Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together (...) these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself. (shrink)

(2011). ‘What Is, Is More than It Is’: Adorno and Heidegger on the Priority of Possibility. International Journal of Philosophical Studies: Vol. 19, No. 1, pp. 31-57. doi: 10.1080/09672559.2011.539357.

This paper provides a critical interpretation of the theme, point, and methodological status of Adorno’s so-called negative dialectic. The theme at issue, ‘non-identity’, comes in several varieties; and the point of Adorno’s dialectic, namely reconciliation, is multifaceted. Exploration of those topics shows that negative dialectic seques into substantive doctrines, including a version of transcendentalism and a claim about deformation. The peculiar methodological status of negative dialectic explains that adumbration. In the appraisive register, my principal contentions include these: Adorno’s transcendentalism makes (...) some sense of the aforementioned deformation claim; and negative dialectic qua method avoids mystery and metaphysical excess. (shrink)

The concept of autonomy is central to many debates in aesthetics. However, exactly what it means to be autonomous in our aesthetic engagements is somewhat unclear in the philosophical literature. The normative significance of autonomy is also unclear and hotly debated. In this essay, I propose a method for clarifying this elusive concept by distinguishing three distinct senses or varieties of aesthetic autonomy: experiential autonomy, competence-based autonomy, and personal autonomy. On this taxonomy autonomy is a context-sensitive concept and autonomy applies (...) to several different moments or stages of aesthetic appreciation. Throughout this critical discussion, important issues concerning the nature of aesthetic appreciation are also explored. (shrink)

This article examines the turn to the aesthetic dimension in early 20th century critical theory, particularly in the work of Lukács, Benjamin and Adorno. It focuses on the concept of play ( Spiel), which garnered particular attention as a possible form of aesthetic resistance to the reification of reason in modern society. The article traces the concept of play from the work of Lukács, who engaged with Schiller’s notion of the play-drive but ultimately viewed it to be an inadequate form (...) of aesthetic resistance, to the work of Benjamin, who optimistically embraced the revolutionary possibility of play. In contrast, the article argues that Adorno’s work tacitly advances a critical concept of dark play that offers a third perspective between Lukács’s pessimism and Benjamin’s optimism, thus avoiding both the retreat into an apolitical aesthetic dimension and the uncritical embrace of play’s revolutionary potential. (shrink)

The defetishization thesis claims alternative markets can lead to a more honest, less mystified relationship with food production and, in turn, strengthen civil society. Drawing from Marxian political economic and environmental sociological theory, I make three general claims: capitalism is inherently ecologically and socially harmful; “ethical” commodities derived from alternative markets cannot fundamentally counteract the pervasiveness and scale of ; and, because of and, ethical consumerism does not defetishize the commodity form, but acts as a new layer of commodity fetishism (...) that masks the harms of capitalism by convincing society that the harms of capitalism can be rehabilitated with the commodity form itself. Prescriptively, I argue traditional, large-scale political tactics would be needed for “defetishization” to take place. (shrink)

The following reflections examine the new translation of Heidegger’s Beiträge zur Philosophie in relation to the former one. These reflections assess the relative merits of both translations and attempt to show how this relation illustrates specific issues in Heidegger’s text concerning the first and other beginnings of Western thought.

This paper examines the use of “pleasure” as the distinguishing mark of aesthetic experience in post-Kantian philosophy. It shows how the distinctive features of aesthetic experience, such as pleasure, qualify this experience as a platform for social criticism. The key argument is that the autonomy of the aesthetic experience is not “false”, rather it is paradoxical in the strong sense that the fact of its communicative efficacy, which follows from distinctive, “autonomous” aesthetic features, necessarily loads it with functions and expectations (...) that are external to the aesthetic moment. Kant takes a complicated path to qualify aesthetic judgment as disinterested in order that it may eloquently testify for morality. He thereby sets up the cogency of the modern pattern of looking to aesthetic experience as a locus of meaningful communication for ideas that are experientially poor or remote. (shrink)

Melancholia is a hybrid concept, deployed in feminist and philosophical theories politics and aesthetics, but ‘properly” belonging to neither. This heterogeneity of melancholia as both an aesthetic and a political category allows us to interrogate the interrelationship between gender politics and aesthetics without, however, abolishing their differences. Reinterpreted in the context of a feminist aesthetics, melancholia not only points to art’s origin in the unjust and gendered division of labor and power but also to the ethical and political task of (...) art to bear witness to the mute suffering of women cut off from the signifying possibilities of language. Moving beyond the entrenched oppositions between historicism/subjectivism, subject/object, or formalism /materialism, my own approach to an aesthetics of melancholia in women’s modern novels stresses unpredictable, conflicting migrations of pain between subjects and objects, political oppression and autonomous art, language and affect. (shrink)

