This paper provides an analysis of the paradoxical definition of art as the silence of the world, as presented in Maurice Blanchot’s The Space of Literature. The definition is analysed phenomenologically, by treating the world as the universal horizon of all experiences. The paper presents two possible interpretations of Blanchot’s statement. First, a possibility is considered that, according to Blanchot, in genuine artistic experience the mundane everyday life falls silent, and an autonomous fictional world opens up. The paper argues that (...) while Blanchot does oppose art to everyday life, this interpretation is insufficient. Firstly, because on the basis of the phenomenological premise, all possible worlds fall within the universal world-horizon, and secondly, the function Blanchot attributes to art is considerably more radical, as when he speaks about the directedness of art outside of all possible worlds. While such an aim may seem impossible from the viewpoint of the phenomenological premise, the second part of the paper demonstrates that it can indeed be meaningfully interpreted on the basis of Martin Heidegger’s transcendent approach to the world. According to this interpretation, while the phenomenological premise prevents all discussion of places and experiences outside the world, a liminal experience can nevertheless be discussed. If this is true, it is not an entity within the world which opens up, but rather the world-horizon itself in the form of an anxious silence. (shrink)

In Bernard Stiegler’s Automatic Society Volume 1: The Future of Work, ‘the impossible’ and ‘the improbable’ appear as explicit parts of his political project. In his philosophy of technology, the impossible highlights the structural incompleteness that technics imparts to human existence. This article will trace how Stiegler draws on the work of Maurice Blanchot to produce this conjunction between technics and indetermination, and explore its political ramifications. This will show that rather than being a recent aspect of Stiegler’s work, the (...) political use of the impossible brings Blanchot’s subterranean influence to the fore. After briefly reconstructing Blanchot’s understanding of language, impersonality, and writing, it will be shown that Stiegler shifts Blanchot’s emphasis from the impossible to technical practices of the improbable. Stiegler follows an anthropological line where the experience of the impossible becomes a more general understanding of the experience of improbability through technical structures. Stiegler’s reading of Blanchot is central in his break with the place of the impossible in the politics of resistance advocated by post-structuralism, allowing him to support a politics of invention which makes space for the improbable within a large-scale politics of technicity, rather than privileging indeterminacy itself. (shrink)

This article introduces a form of ‘conversation’ distinct from dialogue or dialectic to the context of educational theory, practice, and research. Through an engagement with the thought of Maurice Blanchot, this paper outlines the conditions he attributes to conversation in the form of plural speech, its relationship to research, how it can be educational, and speculatively concludes by considering how it can operate productively within and around educational institutions. As such, this paper provides an original intervention into educational philosophy and (...) theory, which relies on a close reading of key sections of Blanchot's The Infinite Conversation, and reflections on the distinctiveness of his argument in relation to contemporary theoretical approaches, as well as the significance of his thought and its application here to the broader questions of what non-prescriptive theory might have to offer educational research and practice. (shrink)