Julio Cabrera

“Julio Cabrera's website”

“At least two different ways of receiving the European legacy could be clearly formulated: (1) Continue to expose and spread the thought generated in Europe; or: (2) Try to receive this legacy in order to assume the same creative attitude that the Europeans have taken to build, value and spread their own philosophy. In option (1), Europe bequeathed us an object of study; in the alternative (2), Europe bequeaths us an attitude. Assuming the first alternative, we present the contents of European philosophy; assuming the second, we try to make philosophy as the Europeans did theirs.”

“(...) "institutional philosophy" has transformed philosophical activity into a series of automatic and lifeless movements; in an enormous apparatus where teachers and students appear submitted to static and meaningless routines. (...) students often write their work far from what they would really like to do, works that will be read absentmindedly (and then shelved in large thesis banks that nobody consults) by professors increasingly busy with administrative and political tasks, and who also offer, absentmindedly, the classes that their students will listen for by obligation.”

“Helplessness is hidden or camouflaged under the professionalised forms of philosophizing, both in analytical philosophy and in the studies of the "experts on Nietzsche". The fragility intrinsic to all philosophizing (all living) is disguised as an apparently firm, secure and technical way of "mastering subjects" and constructing arguments. But even there, philosophizing cannot hide its original helplessness.”

“(...) Paradoxically, the silent cinema inaugurates the act of saying, and the audio cinema the act of silencing. Saying does not need words, but silencing does. The lack of sound was not a "limitation" for silent movies, but rather the lack of silence. And this does not seem to be a strictly Wittgensteinian type of limit.”

“A "quiet" movie in which "nothing happens", where people are shown looking through the windows, walking the streets, living in completely banal situations, or simply looking at each other without saying anything, does not satisfy the spectator eager for novelty ( ...) this type of spectator usually says, after watching an ontological film, that he did not like it because in it "nothing happens": precisely the kind of attitude that Heidegger intends to provoke in his writings, making the absence of pressing entities put us in touch with the being.”

“Blow-up [Antonioni] shows what Descartes says: our senses deceive us. However, there is no cogito in the images of this film that helps to overcome the unbearable state of doubt provoked by the ambiguity of the facts. Thomas [the young photographer of this film] cannot protect himself in any cozy subjectivity; on the contrary, it is his subjectivity that is stolen by the mysterious force of things.”

“Films do not "have" a meaning that has to be interpreted, but they establish with the viewer an interrelationship from which an unintended meaning arises which was nowhere waiting to be found.”

“By exerting this effect of shock, visual violence, assault on sensibility, aggressiveness in the activity of showing, it is possible for the viewer to acquire acute awareness of a moral or epistemological problem as may not happen to him by reading a treatise on the subject. This "sensitization of concepts" may even question some of the traditional solutions of philosophical questions offered by the concept written throughout the history of philosophy (...)”

“By exerting this effect of shock, visual violence, assault on sensibility, aggressiveness in the show, it is possible for the viewer to acquire acute awareness of a moral or epistemological problem as may not happen to him by reading a treatise on the subject. This "sensitization of concepts" may even question some of the traditional solutions of philosophical questions offered by the concept written throughout the history of philosophy (...)”

“(...) the cinematographic image cannot show without questioning, without destructuring, repositioning, twisting, distorting. Cinema cannot be the pure "record of the real" that the photographic conception of cinema usually formulates (and which currents like Italian neorealism have tried to take advantage of).”

“Cinema does not eliminate the requirement of truth and universality, but (...) redefines them within the logopathic phenomenon (...) the universality of cinema is peculiar, it belongs more to the order of possibility than to necessity. Cinema is universal, not in the sense of "necessarily happens to everyone", but in the sense of "could happen to anyone"”

“Wouldn't much of what Heidegger, for example, tries to say, almost without success, forcing the German language, forcing it to generate difficultly intelligible phrases, or Hegel's attempts to think the work of the concept "temporarily" putting it "on movement" wouldn't be much better exposed through the images arising from the calm and thoughtful displacement of a cinematic camera?”

“The current professionalized philosophy has been openly understood as "apathetic," without pathos, exclusively driven by the intellect and leaving aside emotions and sentimental impacts. Only a few philosophers of the last two centuries (Schopenhauer, Nietzsche, Freud, Kierkegaard, Heidegger) have resisted this tradition by questioning the hegemony of intellectualist reason and the systematic exclusion of the emotional component in the task of grasping the world. In this sense, we can call these thinkers of the European tradition "cinematographic".”

“The study of "lexical inferences" (if they exist) should be something that oscillates (...) between ML [Mathematical Logic] and informal logic. In historical terms, we like to say that this is a wittgensteinean undertaking of the intermediate period (...) something that has already passed beyond the deception of the one-dimensional semantics of the Tractatus, but which has not yet fallen into the dense multidimensionality of Philosophical Investigations (...)”

“Psychoanalysis's interest in discursive breakdown is not merely theoretical, but also because it is regularly marked by suffering, by some kind of emotional involvement (...) Suffering is not an external "accompaniment" to linguistic anomalies, but a constituent part of them. The discursive break is the manifestation of a psychic break. The generation of language anomalies and discontinuities is linked to the attempt to avoid displeasure. The actual compactness of the linguistic chain, that is, the correct filling of it through authentic signs would generate unbearable suffering.”

“Psychoanalysis is not science. But very few things are science. Nor is Kant's ethics a science, but it is a high-level reflection about the human being in his relation with the world, as is Freud's reflection. What seems curious is the scarce insistence about the fact that Kantian ethics is not science, while everyone seems so preoccupied with stressing the non-scientificity of psychoanalysis.”

“Let us think, for example, of the experience of speaking a foreign language and what happens when one speaks "perfectly and without error", when one speaks German "as a German", and in what happens, on the contrary, when one speaks imperfectly, when, through the babble of one who "does not master a language", a vital dimension is shown that is hidden in the perfectly "dominated" language.”

“Heidegger's text [On the Essence of Language] will not be indicative of an object already made, but will consist of clues about how to live an experience with speech, an experience that is not "narrated" in the text, but elicited by him. The text will try to put the reader in a kind of scope or "environment" that gives opportunity to this experience.”

“(...) "meanings", besides having objective dimensions, are also hermeneutic and temporal-historical instances, precisely those that the analytical philosophize cannot grasp, because they are situated beyond their limits of understanding. "Meanings" are instances that can only be fully studied by other philosophies of language, capable of incorporating these experiential elements.”