In this paper we inquire into the fundamental assumptions that underpin the ideal of the Bio-Based Economy as it is currently developed . By interpreting the BBE from the philosophical perspective on economy developed by Georges Bataille, we demonstrate how the BBE is fully premised on a thinking of scarcity. As a result, the BBE exclusively frames economic problems in terms of efficient production, endeavoring to exclude a thinking of abundance and wastefulness. Our hypothesis is that this not only entails (...) a number of internal tensions and inconsistencies with regard to the ideal of BBE, but ultimately undermines the ideal itself, by pushing purported regenerativity into a cataclysmic and terminal discharge. We here point to the strategies that the BBE employs in this exclusion, the fundamental assumptions regarding the relation between energy and economy that underpin this endeavor, as well as to the resulting inconsistencies and their catastrophic consequences. We finally argue for the introduction of the presently excluded question of abundance and wastefulness and explore the implications of such a question for the ideal of a zero-waste humanity. (shrink)

In his dialogues with Claire Parnet, Deleuze asserts that: ‘Whether we are individuals or groups, we are made of lines’ (Deleuze and Parnet 2007: 124). In A Thousand Plateaus (with Guattari), Deleuze calls these kinds of ‘lifelines’ or ‘lines of flesh’: break line (or segmental line, or molar line), crack line (or molecular line) and rupture line (also called line of flight) (Deleuze and Guattari 2004a: 22). We will explain the difference between these three lines and how they are related (...) to the ‘soul’. We will also explain how a singular individual or group can arise from the play of the lines. Eventually, we will introduce the concept of ‘Creal’ to develop the Deleuzian figure of the ‘Anomal’, the so(u)rcerer. (shrink)

Georges Bataille agrees with numerous Christian mystics that there is ethical and religious value in meditating upon, and having ecstatic episodes in response to, imagery of violent death. For Christians, the crucified Christ is the focus of contemplative efforts. Bataille employs photographic imagery of a more-recent victim of torture and execution. In this essay, while engaging with Amy Hollywood's interpretation of Bataille in Sensible Ecstasy, I show that, unlike the Christian mystics who influence him, Bataille strives to divorce himself from (...) any moral authority external to the ecstatic episode itself. I argue that in his attempt to remove external authority he abandons the only resources that could possibly protect his mystical contemplation from engendering sadistic attitudes. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Catherine Malabou is a professor of philosophy at Paris-Nanterre. A collaborator and student of Jacques Derrida, her work shares some of his interest in rigorous protocols of reading, and a willingness to attend to the undercurrents of over-read and “too familiar” texts. But, as she points out, this orientation was shared by Hegel himself. Arguing against Heidegger, Kojève, and other critics of Hegel, the book in which this Introduction appears puts Hegel back on the map of the present.

The thought of Heidegger and Bataille has rarely been placed in proximity. However, the notion of the `ecstatic' unconsciously draws them together. Its fundamental ramifications in each thinker's oeuvre should prompt serious reflection, particularly in the age of calculation and cybernetics. The non-utilitarian aspects of the gift, exchange, sacrifice and the sacred also bring the two thinkers closer to each other in a challenge to the dominance of what Bataille calls the `restricted economy' of balanced accounts and equilibrium at all (...) costs. To allow the thought of Heidegger and Bataille to communicate is to demarcate a point of resistance to an uncritical acceptance of the postmodern age. However, this must be tempered by the recognition that the situation is immensely complex, and that there is always a risk of political regression in every essentialist orientation - as the example of Heidegger shows. (shrink)

In the three published volumes of his History of Sexuality Foucault reflects on themes of anxiety situated in the Christian doctrine of the flesh that led to a pastoral ministry establishing the rules of a general social economy—rules that enabled, over time, a discourse on the flesh that took thrift, prudence, modesty, and suspicion as essential ethical premises in the emerging “art of the self.” Rather than sensing flesh as a charged, motile potentiality of attachment and intimacy, it came to (...) be seen as skin—as the limit of a sovereign body, embedding guilt and shame into the texture of its expression. This essay pursues the psychological and communication problematic of intimacy as a critical and developmental experience of the flesh. Foucault's concept of self-care and parrhesia, Merleau-Ponty's concept of flesh and embodiment, and Bataille's concept of glory and eroticism contribute to a phenomenology of human development that seeks to articulate an idea of a self diffierentiated from the unspoken binds of familial anxiety and emotionality. (shrink)

This is a review essay on Jesse Goldhammer, The Headless Republic: Sacrificial Violence in Modern French Thought. Ithaca and London: Cornell University Press, 2005; and Dennis King Keenan, The Question of Sacrifice. Bloomington and Indianapolis: Indiana University Press, 2005.

