This article revises Foucault's account of biopolitics in the light of the impact of the molecular and digital revolutions on `the politics of life itself'. The confluence of the molecular and digital revolutions informationalizes life, providing an account of what it is to be a living thing in terms of complex adaptive and continuously emergent, informationally constituted, systems. Also revisiting Foucault's The Order of Things and its interrogation of the modern analytics of finitude, the article argues that our contemporary politics (...) of life is therefore distinguished by the quasi-transcendentals that now distinguish informationalized life: circulation, connectivity and complexity. Here, too, the article argues, the figure of Man, which once united the quasi-transcendentals of life, labour and language, is replaced by the contingency that now unites circulation, connectivity and complexity. Observing that a life of continuous emergence is also one in which production is continuously allied with destruction, such a life is lived as the continuous emergency of its own emergence. This account of contemporary biopolitics, together with its emergency of emergence, contrasts, in particular, with that offered by Agamben in his appropriation of Schmitt. (shrink)

Often associated with themes in political philosophy and aesthetics, the work of Jean-François Lyotard is most known for his infamous definition of the postmodern in his best-known book, La condition postmoderne, as incredulity towards metanarratives. The claim of this article is that this famous claim of Lyotard is actually embedded in a philosophy of technology, one that is, moreover, still relevant for understanding present technoscience. The first part of the article therefore sketches Lyotard’s philosophy of technology, mainly by correcting three (...) common misconceptions: that La condition postmoderne would only be about metanarratives, whereas in fact, it is mainly about what replaces them, namely performativity; that performativity would be shorthand for capitalism, whereas in reality, capitalism is the latest instance of a longer history of performativity; and that Lyotard’s reflections on science and technology would be restricted to this book alone, whereas in reality, a well-articulated philosophy of technology, centered around the concept of technoscience, is found in his later work. The second part of the article then aims to highlight the contemporary relevance of this philosophy of technoscience through a brief examination of two contemporary technosciences: synthetic biology and data science. (shrink)

The twenty-first century is teeming with larger-than-life threats to our larger-than-life existence, such as famine, war, natural disasters and climate change, viruses, incurable disease, etc. At stake is the future of the human species as a whole. But it is not just external threats that herald the prospective end of humanity. We also face the general exhaustion of many of our earlier and more comfortable modes of philosophy. This is arguably a much graver threat. It is this gloomy atmosphere that (...) the philosophy of antinatalism taps into. Antinatalism is the philosophical view according to which human reproduction should be brought to a halt for any of a variety of reasons. It will be argued here, however, that we can only come to the antinatalist conclusion when we affirm that humankind (somehow) represents a very persistent anomaly in the universe at large. Otherwise, we could simply resort to (much) less radical steps than the ones advocated by antinatalism. Based on this, an important distinction will be made between reactionary (or activist) antinatalism and its more philosophical, so-called originary, counterpart. Ultimately, against recent attempts that push for a moderate embrace of antinatalism, the present work makes a strong case for it. It is argued that this is warranted by the very writings most usually associated with this radical philosophical position. (shrink)

This paper explores the continuing relevance to education of ideas about art and resistance that Jean-François Lyotard signalled in his curated exhibition in 1985 at the Centre Georges Pompidou in Paris entitled Les Immatériaux. The exhibition was for Lyotard the ‘staging’ of a resistance at the dawning of an information age that challenged the prioritisation of computerised ‘data’ through the very deconstruction of data as presented in artistic form. While the implications of this event for art exhibitions are still being (...) theorised and debated, it is the insight Les Immat​ériaux provides as pedagogical encounter that is the focus of this article. The paper explores the exhibition in the context of the immateriality of art and develops this argument towards a notion of artistic testimony that then culminates in an analysis for the pedagogical significance of the exhibition in the information drenched, highly networked context of contemporary education. (shrink)

