This argument explores transcultural commonalities among civic arguments from divination in global antiquity. In the ancient world, proponents engaged in kisceral arguments deriving from divinatory signs: arguments ex divinatione regarding prospective civic action. Under ideal circumstances, their aim was to help insure that the collective action of human political organizations was aligned with the natural synchrony of the cosmos. Thus, civic arguments from divination were employed to anticipate the future’s course based on the signs the system produced holistically. In ancient (...) Mesopotamia, China, and Rome, divination was employed as a tool for aligning the order of human society to that of a conception of metaphysical or cosmic order. By comparing these argumentative examples and rationales, we see a broader context for the way in which humans made arguments toward political futurity outside more conventional syllogistic formulations concerning causation. Rather, the argumentative strategies of many ancient cultures embraced an understanding of the future as the logical outcome of a holistic dynamism in kairotic time. (shrink)

This article argues for a reconceptualization of utopia as akairological rupture. Its central thesis disputes the conventional reading of utopia as a teleological goal to be realized by a social collective. Thus rather than viewing the potentiality of utopia as a prescribed ideal commonwealth whose inhabitants live in harmony, I argue that it should be seen as an akairological rupture, manifested through a determinately negative, individual, approach. In this reading, utopia is primarily a social condition within culture, and perennially opposed (...) to any ideal telos. This temporal and qualitative reconceptualization of utopia as disruptive is anathema to the positive reading that sees it as feasible through social reform and rational discourse. This reconceptualization argues for the importance of developing a reading of utopia that can transcend any reified, fixed conception that seeks to domesticate it in the service of a contingent political aspiration, however noble and humanitarian it may appear to be. Herein lies its critical potentiality under neoliberal conditions. (shrink)

In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this assumption we (...) will use classical art theory texts about the triptychs, as well as, among others, Deleuze’s texts about time image and the triptych structure, Agamben’s concept of kairos, the concept of kairological artwork coined by David Chan and the philosophy of temporality developed by Merleau-Ponty. (shrink)