This article explores the ethical imperative to dramatise in the work of Georges Bataille and Gilles Deleuze, two of the most radical thinkers in twentieth-century philosophy, as a peculiar kind of askesis. Whereas askesis is often associated with asceticism or self-denial, in the sense of self-regulation and abstention, Bataille and Deleuze advocate training the self towards intensification of the liminal and extreme, which can rather be understood as a denial of self – its dissolution or laceration. Few attempts have been (...) made to compare their work, even though both share a commitment to resisting the closures that bind our desires and inhibit our full participation in and confrontation with the ebbs and flows of an impersonal, immanent life. Through careful consideration and comparison of their work, I argue that both offer important methods for engendering modalities of ecstatic being characterised by sensitivity to immanence, which have important ramifications for our ability to address phenomena of ethical indifference and resist the constrictions of social control mechanisms that decimate our political imaginations and inhibit our resolve to invent a different future. In the final sections, I interrogate the differences in their invocation of affect and art. (shrink)

The articles brought together in this double-length section of the Annual Review of Theory, Culture & Society focus on two intertwined strands of the thought of Georg Simmel, both of them neglected until recent years. A first bears on what might be called Simmel’s metaphysics of the social, or what he himself once called ‘sociological metaphysics’. A second strand centres on the renewed contemporary relevance of Simmel’s ideas about money economies and their relation to precarious individual life-situations in an age (...) of global economic turbulence. Current sensibilities in the wake of global economic crisis and the demise of some of the more euphoric sociologies of globalization of the last two decades provide a timely setting for a reappraisal of Simmel’s thinking. With the completion in 2012 of the Suhrkamp edition of Simmel’s collected works, Simmel’s themes need to be explored more deeply, including particularly his thinking about lived experience, transcendence, death, fragmentary worlds of value, and allegorical representation. This issue of the journal showcases some of the latest scholarly work and foregrounds several pivotal primary pieces unavailable in English until now. (shrink)

The Fold is a book of practical philosophy that takes a radical new approach to aesthetics. Laura U. Marks calls this philosophy "enfolding-unfolding aesthetics," based in ideas derived from Gilles Deleuze and others (G.F.W. Leibniz, David Bohm, and Édouard Glissant) that the universe is folded in on itself. She proposes a theory of mediation as contact and connection across the folds and a set of embodied methods for detecting such cosmic connections. In drawing out this aesthetics, Marks considers the embodied (...) and sensuous dimensions of engaging with audiovisual works and works of art-dimensions that Marks suggests are composed of the very folds that compose everything and everyone: all living beings, from humans to particles, sandwiches to stars, technologies, thoughts and images, in the present, the past, and the future. Making use of art and film, with a focus on African diaspora and Arab cinema, Marks opens ways to strengthen connections to the cosmos and to better trace processes of becoming that are immanent within the fold. (shrink)

In this essay I bring Gregory Bateson together with Deleuze and Guattari (primarily with the latter) to show their ecological compatibility, especially with Guattari’s ecosophy. I do this against the backdrop of the Anthropocene which presents us not only with a ‘climate’ of post-truth and political corruption, but also with the so-called climate crisis. In the context of these two broad examinations, I ask what can an artisan-artist-designer do given this problematic context? My reply is to call on ‘speculative design’ (...) by an ‘avant-garde without authority’ to expose the symptoms of the Anthropocene era. (shrink)

This thesis is about the crisis in representation that accompanies the attempt to account for lived experience, with particular reference to bodily pain in social science. The diagnosis of this problem of experience identifies epistemology as an inappropriate means of knowing that initiates a translational paradox unable to satisfy the simultaneous demands of making lived experience familiar in representational form yet retaining the foreignness of the original experience at the same time. This problem of simultaneity is not a problem, however, (...) if it is built into a way of knowing, something that escapes epistemological conditions of possibility with its either/or of singularities. To know in such ‘double vision’, or fractionally, characterises post-epistemological thinking. This thesis draws on a relatively underdeveloped method for practicing a fractional means of knowing from post- actor-network theory, that of the pinboard, and explores how it might be usefully applied to the problem of experience. The thesis constitutes an experiment in producing a social science account of the lived experience of chronic pain using this method as an alternative to conventional epistemological techniques that initiate the problem of experience. Through initial theoretical discussion, followed by reflection on its practical application involving the construction of fractional accounts of lived experience for five participants experiencing chronic pain, the pinboard is developed as a technique that seeks to maintain ‘double vision’ whilst inherently resisting attempts to resolve the juxtaposition it makes visible, enacting and engaging in an ontological politics with conventional methods of social analysis. This includes discussion of how the method might be transported from methodological knowledge spaces to effectively intervene on such conventional methods. (shrink)