The aim of this paper is threefold. In the first place, I should like to show that Adorno’s philosophy is dependent, to a degree perhaps not always directly recognized in the literature, on a deeply contentious view on the relationship between the mind and the body. In order to show this, I explore and bring out the epistemic and ethical stakes for Adorno’s theory of the relationship between mind and body. Secondly, I move to better articulate precisely what Adorno’s view (...) on the nature of this relationship is. I hold that his position revolves around positing a porous boundary between the domains of the somatic and the cognitive. In closing, I show that Adorno’s account relies on this domain boundary being unidirectionally porous, in that determination of somatic impulses by cognitive content does not seem a live option for Adorno. I go on to note that this smuggles in a dubious position which does a lot of unearned work. The stakes which his implicit account of the body and mind relationship serv.. (shrink)

After noting some conditions of historical and contemporary context that favor a dialogue between pragmatism and East‐Asian thought, which could help generate a new international philosophical perspective, this essay focuses on several themes that pragmatism shares with classical Chinese philosophy. Among the interrelated themes explored are the primacy of practice, the emphasis on pluralism, context, and flux, a recognition of fallibilism, an appreciation of the powers of art for individual, social, and political reconstruction, the pursuit of perfectionist self‐cultivation in the (...) art of living, and the crucial role of embodiment in this melioristic pursuit. The last section defends this somaesthetic emphasis against some likely criticisms and closes with an example of how occidental and East‐Asian somatic thinking can be productively integrated. (shrink)

Adorno sees experience as intrinsically interpretative. As interpretation requires normative constraints, in order to guide and channel this interpretative engagement, this opens the question of how experience acquires its motivating criteria. If experience is from the first criterially structured, how are these criteria acquired? Moreover, as these criteria are acquired in isolation from experience – as they are the precondition of that experience – are these criteria sensitive to the particularity of the experiences they produce? In order to address these (...) questions, and the problems they threaten to create for Adorno’s epistemology, I look at Adorno’s theory of impulse and cognition. I argue that Adorno grounds the criterial structure of experience and reason in self-preservation. This provides both a motivation and a determining constraint on the criterial structure of experience. It is also a determining influence which is epistemically flexible and compatible with Adorno’s project of tracing .. (shrink)

Jeffrey Alexander’s recent book on cultural sociology argues that sociologists must grant the realm of ideas autonomy to determine behavior, unencumbered by interference from instrumental or material factors. He criticizes the sociology of Pierre Bourdieu as “weak” for failing to give autonomy to culture by reducing it to self-interested behavior that immediately reflects class position. However, Alexander’s arguments seriously distort and misstate Bourdieu’s theory, which provides for the relative autonomy of culture through the concepts of habitus and field. Because habitus (...) is a set of durable dispositions conditioned by past structures, it may contradict the changed structures of the present. Further, the influence of the habitus is always mediated by the structure and strategies of the field of contest in which it is deployed, so that the same habitus may motivate different actions in different circumstances. However, Alexander is correct to argue that in Bourdieu’s theory culture generally serves to reproduce, not contradict social structures. Yet Bourdieu addresses this and other problems in his later work, in which he argues for the existence of certain cultural universals transcending particular structures. (shrink)

In this paper I argue that the idea ‘becoming-woman’ is an attempt to transform embodied experience but, because it is unable to concern itself with mechanisms, structures and processes of sexual differentiation, fails in this task. In the first section I elaborate the relationship between becoming-woman and Deleuze's ‘superior’ or ‘transcendental’ empiricism and suggest that problems can be traced back to an underlying Humean empiricism. Along with Hume, Deleuze, it seems, presumes a bundle model of the object which dissolves things (...) into episodic objects of perception and leaves the subject unable to distinguish between fanciful objects, erroneous perception and any other thing. The empiricist ontology thus has consequences for epistemology and leaves us unable to question the conservative tendencies of common sense. As an alternative to transcendental empiricism, the second section considers how transcendental realism, with its ontological commitment to the mind-independent character of things, may provide a more fruitful and productive line of enquiry. Given that there is such a choice, in the third section I speculate as to the specific desires that drive such philosophical abstraction; abstraction which culminates in the non sex-specific figure becoming-woman whilst disguising the mind-independent character of the mechanisms, structures and objects that affect the subject. So I conclude that, despite all appearances of radicalism, the philosophical model ‘becoming-woman’ – aligned as it is with schizo-processes and the philosophical loss of mind-independent things – is more of the same and sexual difference remains a hidden term. Due to this, I believe that feminists should view it with suspicion. (shrink)