The key theme in this essay is the rethinking of the human, as inspired by the work of Giorgio Agamben and Hannah Arendt. The human here is not a model or concept to be realised, just as community to which the human is linked is not an ideal, but a ‘community to come’. This is revealed only by paying close attention to modes of bearing witness to the human, as instanced, for example, by Agamben’s text, Remnants of Auschwitz. Current notions (...) of political community and the human thus need to be reassessed. Only by doing this will it be possible to address the crucial issues that currently confront human rights—issues such as the tension between the principle of universal human rights and that of state sovereignty, the growing problem of statelessness, and the reduction of human rights to biopolitical humanitarianism. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

This sustained and distinctively Buddhist challenge to the ontology of Jean-Paul Sartre's Being and Nothingness resolves the incoherence implicit in the Sartrean conception of nothingness by opening to a Buddhist vision of emptiness. Rooted in the insights of Madhyamika dialectic and an articulated meditative (zen) phenomenology, Nothingness and Emptiness uncovers and examines the assumptions that sustain Sartre's early phenomenological ontology and questions his theoretical elaboration of consciousness as "nothingness." Laycock demonstrates that, in addition to a "relative" nothingness (the for-itself) defined (...) against the positivity and plenitude of the in-itself, Sartre's ontology requires, but also repudiates, a conception of "absolute" nothingness (the Buddhist "emptiness"), and is thus, as it stands, logically unstable, perhaps incoherent. The author is not simply critical; he reveals the junctures at which Sartrean ontology appeals for a Buddhist conception of emptiness and offers the needed supplement. (shrink)

At the beginning of Derrida's ‘Before the Law’, a reading of Kafka's story with that title, is an epigraph from Montaigne's Essays: ‘… science does likewise (and even our law, it is said, has legitimate fictions on which it bases the truth of its justice)…’. Derrida again refers to this quotation in ‘Force of Law’, asking what a ‘legitimate fiction’ might be and what it would mean to establish the basis for the truth of justice. With reference to these writings (...) on the status of narrative and the law, as well as to other texts by Derrida, this paper examines the story of the judge-penitent in Camus' The Fall and, in particular, this ironic reading of the aporetic experience of standing ‘before the law’. What does the narrative, The Fall, entail? Camus writes that the man who speaks in this text is involved in a ‘calculated confession’. How are the borders between truth and fiction, justice and the law, negotiated in this reckoning ‘before the law’? (shrink)

This article examines the relationship between labour, productivity and film. The purpose of this intervention is to suggest that narrative film can show us the unproductive tendencies that humans...

By elaborating upon pivotal twentieth-century studies in language, representation, and subjectivity, Being Made Strange reorients the study of rhetoric according to the discursive formation of subjectivity. The author develops a theory of how rhetorical practices establish social, political, and ethical relations between self and other, individual and collectivity, good and evil, and past and present. He produces a novel methodology that analyzes not only what an individual says, but also the social, political, and ethical conditions that enable him or her (...) to do so. This book also offers valuable ethical and political insights for the study of subjectivity in philosophy, cultural studies, and critical theory. (shrink)

In this paper I attempt to answer the question: What is interdisciplinary communication? I attempt to answer this question, rather than what some might consider the ontologically prior question—what is interdisciplinarity (ID)?—for two reasons: (1) there is no generally agreed-upon definition of ID; and (2) one’s views regarding interdisciplinary communication have a normative relationship with one’s other views of ID, including one’s views of its very essence. I support these claims with reference to the growing literature on ID, which has (...) a marked tendency to favor the idea that interdisciplinary communication entails some kind of ‘integration’. The literature on ID does not yet include very many philosophers, but we have something valuable to offer in addressing the question of interdisciplinary communication. Playing somewhat fast-and-loose with traditional categories of the subdisciplines of philosophy, I group some philosophers—mostly from the philosophy of science, social–political philosophy, and moral theory—and some non-philosophers together to provide three different, but related, answers to the question of interdisciplinary communication. The groups are as follows: (1) Habermas–Klein, (2) Kuhn–MacIntyre, and (3) Bataille–Lyotard. These groups can also be thought of in terms of the types of answers they give to the question of interdisciplinary communication, especially in terms of the following key words (where the numbers correspond to the groups from the previous sentence): (1) consensus, (2) incommensurability, and (3) invention. (shrink)

