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In
this
tribute
to
Anna-Teresa
Tymieniecka,
I
will
examine
whether
phenomenology,
as
a
cognitive
enterprise
of
sentience,
extends
beyond
the
death
of
the
physical
body.
In
the
First
Movement,
Allegro,
I
will
set
the
stage
by
drawing
distinctions
between
sentience
as
viewed
in
the
Phenomenology
of
Life
and
intentionality
of
consciousness
as
viewed
in
cognitive
phenomenology,
which
features
a
strong
legacy
of
Husserls
ideas.
In
the
Second
Movement,
Moderato,
I
will
follow
the
Tymienieckian
thread
of
sentience
in
the
labyrinth
of
life
in
order
to
show
the
ontopoietic
patterns
of
complexity
and
emergence
in
animate
and
inanimate
nature.
I
will
establish
a
link
between
the
Phenomenology
of
Life
and
complexity
theory.
As
the
dance
of
nonlinear
complexity
of
the
brain
and
the
so
called
qualia
of
thought
unfolds
in
the
Third
Movement,
Minuet,
the
informational
patterns
of
consciousness,
cosmos
and
life
are
recognized
as
sentience.
Whence,
sentience
is
not
a
property
of
the
human
brain,
but
rather,
is
borrowed
from
the
cosmos
and
appropriated
as
the
self
in
the
human
condition;
inter-subjectivity
is
a
derivative
of
sentience,
and
subjectivity
is
an
instance
of
inter-subjectivity.
Since
sentience
brings
with
it
intuition
of
life,
intuition
continues
in
dying
and
has
no
reason
not
to
continue
beyond.
In
the
Fourth
Movement,
Finale
Glorioso,
I
will
describe
patterns
of
sentience
in
the
souls
final
ascent,
and
honor
the
intuitional
gifts
which
proceed
from
the
passage
of
a
great
soul.
In
her
magnificent
creation,
The
Fullness
of
the
Logos
in
the
Key
of
Life,
Book
II,
Christo-
Logos,
Metaphysical
Rhapsodies
of
Faith,
Anna-Teresa
Tymieniecka
takes
a
turn
from
the
Phenomenology
of
Life
to
the
Philosophy
of
Life.
In
this
book,
she
brings
up
the
theme
of
creativity,
and
the
theme
of
the
sacred.
These
Metaphysical
Rhapsodies
of
Faith
are
a
soliloquy.
The
following
next
book
of
the
Analecta
Husserliana
series,
Art,
Literature
and
the
Passion
of
the
Skies,
the
same
theme
of
beauty,
creativity
and
the
sacred
is
developed
by
a
whole
group
of
writers;
now,
this
themes
are
treated
in
dialogue,
in
relationship.
Why
does
the
theme
of
beauty
and
creativity
emerges
with
persistence
in
the
last
writings
of
this
philosopher,
and
what
kind
of
meaning
does
it
carry
with
regard
to
renaming
the
Phenomenology
of
Life
as
the
Philosophy
of
Life?
In the existential, psychological contexts, beauty is the agent which lifts the veils of
conventional
ego,
and
permits
to
see
beyond
the
habits
of
perception.
Likewise,
creativity
serves
the
same
purpose
of
transcendence
of
the
ordinary
boudaries,.
Creativity
breaks
down
the
cultural
consensus
trance.
According
to
Sufism,
beauty
is
an
alchemical
agent
which
transforms
the
soul,
and
prepares
it
for
the
apprehension
of
the
most
beautiful
of
all
conditions
available
to
human
beings.
Against
all
expectations,
this
condition,
according
to
Sufism,
is
death.
In
the
all-encompassing
expanse
of
Tymienieckas
writing,
until
recently
the
matter
of
death
remained
sort
of
veiled
from
her
illuminating
intuition.
Now,
in
the
context
of
her
recent
departure,
this
question
is
in
the
front
lines
of
our
inquiry.
And
especially,
we
want
to
ask
what
kind
of
value
does
the
death
of
a
philosopher-saint
bring
our
knowledge,
and
to
the
overall
unfolding
of
life?
Anna-Teresa
Tymieniecka
indicated
many
times
that
the
logos
of
philosophical
interrogation
is
not
contained
within
the
reason
alone,
nor
is
such
logos
of
the
carnal
human
making.
The
Interrogation
follows
much
deeper,
much
more
foundational
logos
in
the
unfolding
of
life.