The essay continues the discussion on democracy begun in Derrida Today 4:2, interrogating the associations between the nature of the pharmakon and democracy ‘itself’, seen as ‘the sovereignty of the people’. Starting with Derrida's notion of writing (and grammatology in general) as what he calls the ‘errant democrat’, shared by – and indeed defining – all, and at the same time prior to the demos, Bernard Stiegler makes the further claim that this foundation of democracy, the pharmakon, is not simply (...) a dialectical site of poison and remedy, as it is often seen, but rather a neutral space or referent that simultaneously connects and disconnects through Stiegler's wider sense of grammatisation, which includes Derrida's sense but extends to all tertiary memory, those external mnemonic devices that not only articulate but guide and indeed anticipate culture and its evolution. The implications of a pharmako-democracy are enormous in a hypertechnological epoch in technics as a tool has emerged as a controlling cultural force. In this sense pharmacopolitics are the only politics. The essay considers how Derrida's exploration of this pharmako-neutrality is at work in Specters of Marx as well as ‘Plato's Pharmacy’, and how it provides a frame for and a bridge to Jean-François Lyotard's related sense of desire in Libidinal Economy, where pharmacological neutrality must also be seen as excess or, in Lyotard's word for it, ‘inascribable’. (shrink)

This article discusses the way in which a group of contemporary cultural theorists in whose work we see a “new materialism” (a term coined by Braidotti and DeLanda) at work constitutes a philosophy of difference by traversing the dualisms that form the backbone of modernist thought. Continuing the ideas of Lyotard and Deleuze they have set themselves to a rewriting of all possible forms of emancipation that are to be found. This rewriting exercise involves a movement in thought that, in (...) the words of Bergson, can be termed “pushing dualism to an extreme.” By this movement, Deleuze has stated, “difference is pushed to the limit,” that is, using Colebrook’s words, “difference is shown differing.” The article addresses the ways in which modernity’s dualisms (structured by a negative relation between terms) are traversed, and how a new conceptualization, and ontology , of difference (structured by an affirmative relation) comes to be constituted along the way. New materialism leaves behind all prioritizations (implicitly) involved in modern dualist thinking since a difference structured by affirmation does not work with predetermined relations (e.g., between mind and body) nor does it involve a (counter-)hierarchy between terms. The article makes explicit the methodology of the current-day rise of non-dualist thought, both in terms of its non-classificatory mode of (Deleuzian) thinking and in terms of the theory of the time of thought thus effectuated (Lyotard’s notion of ‘rewriting modernity’ is not a post-modernism). Throughout the article we will engage with an example in order to demonstrate the ontology that is being practiced following this methodology: How does a new (feminist) materialism traverse the sexual dualisms that structure modernist (feminist) thinking? This example also shows how a feminist post-modernism (found in the canonical work of Butler) has remained dualist, and what makes new materialism “new.” Freed from a dualist methodology, the modernist emancipatory project comes to full fruition in new materialism. (shrink)

This article discusses the way in which a group of contemporary cultural theorists in whose work we see a “new materialism” (a term coined by Braidotti and DeLanda) at work constitutes a philosophy of difference by traversing the dualisms that form the backbone of modernist thought. Continuing the ideas of Lyotard and Deleuze they have set themselves to a rewriting of all possible forms of emancipation that are to be found. This rewriting exercise involves a movement in thought that, in (...) the words of Bergson, can be termed “pushing dualism to an extreme.” By this movement, Deleuze has stated, “difference is pushed to the limit,” that is, using Colebrook’s words, “difference is shown differing.” The article addresses the ways in which modernity’s dualisms (structured by a negative relation between terms) are traversed, and how a new conceptualization, and ontology, of difference (structured by an affirmative relation) comes to be constituted along the way. New materialism leaves behind all prioritizations (implicitly) involved in modern dualist thinking since a difference structured by affirmation does not work with predetermined relations (e.g., between mind and body) nor does it involve a (counter-)hierarchy between terms. The article makes explicit the methodology of the current-day rise of non-dualist thought, both in terms of its non-classificatory mode of (Deleuzian) thinking and in terms of the theory of the time of thought thus effectuated (Lyotard’s notion of ‘rewriting modernity’ is not a post-modernism). Throughout the article we will engage with an example in order to demonstrate the ontology that is being practiced following this methodology: How does a new (feminist) materialism traverse the sexual dualisms that structure modernist (feminist) thinking? This example also shows how a feminist post-modernism (found in the canonical work of Butler) has remained dualist, and what makes new materialism “new.” Freed from a dualist methodology, the modernist emancipatory project comes to full fruition in new materialism. (shrink)

In this essay, I trace the development of Julia Kristeva's theory and practice of “the subject in procession trial” from her semiotic works of the 1960s to her psychoanalytic writings of the 1970s and 1980s. I read Kristeva's exploration of this “subject in procession trial” as contributing to a postmodern feminist ethics.

