Jan Zwicky – författare

Western civilization is over. So begins Jan Zwicky’s trenchant exploration of the root of global cultural and ecological collapse: a way of thinking that is also linked to some of the West’s most noted achievements.The Renaissance merged imperial enterprise with Islamic algebra and recently recovered Greek mathematics to precipitate mechanized industry and resource extraction; these in turn made possible the growth of capitalism, the military-industrial complex, and Big Technology. Despite its self-image as objective, Zwicky argues, the West’s style of thought is not politically neutral, but intensely anthropocentric. It has led those who adopt it to regard the more-than-human world as nothing more than timber licences and drilling sites, where value is not recognized unless it is monetized. Oblivious to context and blind to big-picture thinking, it analyzes, mechanizes, digitizes, and systematizes, while rejecting empathy and compassion as distorting influences. Lyric comprehension, in Zwicky’s view, offers an alternative to this way of thinking, and she provides a wide range of examples. Once upon a Time in the West documents how a narrow epistemological style has left Western thought blind to critical features of reality, and how the terrifying consequences of that blinkered vision are now beginning to unfold.

Western civilization is over. So begins Jan Zwicky's trenchant exploration of the root of global cultural and ecological collapse: a way of thinking that is also linked to some of the West's most noted achievements.The Renaissance merged imperial enterprise with Islamic algebra and recently recovered Greek mathematics to precipitate mechanized industry and resource extraction; these in turn made possible the growth of capitalism, the military-industrial complex, and Big Technology. Despite its self-image as objective, Zwicky argues, the West's style of thought is not politically neutral, but intensely anthropocentric. It has led those who adopt it to regard the more-than-human world as nothing more than timber licences and drilling sites, where value is not recognized unless it is monetized. Oblivious to context and blind to big-picture thinking, it analyzes, mechanizes, digitizes, and systematizes, while rejecting empathy and compassion as distorting influences. Lyric comprehension, in Zwicky's view, offers an alternative to this way of thinking, and she provides a wide range of examples. Once upon a Time in the West documents how a narrow epistemological style has left Western thought blind to critical features of reality, and how the terrifying consequences of that blinkered vision are now beginning to unfold.

Alkibiades, a central character in Plato's Symposium, claims that philosophy touches him to the quick. When Socrates speaks, he's often moved to tears and realizes he must change his life. In Alkibiades' Love, Jan Zwicky demonstrates that this image of philosophy is not anachronistic, but remains the living heart of the discipline. Philosophy can indeed matter to our lives, but for it to do so, we must reconceive the methods that, since the Enlightenment, have dominated its self-image in the West. In these meticulously researched essays, Zwicky argues that analytic and poststructuralist philosophy are not simply fashions in academic discourse, but are manifestations of the technocracy which they sustain and promote. The alternative she develops, by showing it in action, is lyric philosophy - an integrated mode of understanding whose foundations lie in the way we comprehend music and metaphor. Written in lucid and powerful prose, Alkibiades' Love will interest a broad readership, from students of ancient Greek philosophy to ecologists seeking a coherent foundation for their work. Zwicky offers deep and original readings of Freud, Plato, and Simone Weil, and resuscitates Max Wertheimer's work, linking it to our comprehension of mathematics, metaphor, and ecological structures. Zwicky has been hailed as one of the most important and original thinkers of our time. Alkibiades' Love illuminates and extends her groundbreaking work while providing an accessible introduction for those coming to her thought for the first time.

The aim of this book is a recovery of interest in the experience of meaning. Jan Zwicky defends the claim that we experience meaning in the apprehension of wholes and their internal structural relations, providing examples of such insight in mathematics and physics, literature, music, and Plato's ancient theory of forms. Taken together, these essays constitute a powerful indictment of the aggressive reductionism and the reliance on calculative modes of thought that dominate our present conception of understanding. The Experience of Meaning proposes a more just epistemology, arguing for a new grammar of thought, a new way of understanding the relationship of human intelligence to the world. Engaging with philosophy, psychology, literature, fine arts, music, and environmental studies in a profound way, The Experience of Meaning will interest any reader who ponders the question of meaning and its relation to true human expression.

This book is a collection of creative pieces—poems, short stories, essays, play excerpts—that give shape to mathematical and scientific content. This book portrays by example how various people work creatively with ideas from mathematics and other sciences. Creative writing about the content of mathematics and science is rare, and creative writing about the activity of mathematical and scientific creation is even rarer. And yet, when it occurs, it can be extremely popular, as well known plays like Proof and Copenhagen and biographies like A Beautiful Mind and The Man Who Loved Only Numbers attest. What draws the public to these works? And why, given that something does, are there so few examples of literature that engages these themes? Mathematics and science are part of world culture, part of the human spirit, fit subjects for art of all kinds.

Arcing across thirty years and seven volumes, Jan Zwicky's poetry has always been acutely musical (and sensitive to the silence out of which music comes). In the compositions in Chamber Music, the first anthology of Zwicky's poems, one may perceive the attunement of her vocations: poet, philosopher, violinist. Her poetry both praises and relinquishes the earth, bearing witness to the fierce skies of the prairies and the freezing rain of the West Coast. Enacting the virtue of clarity prized and defended by her explicitly philosophical work, this poetry is both resonant and integrated. It is also formally diverse, ranging from the singular focus of the lyric ode to suites of variations and fugal structures, from polyphonic textures to the sprawling reach of narrative gestures. Throughout, one feels the deft hand of an adept using powerful metaphors to explore themes of colonial violence, environmental devastation, spiritual catastrophe, and transformation. Resisting Western philosophy's exclusion of imagination from civic life, Zwicky's poetry is noteworthy for the tension it achieves between the abstract and the personal, the general and the particular. Meditating repeatedly on themes of love and grief, this poetry is at once passionately committed to the lucidity of its utterances and the fidelity of its images.