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 article begins with a treatment of Friedrich Nietzsche’s early essay “On Truth and Lie in the Extra-Moral Sense.” The essay is often read, in the deconstructive tradition, as a showcase example of the impossibility of making a literal philosophical claim: is Nietzsche’s claim that all truth is merely metaphorical itself a true statement, or merely a metaphorical one? The present article claims that this supposed paradox relies on the groundless assumption that all philosophy must ultimately be grounded in some (...) unshakeable literal truth. From here, we turn to Edmund Gettier’s famous critique of the widespread notion of knowledge as “justified true belief.” Expanding on Gettier’s point, it is argued that there can only be “justified untrue belief” or “unjustified true belief,” never a belief that is both justified and true at once. (shrink)

Exploring the links between Speculative Realism, psychoanalysis, and literary criticism, this article examines OOO’s entanglement with the ‘uncanny’. Reading OOO against three notable treatments of the concept - Sigmund Freud’s 1919 essay “The ‘Uncanny’”, Ernst Jentsch’s 1906 paper “On the Psychology of the Uncanny”, and Martin Heidegger’s discussion of uncanniness in his Introduction to Metaphysics - it argues that OOO reconfigures the ‘uncanny’ as a profoundly ontological concept premised on aesthetic enstrangement. Using E.T.A. Hoffmann’s short story “The Sandman” as a (...) case study, it assesses what the consequences of this reconfiguration are for literary criticism and, in particular, the study of the Gothic. By splicing OOO into the history and practice of Gothic scholarship, this article traces the outline of an “object-oriented uncanny”, pushing the ‘uncanny’ out of Freud’s shadow and into the “great outdoors”. (shrink)

Sensation is a concept with a conflicted philosophical history. It has found as many allies as enemies in nearly every camp from empiricism to poststructuralism. Polyvalent, with an uncertain referent, and often overshadowed by intuition, perception, or cognition, sensation invites as much metaphysical speculation as it does dismissive criticism. -/- The promise of sensation has certainly not been lost on the phenomenologists who have sought to ‘rehabilitate’ the concept. In Plastic Bodies, Tom Sparrow argues that the phenomenologists have not gone (...) far enough, however. Alongside close readings of Merleau-Ponty and Levinas, he digs into an array of ancient, modern, and contemporary texts in search of the resources needed to rebuild the concept of sensation after phenomenology. He begins to assemble a speculative aesthetics that is at once a realist theory of sensation and a philosophy of embodiment that breaks the form of the ‘lived’ body. Maintaining that the body is fundamentally plastic and that corporeal identity is constituted by a conspiracy of sensations, he pursues the question of how the body fits into/fails to fit into its aesthetic environment and what must be done to increase the body’s power to act and exist. (shrink)

This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.

This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.