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Concerning the first point, the substance of Sloterdijk’s critique of Heidegger is that Heidegger, in eschewing the cosmopolitan city for the village, never fully understood how humanity expands.Instead, Heidegger sought to impede modern growth by insisting on a philosophy of anti-expansion, one in which, according to Sloterdijk in the later works of Heidegger, becomes a parochial return to the Catholic-Augustinian acceptance of the human as a deeply flawed being incapable of overcoming this fall except through some metaphysical/spiritual intercession.This misappropriation of Augustine can also be found in Heidegger’s own awestruck admiration for Nietzsche.
Heidegger’s Experiment Leon Trotsky, the Russian revolutionist, wrote in his Diary in Exile, " The depth and strength of a human character are defined by its moral reserves.
People reveal themselves completely only when they are thrown out of the customary conditions of their life, for only then do they have to fall back on their reserves." Nathaniel Hawthorne gives us a 19th century example of this phenomenon in "Dr. The theme of this story is that a person’s character, once developed does not change over time, and when faced with conflict and adversity, their true character becomes boldly evident.
Complete with dust, cobwebs and a skeleton, the description of the room is more like that of a mausoleum, instead of the good Dr.’s study.
The oak bookcases are reminiscent of the wood that will create their coffins.
But Sloterdijk goes further to demonstrate that Heidegger’s retreat into Augustinian solipsism is actually a perversion of Augustine’s own emphasis on movement through mediation.
Heidegger selfishly adheres to the retraction part, which is where, according to Sloterdjk, Heidegger’s fear of expansion leads him to fall into the ignorance of the Augustinian-Satanic figure.The Augustinian Satan, who represents something like an allegory of negation on a level below the principal, does not resort — this much is certain—to any external motive for his revolt against the origin.He finds everything that is necessary for sedition in himself — to put it more precisely, in his capacity for freedom, his most important endowment.Hawthorne himself provides the narration, although he does not identify his character, nor is his character present during the experiment.The narrator appears to be telling this story based on events relayed to him by other people, and there are times throughout the story when Hawthorne admits that the events are sometimes unbelievable.But if we reject this Heideggerian for a more mobile ontology, we see that what connects people together is not essential ideology, but rather necessary technics of desire.Here, Peter Sloterdijk writes the following: We will be dealing with a bit of mythology in which the screenplay for the history of this world begins with its prelude in the beyond.In this book of essays, lectures, and excerpts, Peter Sloterdijk presents the reader with a collection of thoughts which all swirl around two main concepts: 1.That Heidegger is a fallen soul whose inability to venture from the provincial into the cosmopolitan led him to retreat from the human world; and 2.That only through what Sloterdijk terms the anthropotechnic – the mobilization of the human being – can modern humans find their way in the world and to create of it what they will.In his fashion, through extended dialogues with both the reader and with a wide range of thinkers, as well as a developed depth and breadth of intellectual knowledge – with a literary style that is dense and compelling – Sloterdijk laments the fallen Heidegger, acknowledging and admonishing Heidegger’s embrace of cynical evil, while offering a positive vision of human power based on conscious activity and intelligent creation.