This
leaves
us
questioning
whether
this
upsurge
of
the
beauty
and
the
sacred
in
her
writings,
and
the
shift
from
the
Phenomenology
of
life
to
the
Philosophy
of
Life,
is
a
separate
standing
philosophical
insight,
or
whether
it
should
be
considered
in
context
of
Anna-Teresa
Tymienieckas
imminent
phenomenologist
of
life,
is
there
a
way
to
understand
not
just
the
meaning
of
mortality,
but
the
event
itself?
Can
death
be
considered
as
a
subjectively
lived
phenomenon?
Can
intuition
grasp
deaths
representation
in
consciousness
in
the
same
manner
it
grasps
life
per
se,
in
presentive
intuition,
as
opposed
to
the
meaning
of
life
or
eidetic
intuition
of
life?
To
what
degree,
one
may
ask,
dying
or
death
is
available
to
the
subjective
self-reporting,
and
to
the
phenomenological
investigations?
Or
are
we
in
a
paradox
of
terms
because
life,
and
with
it,
the
phenomenology
of
life,
ends
up
where
death
begins?
It do appears to the natural attitude that death is available only in the analysis of its
directly,
and
not
only
to
meet
the
great
horrible
Yama
of
Indo-Iranian
legends
face-to
face
(as
that
will
certainly
happen),
but
to
describe
his
appearance
.
Like
Shvetaketu
in
Katha
Upanishad,
the
Philosopher-Phenomenologist
draws
from
this
impending
final
act
of
her
phenomenological
interrogations
the
understanding
of
life,
of
human
predicament,
of
the
logos
of
the
soul.
Like
Ibn
Arabis
Jesus,
she
witnesses
and
she
testifies;
and
akin
to
Savitri
of
the
Indian
legend
by
the
same
name,
she
rectifies
human
condition
from
its
enduring
illusions
of
finality.
Her
message
is
of
the
souls
transcendence
of
the
carnal
beginnings;
and
of
the
brotherhood
of
those
who
turn
to
their
internal
ontopoietic
source
to
find
the
truth.
The
phenomenology
of
Life
takes
an
existential-transcendental
turn
to
become
the
Philosophy
of
Life.
In
this
turn,
the
discussion
of
beauty,
creativity
and
souls
transcendental
destiny
are
tied
together.
The
transcendental-existential
turn
has
to
be
contextualized
in
the
light
of
Tymienieckas
departure.
We
have
here
not
a
Hadot-ian
philosophy
as
a
way
of
life,
abut
rather,
way
of
lifend
death
as
philosophy.
The
temporal
extension
of
philosophical
inquiry
combines
the
recorded
phenomenological
investigations,
an
intuitional
switch
of
the
living
horizons
of
inquiry,
and
an
actual
life
event,
which
is
death.
In
this
case,
this
death
should
be
considered
as
an
act
of
phenomenal
consciousness
in
which
communicological
acts
and
the
acts
of
living
are
indivisible
as
a
crystal
of
salt.
Anna-Teresa
Tymienieckas
philosophical
expression
is
one
with
the
events
of
her
life;
and
therefore
the
difference
between
the
written
and
the
lived
disappears.
This
new
direction,
this
existential-humanistic-transcendental-
transnatural
turn,
what
place
does
it
occupy
in
the
overall
Phenomenology
of
Life?
Like
many
philosophers
of
direct
intuition,
both
Husserl
and
Tymieniecka
began
their
philosophical
inquiry
with
the
psychologically
charged,
introspectionist
agendas.
Now,
an
expert
in
phenomenological
6
The
soliloquy
grows
into
a
dialogue.
Reaching
from
the
beyond,
Tymieniecka
asks:
Brethren,
having
covered
this
complete
cycle
together
are
we
not
truly,
at
last,
Brethren?
As
we
are
tethered
to
the
same
Logos,
it
is
up
to
us
now
to
extend
the
cycle
and
to
articulate
the
phenomenology
of
life
in
death.
Such
articultion
would
be
as
much
an
act
of
intuition
and
reflection
in
Philosophical
Phenomenology,
as
it
would
be
an
act
of
spontaneity
in
human
artistry.
In
Tymienieckas
strategy
of
knowledge,
temporal
extension
plays
an
extremely
important
role.
The
hidden
logos
of
things
is
revealed
not
through
a
static
what,
but
in
a
dynamic
how,
from
primeval
the
ontopoietic
blossoming,
to
the
developed
hierarchies
of
life.
