3.5/B1) Modern Wrestling with Platonic Ideals

Contrary to the B1-belief that emerges in the inner silence as the cradle for genuine insight as in fantasy-free meditation, philosophy is aiming at the 22-palace. It aims more at the 11-serfs than at philosopher and spin doctors. As mental F5-entre-preneurs in the emptiness of the minds of others, spinners need to Cm-multiply their communication as being  B4-true so that nobody realizes its >3 unsatisfactory pre-trans- traping rhetoric that suits the ambition for power by putting their definition power (Machiavelli, Nietzsche, Heidegger & Co.) at the service of those who have position power or nourishes the envy of those who seem to have it to effectively compete with them (Socrates, Marx & Co.)  

The modern (0,0) poem identifies itself as a form of thought – as a matheme in the Platonic sense; Lacan saw his "matheme" as something that would (0,2) ensure the integral transmission of his teachings. Zeitgeist #0>2>1 philosophy seeks proof against the "noise" or #0>1>2 interference inherent in any ideology ridden process of communication.

According to Badiou every poetic truth leaves at its center what it does not have the power to bring into presence - under OPTION I, the OPTION II of the poet or philosopher which would be considered poison in his or her circle and above all, its peers! Every truth should dwell in a limit that proves it is a singular truth, and not come from the self-consciousness of one's own whole! Since a simple tag cannot doe justice to it, it should remain as the unnamable as that thing whose naming cannot be forced by a truth - which reminds us to the fairy tale of the figure that seemingly alon in the forest yelled: "How good that nobody know that my name is Rumpelstilzchen!". That thing, philosophy's stumbling block, real people's corner stone, whose entrance into truth, philosophical truth itself, for the sake of philosophy, cannot anticipate; every regime of its truth has to be grounded in the real by its own unnamable or philosophy falls apart like the universe when the Higgs particles decay...

Every poem, like rhetoric, brings a power into language, the power of eternally fastening the disappearance of what presents itself; real human beings! Through the poetic retention of its disappearance, the power of producing presence itself as Idea seemingly displaces even God - murder him mentally! Arrogance can therefore proclaim that language as the infinite power devoted to presence is the unnamable in poetry which cements OPTION I - in that sense rightfully also called evilness. Then poems as spin, become an operation, not just an artistic extension of the world. The world is that thing whose presence is more essential than objectivity and defies every substance and other order. For Mallarme, the poem is centered on the dissolution of the object and thus the truth, from its purity and actual substance, ultimately of "God". Thus the post-modern intellectual must nominate himself for a thinking towards a mass-attractive deal with a recognition that the whole is actually nothing. To Badiou, in order to be free to the mystery of the letters that the poem constitutes, it is enough that the reader disposes himself or herself to the operation of the poem. Literally, the reader must will his or her own trans-literation. So much for who you innately are where this evil spirit prevails!

The Portuguese poet Fernando Pessoa created over 81 heteronym’s. In his writing, he offered no interpretation of his surroundings. His poems were as if he was starring into the sun; representing a desire to create a metaphysics subtracted from metaphysics itself, that is from nature, and physics. Each of Pessoa’s heteronym’s had distinct philosophical, poetic, and political views. The depth of understanding, especially of philosophy, that these personalities (heteronym’s) took on are so distinctive that four of them are said to still baffle many preconceptions and confuse any possibility of developing a more singular view on Pessoa’s contribution to modernity. It might be more apt to recognize his heteronym’s as seperate from himself as a writer. Nonetheless, Harold Bloom refers to Pessoa as one of the greatest poet of the twentieth century. Pessoa’s failure to mold to any one identity, his refusal to be subjected to any regime of knowledge inflects his poetic selves with supreme mystery. He writes:

I have no ambitions nor desires.
To be a poet is not my ambition,
It’s simply my way of being alone.

Alain Badiou argues that the idea of identifying any singularity in his work almost eludes our grasp. His poems are diagonal, they are like a Cubist painting. They look directly into the light, in an anti-Platonism sense, they are opposed to any absolute idea, and his poems work as a sort of negation of negation in the Hegelian sense. Each one becomes a sort of game, a mathematical code wrapped throughout his work. Such is how philosopher like allegories about the substance less, evil nature of philosophy to glorify it so that most people get an inferiority complex and fall prey to this spirit and gladly sacrifice their inner master, their soul.  Here is an example of Pessoa’s anti-metaphysical stance, and his tarrying with the negative

To see the fields and the river
It isn’t enough to open the window.
To see the trees and the flowers
It isn’t enough not to be blind.
It is also necessary to have no philosophy.
With philosophy there are no trees, just ideas.
There is only each one of us, like a cave.
There is only a shut window, and the whole world outside,
And a dream of what could be seen if the window were opened,
Which is never what is seen when the window is opened.
 

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