Jeffrey Lucas II received his undergraduate degree in Philosophy from the University of California, Berkeley, where he primarily focussed on the Philosophy of Language, Speech-Act Theory, Phenomenology, and Cognitive Linguistics. His mentors include (but are not exclusive to): John R. Searle (“Speech Acts”), Hubert Dreyfus (“What Computers Can’t Do!”), and George Lakoff (“Metaphors We Live By”). During his graduate studies at CSULA he worked closely with Dr. Jun Liu on issues concerning Literary Theory, Nietzsche, Derrida, and Post-Structuralism, while developing “Say ‘Yes!’ to the Demon: Amor Fati in the Eternal Hourglass.”

Academic Articles by J. Lucas II.


Rather than assume—based on the contents of the Nachlass—that the Eternal Recurrence, in its initial formulation, is a consequence of the later theoretico-metaphysical sense, I propose the inverse; namely, that the rotary cosmology of recurrence, as a literal proposition, is consequence of the poetic sense of the parable.

Archive Humanitas as a Means of Ending the Tired Platitudes of Philosophical Apologia.

My POV begins one-to-two steps after Rorty’s liberal ironism–a self-inaugurating moment of ‘philosopher-as-critic’—which afforded him the wherewithal to subsume a portion of Derrida’s later work under the guise of something he liked to call “private ironism” e.g., with books such as, “Postcard,” “Glas,” etc. These ironists, Proust and Nabokov especially fit this category, turned away from Platonism and classical metaphysics by way of refusing any dialectical stage that would loop back to the Hegelian-like-helix: thesis, antithesis, synthesis: that is, rather than making the same mistakes later Nietzsche, later Heidegger, and early Wittgenstein had, private ironists simply took up their own projects, creating evermore interesting vocabularies–that didn’t so much resolve the older aporias or familiar binary-camp arguments…but such new language-games seemed to obsolesce the old questions, altogether, via supplementing newer and more innovative ways of talking that spawned a whole taxa of different questions. Rather than relapse into The Speculative Turn (our current cultural milieu), Metaphysics, the Absolute, etc., this line of reasoning postulates that there is a time to stop doing traditional philosophy. Here’s where the distinction between Philosophy and Literature, Sophism and Philosophy, for example, ceases to be of any use. However, private projects were never enough for Rorty, and a large part of his concern resided in a democratic liberal utopianism that centered on contingency. He could never allow Nabokovians, or proud aesthetes to leave Ethics well enough alone if that was their theoretical taste. See, here’s what happened behind the scenes (if I may infer after years of studying Rorty’s work): “cosmopolitanism” works too well with “contingency” and “irony” —to not work well with “solidarity”—and thus, we’re tempted, inadvertently back to systematic philosophy rather than the edifying-hermeneutic approach Rorty praises (See: “Contingency, Irony, and Solidarity”). This is where Rorty loses me. And this is the climate Meillassoux, Graham Harman, Brassier, Latour, and Garcia are exploiting — and to immense commercial success. My position, on the contrary, involves importing more of Nietzsche’s notions of “self-creation” and “giving style to one’s character,” and “aesthetic redemption through singular taste,” where Rorty had emphasized liberal utopian Democracy, i.e., “Liberal Ironism.” For me, even his cosmopolitan “solidarity” is teleological, i.e., the amenability of democratic institutions only secures an “Ethics” or a “Politics” iff it is demonstrated, via metaphysical self-coronation, to be the ultimate, meta-comparative “best for ALL.” And for Rorty, recall, there are no “final vocabularies” or “hidden secrets the ironist can hope to find […] there are only little mortal things to be rearranged by being re-described” (CIS, 99). For my part, I refuse to give “ironism” a genuine substantive “-ism,” e.g., this notion remains consistent only in the event that it refer to a unique object for every utterance-act: the (or indefinite article) ironist. Undoubtedly then, I am weary of today’s philosophico-commercial band-wagon: Speculative Realism/Materialism; Flat Ontology; Object-Oriented-Ontology, and so on. Rather than re-enter ontology via a newly-wrapped first-science, i.e., (post-) cantororian set theory, I opt for a neo-perspectivism and aestheticism (what I believe to be an extension of Nietzsche’s canon that exceeds even Nehamas’ Proustian reading of his bibliography, outright) that places “pedagogy” in front of “Truth”: the notion of a capital-w “World” (capable of deciding, independent of humans, the truth-value of sentences purporting to refer to ‘the “World’” as a criterion-specific epistemology; thus, you might say, I’m a triple-p Postmodernist: anti-New Speculativism and O-O-O-Harman-brand philosophy. What I’m after is nuance, idiosyncrasy, and a a turn of phrase altogether different from the history of ‘obvious Western platitudes.’ …If Marxists and Frankfurt Cultural-Theorists think that’s immoral (e.g., some bourgeois illusion of unenlightened capitalist complicity)—then, I’m already asleep. Mediocrity is worse than falsity; and novelty, when it becomes standardized, is the only moral currency we have—hermeneutically speaking. Truth–simply is…a moral concept. There is no final vocabulary of Being, Reality, or Goodness; there is innovation and there is the influence of one’s predecessors to worry about. My pursuits are non-epistemic, but unwaveringly tenacious in employing new means, methods, and vocabularies conducive for optimum critical play. This is a manifesto against liberal apologia! …. I make no apologies. I’m here because I’m mad for the phrase; for an orgasmic panorama of ink and vellum in textual montage–pleasures shared among curators, archivists, and bibliophiles; a lust for the rare; and a mad-love fire for the intoxication of intertextual play.

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UC Berkeley’s finest. (Left) Andrew Fix; (Center) Jeffrey Lucas II; (Right) Aly Walji R.I.P. 
UC Berkeley, 2009. (Left) Ryan R. Smith; (Center) Aly Walji; (Right) Andrew Fix

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