Like
rosettes
of
leafs
in
a
palm
tree,
rationalities
and
virtualities
are
incubated
and
nested
within
the
previous,
and
sprout
into
the
posterior
stages.
As
always,
these
are
no
neologisms,
no
special
terminology:
like
some
kind
of
Vedanatic
sage,
Tymieniecka
works
with
the
ordinary
language,
excavating
the
primary
meanings
tied
to
the
prereflective,
intuited
reality
of
life.
What
is
the
source,
the
reason
to
be,
the
impulse
for
the
creative,
innate
messiness
of
experience?
What
word
points
to
transcendental
creativity
which
manifests
in
each
moment
of
Life?
Spontaneity
enters
the
stage
of
humanized
phenomenological
discourse
in
the
theater
of
human
life.
Examination
of
spontaneity
needs
a
prelude,
which
is
bracketing.
First,
we
will
let
go
of
assumption
that
death
is
annihilation,
or
a
step
into
nonbeing;
the
fallacy
of
this
assumption
is
based
on
the
identification
of
consciousness
with
the
body.
By
now,
such
assumption
is
rejected
even
by
the
most
materialistic
neuroscience.
Consciousness
is
viewed
as
something
broader,
as
a
product
of
culture,
of
praxis,
of
social
engagement.
Next
comes
another
polarity,
an
assumption
that
death
is
a
step
into
the
primodial
state,
From the depth of subjectivity, spontaneity drives the arabesques of experience, the
patterns
of
awareness,
action,
creativity,
and
ultimately,
the
weave
of
destiny.
Spontaneity
creates
the
temporally
extended
patterns;
arent
this
the
same
patterns
that
our
old
friend,
sentience,
designs
for
all
manifestation
of
life?
A
hand
maiden
of
sentience,
spontaneity
unfolds
the
red
carpet
that
sentience
walks
in
the
human
condition
and
existential
expression.
A
human
face
of
sentience
dawns
on
us
from
within.
Tymieniecka
says:
How
often
have
we
forgotten
all
these
acquired
means
[
meaning
the
existential
and
psychological
dimensions
of
life],
and
started
from
a
primitive
germ
in
ourselves,
on
our
own,
without
a
spark
of
outward
light
or
a
word
of
courage.
We
have
followed
our
inner
spontaneity
wherever
it
may
lead
us
and
thus
step
by
step
have
dug
into
the
soil
of
our
being
and
long
the
sacred
river
where
our
roots
plunge,
have
retraced
the
path,
the
winding
path
of
the
genesis
of
our
authentic
life.
We
have
rediscovered
the
light
within
ourselves
And
we
may
add,
the
self-same
light
shines
on
us
from
the
outward
edges
of
life.
We
recognize
life
by
sentience;
sentience
is
in
the
breath
of
a
rose,
in
the
self-assembly
of
protein
molecules
of
the
primodial
brine,
and
in
the
essence
of
the
spiritual
wisdom.
She
is
us,
and
she
is
not
us.
as
Ibn
Arabi
puts
it:
And she said: Is it not enough for him that I am in his heart,
Sentience
we
know
by
direct
intuition.
But
let
us
push
the
limits
of
the
mind.
Let
us
can
it
be
that
in
the
New
Enlightenment,
it
is
not
enough
to
know
directly,
for
the
direct
knowledge
of
human
mind
is
still
through
the
glass,
darkly.
Can
we
know
sentience
as
it
is
known
to
itself,
in
what
makes
it
to
mark
both
sides
of
the
of
the
subject
-
object
equation?
Is
there
consciousness
beyond
the
enduring
presence
of
subjectivity?
In
this
tribute
to
Anna-Teresa
Tymieniecka,
I
wish
to
understand
whether
phenomenology,
as
a
cognitive
enterprise
of
sentience,
extends
beyond
the
death
of
the
body.
Another
way
of
this
questioning
will
be:
what
is
the
meaning
of
resurrection
in
the
New
Enlightenment?
Out
of
the
many
faces
of
sentience,
which
one
is
revealed
in
the
aberration,
or
rather,
modification
of
attitude
created
by
dying?
We
will
now
follow
the
melodic
fabric
of
Tymienieckas
rhapsody
of
the
trans-natural
destiny
of
the
soul,
into
phenomenology
of
death
as
it
appears
to
us,
to
develop
the
theme
into
a
complete
(full)
symphonic
cycle.
A contour is outlined for this new round of enquiry, within a trans-natural destiny of
the
soul,
for
knowledge
reaching
beyond
the
biological
definitions
of
the
human
mind.