This sustained and distinctively Buddhist challenge to the ontology of Jean-Paul Sartre's Being and Nothingness resolves the incoherence implicit in the Sartrean conception of nothingness by opening to a Buddhist vision of emptiness. Rooted in the insights of Madhyamika dialectic and an articulated meditative (zen) phenomenology, Nothingness and Emptiness uncovers and examines the assumptions that sustain Sartre's early phenomenological ontology and questions his theoretical elaboration of consciousness as "nothingness." Laycock demonstrates that, in addition to a "relative" nothingness (the for-itself) defined (...) against the positivity and plenitude of the in-itself, Sartre's ontology requires, but also repudiates, a conception of "absolute" nothingness (the Buddhist "emptiness"), and is thus, as it stands, logically unstable, perhaps incoherent. The author is not simply critical; he reveals the junctures at which Sartrean ontology appeals for a Buddhist conception of emptiness and offers the needed supplement. (shrink)

In recent years, democratic theorists have inquired into the aesthetic dimension of contemporary politics. Influenced by Hannah Arendt and Jacques Rancière, these scholars claim that there is an analogy between democratic politics and aesthetic experiences, since both involve the confrontation of an indeterminacy that cannot be overcome by means of rational argumentation. Contributing to this perspective, but challenging some of Rancière’s insights, this article shows the importance of Jean-François Lyotard’s writings on aesthetics for understanding what I call ‘democratic aesthetics’. This (...) aesthetics, I argue, consists in works of art that bring representation to its limits, thus arousing an experience of the unpresentable. Influenced by Immanuel Kant’s analysis of the sublime, Lyotard claims that avant-garde art, by disrupting the rules of representational art, put representation as such into question. This experience of the unpresentable contributes to cultivating a readiness to listening to voices that are not yet heard, because they lack a discourse by which to express themselves. Given that politics in postmodernity, following Lyotard, consists in shifting the dividing line between the sayable and the unsayable, avant-garde art is conductive to a postmodern politics – which, I argue, is analogous to democratic politics. (shrink)

This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the (...) paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection. (shrink)

This paper examines the ways in which Luce Irigaray and Jean-François Lyotard critique western metaphysics by drawing on notions of birth and infancy. It shows how both thinkers position birth as an event of beginning that can be reaffirmed in every act of initiation and recommencement. Irigaray's reading of Diotima's speech from Plato's Symposium is positioned as a key text for this project alongside a number of essays by Lyotard in which he explores the potency of infancy as the condition (...) of philosophy itself. Despite this potency, however, Lyotard suggests that metaphysics is haunted by a melancholia that is inseparable from the limits of thought. I argue that Irigaray is able both to explain why western metaphysics is constitutively melancholic and to offer a shift in perspective that means we are not inevitably condemned to melancholia. The paper concludes that while Lyotard's account of infancy challenges the terms of western metaphysics from within, Irigaray's reassessment of our beginnings in birth offers the possibility of an alternative metaphysical horizon. (shrink)

Mass shootings constitute a recurrent and most violent phenomenon in the U.S. and elsewhere. This paper challenges the ready-made, solipsistically contained metanarratives on offer by mainstream media and formal institutions with regard to the psychological antecedents of the perpetrating social actors, while theorizing mass shootings as acts of violence that are systemically inscribed in the foundations of communities. These foundations abide by the logic of sacrifice which is propagated in instances of collective traumatism. It is argued that the cultural trauma (...) that emanates from events of mass shootings, inasmuch as the commemorative events that are performed on regular occasions, constitute re-enactments of the death drive that sustains communities. The cultural analytic deploys against a CDA reading of longitudinal studies on mass shootings, coupled with psychoanalytic discourse analysis, prior to submitting mass shootings to a deconstructive line of reasoning as systemically necessary transcendental violence. Ultimately, it is shown that the intertextual institutional chain that informs the mediatized representation of this social phenomenon merely attains to obliterate and, hence, to propagate cultural traumatism and the sacrificial logic that underpins it. The terms micrometanarrative, parafunction and expropriating ipseity are introduced and operationalized in this context. (shrink)