We set out by noting the preference for circular flows in ecological thought, and the related abhorrence of inefficiency and waste that Western ecology shares with mainstream economic thinking. This has often been manifest in a shared disdain both for uncontained, free-burning fire and for ‘unmanaged’ sexual desire. The paper constructs a ‘pyrosexual’ counter-narrative that explores the mutually constitutive and generative implication of sex and fire. Bringing together the solar ecology of Georges Bataille, feminist and queer thinking about sexuality and (...) reproduction, and a range of ways of theorising biological life and fire, we explore how fire mediates between organismic desire and the energetic dynamics of the earth and solar system. The first section takes a genealogical approach to fire and sex that traces their entanglement from the initial ‘assembling’ of fire through to the emergence of a fire-handling creature. The second section looks at how fire has been contained and intensified by human actors, and the role that heat-driven transformations of inorganic matter have played in the incitement and channeling of desire in urban spaces. The third section addresses the development of industrial ‘heat engines’ and the implications for desire and reproduction of tapping vast reservoirs of subterranean solar energy. We round off by beginning to consider what alternative possibilities might lie in the renegotiation of sex and fire on a planet undergoing rapid change. (shrink)

The present essay reconsiders Georges Bataille’s politics of the impossible in light of Jean-Luc Nancy’s and Philippe Lacoue-Labarthe’s collaborative work conducted at the Centre for Philosophical Research on the Political. In particular, my submission critically assesses Nancy’s and Lacoue-Labarthe’s concerted effort to displace the problematic of the subject to make room for a new ground of the political derived from Bataillean conception of community. While Bataille’s philosophy proved to be decisive to Nancy’s and Lacoue-Labarthe’s exploratory research at the Centre, it (...) also constituted a source of profound ambivalence insofar as Bataillean thinking of relation necessarily leads back to the question of the subject. The paper argues that Nancy’s admitted failure to develop the unprecedented Bataillean politics is rooted in persistence of the subject in Bataille’s philosophy. At the same time, it maintains that what Nancy perceived as a failure must be grasped as success since Bataillean determination of the political necessitates not so much an eradication of the problematic of the subject, as its re-elaboration. If, as Nancy and Lacoue-Labarthe suggest, construction of the subject throughout the development of Western metaphysics has determined philosophical thinking of political community, then Bataillean sovereignty allows for a new and non-identitarian conception of community not bound to the destiny of the state. (shrink)

This article argues for an understanding of the scream at the nexus of a pre-verbal, imperceptible and inaudible operation. The work of Jean-François Lyotard describes a figure that breaks with figurative, illustrative and narrative forms, and takes up an operative function. In aesthetic terms, this operative figure – the figure of the matrix of desire – is what Lyotard describes as “seeing” rather than “vision”. That is, a child-like look that does not recognise the world by which it might master (...) it, but which desires to surpass limited existence, to lose oneself and to desire everything incompossibly. “Seeing”, in other words, is an opening of the self to the world in the original sense of aisthesis. Such an opening describes a masochistic jouissance inasmuch as this is an eroticism that has no mastery in dialectical terms or in verbal expression. This article will examine the screaming, howling, whooping and wailing of characters in Marco Ferreri's La Grande Bouffe (1973) to understand the appearance of masochistic jouissance in cinema. (shrink)

This thesis pursues two closely related lines of argument. In the first half, I explore the Bataillean notion of man through his complex relationship with Hegel and Nietzsche. The Janus-like conception that will be dis-covered results from Bataille’s unwillingness to grant priority either to Hegel’s insights concerning the structure of consciousness or to Nietzsche’s claim, contra Hegel, that those putative insights ‘involve a vast and thorough corruption, falsification, superficialization, and generalization’ Bataille acknowledges the heuristic value of both thinkers’ work but (...) ultimately refuses to let either become the dominant force within his thought. In the end Bataille’s human being remains caught between the ‘ex-cess’ of Nietzschean Will and the ‘restriction’ of Hegelian consciousness. He sees human existence, much like Freud, as moving with a ‘vacillating rhythm’ between ‘conscious’ and ‘unconscious’ activity. This recognition leads him to conclude that there exists a fundamental ambiguity to human existence – the Impossible – which resists reduction or assimilation to any kind of formal discourse. The second half proceeds to explore this ambiguity in more detail by first teasing out the relationship be-tween the traumatic experiences at the heart of two of Bataille’s novels against the Freudian notion of Trauma and its relation to the creation of Identity. This ultimately proves insuffi-cient when it comes to interpreting the actions of Bataille’s fictional characters. However it opens a space within which other methodologies of interpretation, namely those of Lacan, Girard, and Derrida, can be in-vestigated as potential sources of insight into those characters’ psychological structures and motivation. Here they are explored in relation to each other and in order to describe and explain more adequately the ‘impossible’ ambiguity at the heart of Bataille’s novels and conception of the human. (shrink)