The
trans-natural
destiny
is
a
time
capsule:
Anna-Teresa
Tymieniecka
speaks
to
us
from
beyond
the
human
form
or
condition,
in
understanding
which
needs
to
be
unpacked
in
completely
new
ways
within
the
newly
emerging
paradigms
and
technologies
in
the
revolutionary
contexts
of
the
New
Enlightenment.
The
associational
fabric
of
Tymienieckas
discourse
creates
new
das Verstehen. The
insight
is
tapping
into
the
new
forms
intuition
of
life,
which
is
non-sensory,
non-intellectual,
non-transcendental
in
10
Tymieniecka says :
We
have
discovered
the
light
within
ourselves,
each
coming
upon
his
innumerable
experiences
yielding
evidence
of
the
eternal
precept
revealed
to
the
mankind
and
so
opening
our
opaque,
enfleshed
being
to
the
Absolute.
This light, this primeval experience which is so strictly subjective that cannot
11
Philosophy
of
life
is
named
spontaneity,
which
is
in
other
contexts
sentience.
The
First
Movement
of
my
symphony,
Allegro,
is
a
cadence
of
sentience.
Husserl
views
sentience
is
intentionality,
which
is
structural
relations
devoid
of
the
specific
subjective
sense,
and
rather,
embedded
to
all
of
the
subjective
senses.
In
analytic
philosophy,
sentience
is
less
structural
and
more
existential;
the
subjective
dimension
emerges
as
the
famous
what
its
like,
the
qualia.
In
the
debate
on
cognitive
phenomenology
(e.g.
Bayne,
Montague,
Kriegel,
Stoljar,
Smythies)
we
ask:
is
there
quale
to
thought?
In
Tymienieckas
Philosophy
of
Life,
we
should
ask:
is
there
qualia
to
sentience?
Or,
is
the
sentience
at
the
core
of
any
qualia,
and
therefore,
is
this
lived,
unsharable,
personal
dimension
of
subjectivity.
Of
so,
does
this
essence
of
qualia-ness
go
away
in
the
moment
of
death,
when
all
intentional
relations
seem
to
collapse
together
with
sensory
data
and
biologically
dependent
intentionalities?
Are
we
something
or
nothing?
Movement,
Moderato,
I
will
follow
the
Tymienieckian
thread
of
sentience
in
the
labyrinth
of
animate
and
inanimate
nature.
Sentience
is
an
ontological
platform
for
the
phenomenality.;
it
is
also
an
essence
of
all
qualia,
i.e.,
the
quale
animating
every
qualia.
That
established,
we
will
now
adjust
the
horizon
of
our
intuition.
We
proceeded
from
the
human
spontaneity
to
its
ontological
ground,
sentience;
we
moved
from
the
shine
to
living
silver
itself.
In
a
reverse
pirouette,
we
will
glean
the
silver
itself,
by
which
I
mean
examine
sentience
by
itself,
not
from
the
standpoint
of
human
condition,
but
rather,
in
its
cosmic
manifestation.
If
the
traditional
Descartes-Vico
pendulum
of
knowledge
is
between
the
subject
and
the
object.,
the
pirouette
of
our
intuition
would
be
in
a
direction
away
from
either,
from
the
12
outside
into
the
inside,
into
the
substance
of
what
takes
the
shape
of
sentience
in
life,
and
manifests
as
spontaneity
in
human
condition.
What
creates
that
strictly
subjective
component
of
experience
that
we
cannot
share?
While
the
qualia
of
sensory
experience
are
clearly
phenomenalistic,
the
qualia
of
thought
are
a
subject
of
debate
on
whether
thought
has
a
phenomenal
representation.
The
mental
experimentation
in
nave
introspection
of
the
philosophy
of
mind
produces
diametrically
opposite
opinions.
However,
In
the
New
Enlightenment,
we
also
have
science
which
is
no
longer
concerned
exclusively
by
the
facticity
of
objects.
It
takes
a
stab
at
the
internal
principles
of
life
in
the
new
ontologies
of
complexity
theory.
This
kind
of
science
reads
to
me
as
a
version
of
Tymienickas
phenomenology
of
life;
the
ontopoetic
novum
is
remarkably
reminiscent
of
the
phase
shifts
and
strange
attractors
emerging
in
the
complex
systems.
