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Interlude III
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Abstract
This interlude argues that the temporality of the world-process in Schelling is underwritten by his rethinking of clock time as the cosmic ground of salvation history, and of synchronizing the history of global humanity in its directedness toward absolute bliss. With recourse to the clockwork metaphor in Jacob Boehme and Friedrich Christoph Oetinger, the interlude elucidates Schelling’s statements that “all that is is merely the hand on the great dial of the vast clockwork of nature,” and that God “counts and measures by this clockwork.” Taken on its own, clock time for Schelling is fallen time, emerging from the oscillation of cosmic proto-matter; and as inhabiting this temporality, modernity remains caught in the circle of the eternally same. To become the basis of salvation history, clock time must be subordinated to kairotic time. Bliss, however, is indifferent to either clock time or kairotic time, indexing the abolition of time itself.
Title: Interlude III
Description:
Abstract
This interlude argues that the temporality of the world-process in Schelling is underwritten by his rethinking of clock time as the cosmic ground of salvation history, and of synchronizing the history of global humanity in its directedness toward absolute bliss.
With recourse to the clockwork metaphor in Jacob Boehme and Friedrich Christoph Oetinger, the interlude elucidates Schelling’s statements that “all that is is merely the hand on the great dial of the vast clockwork of nature,” and that God “counts and measures by this clockwork.
” Taken on its own, clock time for Schelling is fallen time, emerging from the oscillation of cosmic proto-matter; and as inhabiting this temporality, modernity remains caught in the circle of the eternally same.
To become the basis of salvation history, clock time must be subordinated to kairotic time.
Bliss, however, is indifferent to either clock time or kairotic time, indexing the abolition of time itself.
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Abstract
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