In this article, we use the account of the “inhuman” that is developed in the work of the French philosopher Jean-François Lyotard to develop a critique of human-centred AI. We argue that Lyotard’s philosophy not only provides resources for a negative critique of human-centred AI discourse, but also contains inspiration for a more constructive account of how the discourse around human-centred AI can take a broader view of the human that includes key dimensions of Lyotard’s inhuman, namely performativity, vulnerability, and (...) novelty. We link these dimensions to questions of epistemic injustice and social recognition. In this way, we hope to develop a proposal for what a richer and more meaningful understanding of human-centred AI might look like. (shrink)

This Master of Arts thesis is in two parts: a novel, An Anarchy of Man, and an exegesis which places the novel in relation to philosophical concerns about the self and the way those concerns are portrayed in selected works of Western literature. The novel is set in Canberra and Sydney and tells the story of the relationship between two characters: Joe and Gin. It explores the way we in the modern Western world think about ourselves and those around us. (...) Chapter One considers the view of the self in the work of the philosopher Rene Descartes and explores how this view is portrayed in three contemporary Australia novels, and in An Anarchy of Man. Chapter Two examines post-Cartesian views of the self, especially those in the work of the philosopher Ludwig Wittgenstein, and then considers the way the self is portrayed in Proust's Remembrance of Things Past, and in my own An Anarchy of Man. Chapter Three examines postmodern conceptions of the self and considers how these conceptions are portrayed in the work of the contemporary American novelist Don DeLillo and in my own An Anarchy of Man. (shrink)

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)

Abstract:The central inquiry of this article concerns the ethical orientation within post-structuralism, specifically questioning its potential affinity with deontology. While the “philosophers of difference” offer divergent perspectives on the doctrine of judgment, Jacques Derrida folds it within Deconstruction as a nomo-aporetic transcendental horizon. To understand this operation and its potential ethical significance, I suggest Jean-François Lyotard offers the best counter-model with which to compare against Derrida’s. Amongst their direct and indirect exchanges with each other is a dialogue concerning the law (...) and its fundamental ground. Through their respective readings of Kafka – Derrida’s reading of “Before the Law” and Lyotard’s reading of “In the Penal Colony” – both attempt to delineate how the specific nature of the ground of the law determines the way in which an individual becomes subject to the law. Despite the enigmatic nature of their discourses, their comparison reveals converging and diverging trajectories in their ethical reflections as they push toward thinking the limits of lawfulness. Through such a comparative study of their texts, this exploration aims to unveil the shared fugitive vector of their ethical contemplations within the post-structuralist framework. (shrink)

Ex-Machina and Morgan, two recent science-fiction films that deal with the creation of humanoids, also explored the relationship between artificial intelligence, spatiality and the lingering question mark regarding artificial consciousness. In both narratives, the creators of the humanoids have tried to mimic human consciousness as closely as possible, which has resulted in the imprisonment of the humanoids due to proprietary concerns in Ex-Machina and due to the violent behavior of the humanoid in Morgan. This article addresses the dilemma of whether (...) or not the humanoids in both films possess high levels of artificial consciousness and its possible consequences regarding focalization, a narrative term that presupposes subjectivity, as well as offer two new categories of posthuman focalization—X-focalization and A-focalization. The issue of captivity also has far-reaching ethical implications when considering the underlying assumption of artificial consciousness—if humanoids are indeed endowed with a subjective inner life, then they are entitled to be treated as moral agents, equivalent to humans rather than animals. (shrink)

