The main theme of the article, which by genre falls into the area of semiotically influenced philosophy, is a reflection on the relationship between the human and the non-human, using two partial but parallel discourses. The first discourse is the perspective of general semiotics, which is defined in the article on the basis of two distinct forms of rationality that, in different guises, still intervene in debates about the nature of the humanities and social sciences today. The first form of (...) this rationality is semiological, which can be classified under the encyclopaedic rubric of structuralism, and which has its main source of inspiration in general linguistics and its continuation in philosophical anti-humanism. The second perspective has its origins in Peirce’s logicist theory of the sign and his pragmatist metaphysics, and opens up thinking about the sign, the human, and the non-human to a non-language-centric view of the world. Despite their demonstrable theoretical and methodological incompatibility, the present text treats them as incompatible but largely complementary perspectives. It is in their mutual exposition that one can see the moments in which the view of modern human as a semiological and semiotic animal takes shape. The text brings this fundamental and founding theoretical schism into focus by examining two images from post/modern art: Ted Chiang’s “The Great Silence” and Jorge Luis Borges’ “Averroës’s Search.”. (shrink)

This essay contextualizes the Dantean figure of Ulysses, as conceived by Yuri M. Lotman, and draws this key figure of modernity into a network of mutually interconnected discourses: primarily transhumanist visions of the human future in space, which nevertheless arise from the specifically modern epistemic dimension of “restlessness,” and intertwine with post-war astronautics, cyborg visions of human re-engineering, and revolutionary considerations of speculative realism. The key is Lotman’s emphasis on Ulysses as a figure of “energy of thought”; in this regard, (...) the essay shows how the original poetic “decision,” embodied by the Ulysses figure, advocates implicit cruelty in the name of the future (treated as an inevitable fate), and how this decision generates a logical and progressively unfolding series of “inhuman” images of man situated in the universe as an event of saturation of matter with merciless intelligence. (shrink)

This memorial to Latour is not an appraisal of his fifty-year research career but the report of a traveling companion with a story to share about the apparent lack of continuity, the sudden, unapologetic, unprincipled changes of position, with which he surprised or scandalized his colleagues and readers. In the first place, was he a sociologist, an anthropologist, a philosopher? Though he did not make lasting commitments of that kind, he did make deeper ones that did not change—above all, never (...) to explain anything in terms of something more general and, thus, never to accept the position of judge. To follow Latour's problematic changes—sometimes referred to as his “versatility”—demands that we follow the changes of the very terms of the problems that his basic commitment bound him to confront. From the 1980s, when his work dealt with technoscientific progress, to the years of his growing concern with political ecology, and finally to his recognition of the oncoming climate chaos, dizzying leaps were entailed by his resistance to the temptation of judging. Involved in, but never the cause of, various of his leaps, Stengers describes her friend as responding, perforce, to changing times, rather than as behaving like a theorist thinking mainly of his image, reputation, and career. (shrink)