Ep. 384: Graham Harman's Object-Oriented Ontology (Part Three)

What It Covers

The Partially Examined Life examines Graham Harman's Object-Oriented Ontology chapter two on aesthetics as philosophy's foundation. The discussion analyzes how metaphor provides indirect access to real objects through theatrical engagement, contrasting Harman's interpretation of Ortega y Gasset's essay with traditional metaphor theories and exploring how subjects stand in for inaccessible objects.

Key Questions Answered

• •Metaphor's Asymmetrical Structure: Harman argues metaphors like the cypress is a ghost of a dead flame cannot be inverted or reduced to literal similarities. The metaphor creates a new object by fusing dissimilar elements, destroying their practical meanings to generate aesthetic experience. This differs from scientific models that rely on structural isomorphisms between compared objects.
• •Theatrical Substitution Theory: In aesthetic experience, the observer becomes the real object within the metaphor since all other objects remain inaccessible as things-in-themselves. The subject places themselves on the casino table rather than observing from outside. This theatrical engagement provides the only real object present in any experience, supporting newly created metaphorical qualities.
• •Indirect Access vs Direct Knowledge: Harman rejects both mysticism and rationalism as failed attempts at direct reality access. Aesthetics and metaphor offer cognition without knowledge, providing indirect access to real objects through non-literal means. This approach resembles negative theology but claims greater power through suggestion rather than explicit statement, like threats left deliberately vague.
• •Critique of Literalism: Definite descriptions and exhaustive literal language cannot capture real objects, which perpetually recede from direct observation. Even complete sensory descriptions miss the object's inwardness or I-ness. Science reduces objects to models, confusing representations with actual things. Metaphor acknowledges this gap while creating meaningful engagement through aesthetic distance.
• •Universal Inwardness Principle: Every object possesses an I-ness comparable to human subjectivity, though without consciousness. Being red for a red object equals what hurting is for humans. This inwardness cannot be accessed through introspection or external observation. Objects exist independently with their own withdrawn reality, requiring theatrical aesthetic engagement for any meaningful contact.