It
was
proposed
that
what
subjectively
appears
as
qualia
thought,
is
in
essence
a
set
of
informational
relationship
pertaining
to
cogntition,
i.e.
information
per
se
which
is
subjectiviatically
appropriated
as
human
experience
of
thought.
Information
is
something
which
transcends
subject-object
relations;
subject-object
relations
themselves
can
be
viewed
as
informational
relations.
We
have
no
evidence
that
information
pertains
to
the
physical
only
universe;
on
the
contrary
we
have
an
evidence
from
quantum
mechanics
and
mathematics
that
things
are
quite
the
oppositve;
observer
and
physical
universe
are
informationally
connected
both
ways,
as
in Belavkin equation, Heisenberg's Uncertainty
Principle. Logically, in Schrdinger's mental cat experiment with Verschrnkun
(entabglement), the cat can be both alive and dead, and no fallacy so far was found in this logic.
Further,
information
will
be
the
substratum
which
can
be
thought
of
being
on
both
sides
of
subject
and
pbject,
noema
and
noesis,
and
further,
both
the
conscious
self
and
the
material
13
world..
IN
the
history
of
thought,
a
similar
view
was
developed
by
Islamic
philosopher
Suhrwardi
in
his
argument
concerning
the
awareness
and
visible
light.
Consequently,
if
we
zoom
intuition
into
sentience
in
the
spectacle
of
experience,
and
focus
exclusively
on
the
qualia
of
the
pure
subjectivity,
we
may
not
be
apprehending
js
not
j
ust
something
monadic
and
purely
qualitative,
and
even
analyzable
in
structural
terms.
The
dance
of
nonlinear
complexity
unfolds
in
the
Third
Movement,
Minuet,
in
which
the
informational
patterns
of
consciousness,
cosmos
and
life
are
recognized
as
sentience.
In
this
dance,
sentience
is
not
a
source
or
primeval
ground
into
which
we
can
tap
into
or
return
to,
but
is
the
very
thereness
and
facticity
of
both
things
and
consciousness.
To
sdummarize,
I
move
forth
that
subjectively
lived,
human
existential
property
of
spontaneity
springs
forth
from
sentience;
that
sentience
is
phenomenal
and
has
qualia
which
can
be
discovered
in
the
introspective
experiment
with
the
motion
of
mind
towards
the
pure
subjectivity;
that
the
pure
subjectivity
has
for
its
qualia
sentience.
The
self-same
sentience
unfolds
as
a
manifestation
of
comlex
relationship
,
perhaps
of
the
cosmic
and
field-like
nature,
between
the
primeval
waves
of
information
which
compile
our
universe.
Cosmos
is
an
infinitely
evolving
complex
informational
pattern
whereby
information
is
sentient.
In
its
downward
arc,
these
sentient
informational
patterns
are
given
to
us
as
life,
and
sponteoeity
of
sentience
as
creativity
in
human
condition.
These
patterns
are
shown
in
upward
and
downward
arcs,
and
therefore,
as
a
minuet.
We showed that sentience is not a property of the human brain and not even an
emerging
property
of
life.
Rather,
it
is
borrowed
from
the
cosmos
and
appropriated
as
the
self
in
the
human
condition;
inter-subjectivity
is
a
derivative
of
sentience,
and
subjectivity
14
neither
subjective,
no
objective,
neither
a
wave
or
a
field,
neither
a
particle
nor
idea,
but
rather,
informational
relations
with
the
patterns
of
self-organizing
complexity,
we
may
now
again
engage
in
the
upward
arc
and
enquire:
can
the
sentient
substratum
of
the
universe
ever
seize?
Can
the
informational
relationship
ever
be
extinguished?
One
can
fathom
their
changing
arabesques
in
this
or
that
configuration
of
intelligence,
as
life
or
as
inanimate
nature
like
a
which
nail
may
appear
insentient
in
an
otherwise
sentient
body,
but
can
they
ever
seize
to
be?
We
do
need
to
inquire
into
the
status
of
this
beingness.
What
happens
in
the
seclusion
of
a
burial
chamber
which,
opened
later,
reveal
the
flesh
and
bones
of
a
saint
gone
with
only
nails
and
hair
remaining?
Is
transfiguration
a
metaphor,
or
a
description,
and
a
metaphor
and/or
description
of
what?
I wish to switch now to more personal imaginings. Those who witnessed death will
perhaps
agree
with
me
that
it
has
a
certain
empty-ing
quality.
Not
only
a
person
is
gone
,
and
the
body
goes
breathless
and
still,
in
addition,
the
space
changes
it
metrics.
