In her essay, “After de Brosses” (2017), Rosalind C. Morris briefly considers the historical importance of the concept of the fetish on the relatively recent movements of new materialism, but she does not engage with Speculative Realism and Object-Oriented Ontology. This essay addresses this gap and focuses on the influence of the fetish on Speculative Realism and Object-Oriented Ontology by focusing on Graham Harman’s conception of objects and Quentin Meillassoux’s theory of arche-fossils. In short, I am offering a posthumanist theorization (...) of the fetish in order to argue that Object-Oriented Ontology can be considered, at points, to be a fetish-oriented ontology and that this notion of the fetish allows us to think about philosophical considerations of objects in a new light. (shrink)

This article begins with a consideration of the `pure' unmediated relation between the human body and nature, exemplified, in different ways, by environmental expressivism, and Ingold's subtle analysis of affordance and the taskscape. It is argued that perspectives fail properly to incorporate the role of mundane technology in the mediation of human-nature relations. Drawing upon the work of Michael Serres, and, in particular, his concept of the parasite, I explore how these mundane technological artefacts - specifically, walking boots - intervene (...) in the circuits of communication between humans and the natural environment. This re-orientation traces how the local relation between bodies and environments is a complex movement between the material and semiotic, the local and the global. In the process, I draw upon four aspects of walking boots: first, there is the role of boots as mechanical technologies that can cause pain, dissolving identity and the relation between humans and nature; second, there is the role of boots as signifying style and identity; third, there is the role of boots as embodiments of procedures of standardization and objectification; and fourth, there is the role of boots as technological means of damage to nature. Finally, in concluding, I tentatively consider some of the political implications of this way of theorizing the relation between bodies and environments. (shrink)

The ‘critique of intellectuals’ refers to a genre of normative discourse that holds intellectuals accountable for the consequences of their ideas. A curious feature of the contemporary, especially American, variant of this genre is its focus on intellectuals who were aligned with such world-historic losers as Hitler and Stalin. Why are Cold War US intellectuals not held to a similar standard of scrutiny, even though they turn out to have been aligned with the world-historic winners? In addressing this general question, (...) some self-serving tendencies of intellectual history are observed, in particular the asymmetry between the ease with which intellectuals are credited with the good consequences of their ideas and the difficulty with which they are blamed for the bad consequences. This asymmetry is particularly noted in Richard Rorty, whose pragmatism treats past ideas as a legacy intended for the (American) reader’s benefit. As a corrective, I advocate, in Paul Ricoeur’s terms, a ‘hermeneutic of suspicion’ that treats intellectual life as fraught with danger, as our adoption of ideas always amounts to passing judgement over those who have borne them in the past. (shrink)

Research in Science and Technology Studies (STS) tends to presume that intellectual and political radicalism go hand in hand. One would therefore expect that the most intellectually radical movement in the field relates critically to its social conditions. However, this is not the case, as demonstrated by the trajectory of the Parisian School of STS spearheaded by Michel Callon and Bruno Latour. Their position, "actor-network theory," turns out to be little more than a strategic adaptation to the democratization of expertise (...) and the decline of the strong nation-state in France over the past 25 years. This article provides a prehistory of this client-driven, contract-based research culture in U.S. sociology of the 1960s, followed by specific features of French philosophical and political culture that have bred the distinctive tenets of actor-network theory. Insofar as actor-network theory has become the main paradigm for contemporary STS research, it reflects a field that dodges normative commitments in order to maintain a user-friendly presence. (shrink)