This essay considers 'modern' poetry and music as interrelated signifying practices in the works of Charles Baudelaire and Theodor Adorno through a focus on their approach to understanding dissonance. For Baudelaire, dissonance depends on consonance in order to be perceived at all, a fact which allows us to read the modern not just in terms of a break with the past but also as dependent on it. This essay demonstrates the mutually constitutive nature of consonance and dissonance by placing Baudelaire (...) and Adorno’s writings on dissonance, with reference to the music of Beethoven, into a constellation that allows for insight into the function of ‘modern’ dissonance. It argues that Baudelaire’s approach is both new and dependent on long-standing understandings of dissonance and harmony, and that Adorno’s writings, in conjunction with Baudelaire’s, can make us attentive to the dissonance that operates within harmony rather than standing opposed to it. (shrink)

This paper seeks to redress the marginalization of Adorno in environmental philosophical discourse. Kate Soper describes two opposing ways of conceiving nature. There is the redemptive “nature-endorsing” paradigm that lays claim to the intrinsic value or “otherness” of nature. Conversely, the “nature-sceptical” approach denies that we can access originary, untouched nature. This paper argues that the significance of Adorno’s treatment of natural beauty lies in how he brings these approaches together. In writings that resonate with the dual connotations of Sebald’s (...) phrase “after nature”, Adorno both affirms the skeptical point that we cannot transcend a human history alienated from nature as well as retaining redemptive hope wherein art “after” nature seeks creative possibilities from out of the very ruins of history marked by nature’s destruction. (shrink)

The purpose of the article is to evaluate the ethical and political conclusions that Ulrich Beck draws from his account of ‘civilization risks’. I have argued that the categories of ‘life’, ‘the organic’, and the ‘technological’ which are presented in Risk Society, presuppose a certain metaphysics of ‘natural’ human identity; and that it is the inscription of this identity in the politics of risk administration which opens the possibility of an absolutely legitimized regulation of nature, humanity, and society. Thus, in (...) order to evaluate the ‘risk’ entailed in the ethical and political strictures of Beck's ‘world risk society’, I have had recourse to the expositions of time, presence, identity and technology which Derrida has given in Of Grammatology and Specters of Marx. It is through these expositions that I have tried to work through the idea of an ecological politics that would remain sensitive to the events of difference and alterity precipitated by its own ‘cosmopolitan’ interventions. (shrink)

I defend traditional aesthetics against sociological criticism. I argue that “historicist” approaches are not supported by arguments and are intrinsically implausible. Hence the traditional ahistorical philosophical approach to the judgment of taste is justified. Many Marxist, feminist and postmodernist writers either eliminate aesthetic value or reduce it to their favourite political value. Others say that they merely want to give a historical explanation of the culturally local phenomenon of thinking in terms of the aesthetic. As a preliminary, I point out (...) that the conception of the aesthetic these theorists operate with is a straw man. In particular, Kant would have rejected it. I then point out that the empirical evidence does not support their historicist views. Most sociological theorists adduce no evidence, thinking their view obviously correct. Where evidence is adduced, the evidence has little connection with their general historicist conclusions. Lastly, I put pressure on the historicist view, first by appealing to the enormity of the error attributed to ordinary people, and second by appealing to the inevitability of pragmatic inconsistency by those who assert the view. I conclude that traditional philosophical aesthetics was right to be ahistorical. (shrink)

. In this essay I point toward the difficulties inherent in ontological objectivity and seek to restore our truth claims to validity through a relational ontology and the dynamic of coimplication in signals and noise. Theological examination of art and science points toward similarities between art, religion, and science. All three have often focused upon a “metaphysics of presence,” the desire for absolute presence of the object . If we accept a relational ontology, however, we must accept that the revelation (...) of presence is always simultaneously a concealment. This helps explain technoscientific achievement without recourse to a philosophically flawed objectivity. Twentieth‐century information theory shows the impossibility of a “pure signal.” By accepting that signal and noise are permanently interconnected, we begin to see how noise makes signal possible and even how noise becomes signal . Information theory thus underscores important similarities and leads toward new approaches in aesthetics, Christian theology, and scientific research. By comparing art, religion, and science, I argue that rejecting a metaphysics of presence without rejecting presence itself allows human beings to know the world. Although religion, science, and art often seek the absolute presence of their objects, they function better without. (shrink)

Music theory has to reinvent itself. Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with electronic music. In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within a scenario dominated by the Philosophy of Language. The Philosophy of Language is (...) herein proposed as a possible philosophical asset to counterbalance some limits of Phenomenology, which has dominated the field of electroacoustic music since its appearance. Within this scenario, the work suggests the notions of "mimesis" and "cadence" as two valid terms to help creating a common ground between the two genres, discussing them in detail and proposing new interpretations for both concepts. (shrink)