square anything with Morton or Sloterkijk, since I don't accept their dichotomous framing. Like Bryant I don't see such clear boundaries between these modes but rather their porous and permeable interrelations. And which can be expressed clearly, concisely and aesthetically simultaneously. Recall above this was one difference between Bryant and Harman/Morton regarding the withdrawn, which I then related more generally to the shentong/rangtong debate.
That said, I agree with Morton in some regards; dislocation is important, but not to the exclusion of location; there is no absolute, privileged access to phenomenon (hence withdrawal); rhetorical affective-comtemplative techniques to contact the strange stranger. The last though does not necessitate something like traditional meditation. Rhetoric itself, i.e., aesthetic and persuasive language, can transform one's state of consciousness and motivate one to compassionate action without ever sitting on a cushion facing a wall and masturbating the (non)self. And, as I said above, such rhetoric can cross the boundaries between so-called exposition and aesthetics, not seeing them as dichotomous, as if we must first do one, then the other, and somehow 'integrate' them via some Hegelian sublation or Vedantic 'nondual' inclusion. The latter is still caught in a metaphysical trap, subtle as it may be even to the most sophisticated philosophers and meditators, Morton included.
A dance metaphor is that the best dancers combine both exacting technique with artistic and emotional expression in one performance. And that those boundaries interpenetrate.