A
strange
blazing
emptiness,
emerges,
like
a
gap
or
rip
in
the
fabric
of
existence.
This
gap
seems
to
bridge
the
worlds:
traditions
claim
that
the
deceased
ones
can
for
a
while
hear
our
prayers
and
even
receive
the
guidance
for
their
transitions.
Recently,
this
process
changed;
a
few
of
the
close
ones
died
recently,
and
the
gap
does
not
seem
to
be
as
present
15
as
before.
Rabbi
Zalman
Schahter
departed
in
stillness;
Professor
Eugene
Taylor
weeped,
another
colleague,
a
very
saintly
man,
departed
in
glory.
His
students
asked
for
guidance,
guidance
was
given.
Anna
Teresa
Tymieniecka
also
departed
in
glory.
She
appeared
welcomed
by
selestial
chorus
from
ranks
of
angels.
She
ascended
into
light.
The
echo
of
this
departure
lasted
for
many
days.
Like
a
child
in
mothers
embrace,
she
turned
to
the
bosom
of
life
which
she
faithfully
serenaded
for
so
many
decade.
There
was
never
any
gap.
metaphorises
the
invisible.
These
images
of
glorious
departure
of
the
soul,
the
absense
of
the
gap,
arent
they
the
arabesques
of
sentience?
They
herald
the
increase
of
sentience,
the
increase
of
the
fullness
of
Logos,
the
increase
of
life.
Is
spontaneity
pushing
the
limits
of
the
mind
toward
further
and
further
frontiers
of
knowledge
in
the
New
Enlightenment?
And
doesnt
it
give
us
hope
that
perhaps
2000
after
the
nascent
self-disclosure
of
Christo-
Logos,
the
universe
is
still
not
a
complete
creation,
we
still
have
a
road
to
travel
together
towards
the
new
and
new
horizons
of
knowledge,
as
the
mirrors
of
sentience?
As
the
Philosophers
lyrical
character,
Thomas
the
Dispossessed,
says
?
The gift of her departure to us, For those who remain in human condition, the gift of
her
departure
is
to
see
beyond
our
limitations;
to
align
the
spontaneity
of
sentience
in
each
of
us
with
our
expressions,
as
did
she;
and
to
spread
the
word.
Anna-Teresas
visionary
insight
will
animate
the
clinical
theory
and
the
work
of
healing
professions;
it
will
extend
into
physics
and
astronomy;
it
will
penetrate
into
computer
science,
artificial
intelligence
and
building
of
the
new
virtual
realities.
The
cup
of
sentience
is
full,
and
the
fullness
of
it
is
increasing;
we
need
to
keep
spreading
the
word.
16
The
coda
follows.
May
the
gifts
of
spontaneity
increase;
may
the
new
mental
horizons
open;
may
the
new
angles
of
intuition
follow
the
self-revelations
of
sentience.
If
phenomenology
were
a
bodily
only
enterprise,
an
outcrop
of
corporeity
as
is
awareness,
or
a
product
of
praxis,
the
end
of
the
body
would
be
the
end
of
any
phenomenology.
But
in
the
melody
of
sentient
cosmic
information,
phenomenology
is
a
quintessential,
primeval
self-reflection
of
sentience,
ciphered,
as
it
were,
in
the
symbols
of
language.
Phenomenology
is
conceivable
as
apart
of
the
universe,
a
pathway
in
the
substratum
of
cosmos.
Direct
intuition
apprecepts
not
just
the
unity
of
things,
but
rather,
the
material
from
which
all
is
made.
That
flesh,
that
substance
is
mere
relationships,
with
sentience
on
all
ends.
This
every-lasting
sentience
can
be
what
Husserl
saw
on
his
death
bed
when
he
was
reporting
on
dying,
and
exclaimed:
I
see
soething
beautiful..
write,
write!
This
is
what
shines
at
us
from
the
final
passage
of
Anna-Teresa
Tymieniecka,
as
her
last
book
prepares
intuition
for
the
final
philosophical
turn.
References
Tymieniecka,
A.-T.
2012.
Introduction:
The
illusion
of
the
return
to
the
source.
In
A.-T.
Tymieniecka
(ed.
and
author)
The
Fullness
of
the
Logos
in
the
Key
of
Life,
Book
II,
Christo-
Logos,
Metaphysical
Rhapsodies
of
Faith,
Analecta
Husserliana
CXI,
1-9.