In this article a humble attempt is made to bridge the gap between the history of education and the philosophy of education with reference to what has been called Disability Studies since the 1980s. After outlining some of the internal tensions within New Disability History concerning ‘critique’, ‘power’ and ‘history’ the suggestion is made to consider the possibilities of the word ‘experience’ in order to construct a ‘new’ way of approaching the past. Our reading of history will draw heavily on (...) some texts of Walter Benjamin, Michel Foucault and some contemporary authors who—inspired by the work of the above‐mentioned—attempt to reconsider our modern subjectivity and reinterpret our agency. (shrink)

The political significance of masses is more obvious than ever. The aim of this article is to develop a conceptualization capable of capturing the dangerous as well as promising aspects of masses. It argues that, intricately, the dangers and fruitful potentials of masses are born out of the same fundamental structural features. We may differentiate analytically between different kinds of masses, but all masses contain elements of ambiguity. The mass conceptualization developed builds on a critical, deconstructing interpretation of selected Bataille (...) texts centering on ontological features of individuality and collectivity. Especially, Bataille’s concepts of ‘myth’ and ‘sacrifice’ are accentuated and critically transformed. Contemporary examples of masses – right-wing anti-establishment movements, Occupy Wall Street and Black Lives Matter – are presented and reflected through the prism of sacrifice, with the aim of highlighting the multifaceted and complex nature of the dynamics of masses. (shrink)

This article seeks to reconsider how traditional notions of ethics-ethics that privilege reason, truth, meaning, and a fixed conception of "the human"-are upended by digital technology, cybernetics, and virtual reality. We argue that prevailing ethical systems are incompatible with the way technology refigures the concepts and practices of identity, meaning, truth, and finally, communication. The article examines how both ethics and technology repurpose the liberal humanist subject even as they render such a subject untenable. Such an impasse reformats the question (...) of ethics by introducing questions of radical alterity, making it possible for new ethical systems to emerge. (shrink)

'And ecstasy is the way out! Harmony! Perhaps, but heart-rending. The way out? It suffices that I look for it: I fall back again, inert, pitiful: the way out from project, from the will for a way out! For project is the prison from which I wish to escape : I formed the project to escape from project!' Georges Bataille Inner Experience, p. 59 The most notable feature of the last ten years of going to Milan to visit design companies, (...) studios, manufacturers and the Salone di Mobili, has been the lack of change in outlook on the part of the Milanese Design community. The focus of any discussion centred around what has made Milanese design so special and always seemed to be focussed on the past. We revisited the 1960s and 1980s mainly—the Pop and the Postmodern, the bright colours and sensual shapes attesting to the stereotype of Milanese Design as energetic and desirous. The 1990s revisiting of a Scandinavian Modernist æsthetic particularly in furniture and kitchen appliance design seemed only to reinforce such a stereotype: “we can engage with this styling,” they seemed to say, “but it will always have our signature elegance and sophistication, that demands display and passion rather than objective appreciation.” Only Studio Mendini seemed to have no truck with the vagaries of fashion. Asked in Spring 2002 whether the studio’s playful style—so reminiscient of Design’s Postmodern turn of the 1980s as well as Pop’s 1960s exuberance—was still relevant in a world experiencing suicide terrorist attacks in many of the world’s cities, our guide told us that Signore Mendini believed that now, as much as ever, was it necessary to have some joy in people’s lives. And that is all.1 This is design as frippery, as an escape from the everyday, from the dirtiness of culture, of society and of politics. This is design which ignores the everyday experiences and concerns of people. This is design which has turned in on itself. This is not good enough. (shrink)