According to Quentin Meillassoux, one of the principal aims of speculative philosophy “must be the immanent inscription of values in being.” In this regard, the return to speculation in contemporary philosophy is in many ways a deeply ethical project. This “inscription of values” can only be successful, however, if it can somehow assert an absolute ethical value without, on the one hand, resorting to the kind of dogmatism laid to rest by the Kantian critique; or, on the other, by falling (...) into some form of ethical relativism incapable of grounding universal ethical judgments. Unfortunately, too many of these attempts have failed. The aim of this paper is twofold: firstly, to explore the structure and failures of two such attempts through an analysis of the ethical projects of Alain Badiou and Quentin Meillassoux, respectively; and then, secondly, to show how both of these thinkers, and the project of speculative ethics in general, could benefit by turning to the work of F.W.J. Schelling on the concept of good and evil as absolute ethical values. (shrink)

In what senses can the academy be said to be a site of culture? Does that very idea bear much weight today? Perhaps the negative proposition has more substance, namely that the academy is no longer (if indeed it ever was) a place of culture. After all, we live in dark times-of unbridled power, tyranny, domination and manipulation. Some say that we have entered an age of the posthuman or even the inhuman. It just may be, however, that in such (...) a world, the academic community is needed more than ever for it offers a culture of justified revelation. It is a culture that reveals the world to us in new ways, but in ways that are attested and contested; its judgements emerge out of a critical and unworldly pedantry. With some hesitancy, we can legitimately therefore speak of not just a culture of the academic community but, indeed, the culture of the academic community. (shrink)

. Time and the event. Cultural Values: Vol. 2, No. 2-3, pp. 223-242.

. Time, virtuality and the Goddess. Cultural Values: Vol. 2, No. 2-3, pp. 270-287.

This article presents an analysis of James Benning's film, BNSF (2013). It argues that the film comprises a landscape rendered in such a way that the temporal aspects of the processes, both cultural and natural, of which it is composed are brought forth. The article also asserts that, by relating a world that unfolds with a measure of contingency, the film not only manifests the inherent inadequacy of representation, but also it draws attention to the efficacy of the world in (...) the making of its moving image. Finally, the article demonstrates that the qualities of the world delimited by the film impel the viewer to attempt to envision facts of nature that greatly outsize the horizon of her human point of view. (shrink)

The nature of culture as the symbolic expression of inarticulate matter is explored from a range of different cultural perspectives. Raymond Williams's work on culture, especially his ideas on material and symbolic production, serves to introduce an analysis of matter and its place in cultural production. The mutable nature of matter is explored through the modern physics of quantum theory as well as modern art, especially the work of Jasper Johns. Late‐modern culture is viewed in terms of a mutable space (...) of matter that resists meaning and location. The implications of this resistance for understanding the cultivation of knowledge and subject‐object relations are then pursued in the contexts of art history, the ‘social body’, the society of generalized communication, multi‐media culture, and computerization. (shrink)

Jean-Francois Lyotard's essay `Adorno as the Devil' had argued that Theodor Adorno's Philosophy of Modern Music was a `diabolic' work of `negative theology' which attributed to Schoenberg's music a secret redemptive power. However, in his later writings, such as the essays in The Inhuman, Lyotard has himself moved close to a `negative theological' position with respect to modernity, time, aesthetics and music. The paper uses the occasion of Lyotard's own theologically inspired essays on music, `God and Puppet' and `Obedience', to (...) re-evaluate the following: Adorno's claims that music transcends mere language and `reaches' for the theological; and more general claims within modern western culture on behalf of music's ability to express the inexpressible. The argument is that the music as negative theology position is not inherently metaphysical but rather that it reflects the importance of the `unsayable' to modern conceptions of reason. In resisting the `closure' of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present within modern forms of time. In other words, negative theology is not the discourse of the devil; it is the impossible discourse of western reason and its internal fracturing. (shrink)

This essay sets out from the premise that the films of Jacques Rivette merit sustained reconsideration in the framework provided by Deleuze's Cinema 2: The Time-Image. In particular it explores the concepts of ‘the powers of the false’ and ‘fabulation’ as ways of engaging with Rivette's cinematic oeuvre, with a particular focus on his Paris-set films. On this basis the article seeks to add to the readings undertaken by Deleuze himself and, in the light of Rivette's cine-thinking, to examine in (...) tandem both films to which Deleuze directly responded, such as Le Pont du nord, and later post-Deleuze renegotiations of the city such as Secret défense. (shrink)

This article is based on a performance piece, Thought Conductor # 2, by the artist Bruce Gilchrist. In a live-art context, the signals generated by an individual hooked up to an EEG are converted into passages of musical notation and played by a string quartet. What is happening here, or rather what kind of happening is taking place, is the focus of this article. The article explores the relations between the author, the score, and the sound in Thought Conductor # (...) 2 as well in John Cage’s 4’33” (1952), the landmark work that inspired the Thought Conductor pieces, and which has been described as one of the first happenings in America. These key elements offer clues to the different kinds of ‘presences’ that the performances embody, and the different notions of ‘life’ to which they refer. The sound of TC2 is the sound of an event. (shrink)

This paper explores the cultural value of desiring nature through reading the travel narratives of Val Plumwood and Alphonso Lingis with the writings of Deleuze and Guattari. As Game suggests this textual practice produces different ways of writing the social that undoes the nature/culture opposition informing popular discourses and much cultural theory. Rethinking the value of nature/culture relations has tended to be the domain of environmental philosophy. Yet a cultural analysis also has much to contribute to current debates around value (...) and identity, embodiment and representations of desire. Such a shift requires rethinking the sensory relation between self and nature through the mediation of language. Two quite distinctive experiences of awe provide texts for this analysis. In the desire to know non‐human nature as other, Lingis and Plumwood are moved by a wish to become nearer, to move beyond the bounds of an identity premised on a cultural relation of mastery over nature. These are compelling narratives, for they do not simply indulge the reader in a romantic appreciation of nature's wildness, as if nature was simply an object of aesthetic contemplation and background to the unfolding drama of human identity. These journeys involve disturbing transformations of self; Plumwood travels into the dangerous waters of the crocodile's territory in Kakadu National Park, Australia, while Lingis encounters the uninhabitable terrain of the Antarctic. The reverberating effects of awe produce a movement of becoming ‐ becoming‐animal, becoming‐nature, which contests the Hegelian desire for mastery of nature and the teleological structure of desire itself aimed at unity. Awe as a profoundly disturbing relation, threatens to undo the dominant fantasy of human identity as pure culture, separate from the realm of nature, body and materiality. (shrink)

Do we like this word, “annihilating”?1 The claim we are making is very simple. It is possible to read “texts,” in the widest sense attributed to this word by poststructuralism, through the way they...

In this essay I contest the view that evolution can be conceived as a cosmic entity working out a plan of increasing negentropic complexification. The problems associated with this view, characteristic of a great deal of contemporary speculation, are outlined in section I. In section II I go on to further problematise current constructions of technics and machines and provide an alternative ‘machinic’ model of the play of entropy and evolution. In section III I examine the aesthetic praxis of Stelarc (...) as a site in which the ‘meaning’ of post‐human evolution can be productively contested and illuminated. (shrink)

This paper examines the use of “pleasure” as the distinguishing mark of aesthetic experience in post-Kantian philosophy. It shows how the distinctive features of aesthetic experience, such as pleasure, qualify this experience as a platform for social criticism. The key argument is that the autonomy of the aesthetic experience is not “false”, rather it is paradoxical in the strong sense that the fact of its communicative efficacy, which follows from distinctive, “autonomous” aesthetic features, necessarily loads it with functions and expectations (...) that are external to the aesthetic moment. Kant takes a complicated path to qualify aesthetic judgment as disinterested in order that it may eloquently testify for morality. He thereby sets up the cogency of the modern pattern of looking to aesthetic experience as a locus of meaningful communication for ideas that are experientially poor or remote. (shrink)

Evidence evinced primarily from the visual arts suggests that the term `postmodernism' is unlikely to survive as a general description of contemporary culture beyond the year 2000. The concepts of both post-industrialism and postmodernism are examined as presented by six major writers. None makes a convincing case for the establishment of an historical disjunction that separates modernism from postmodernism either during the 1960s or at any other time. There is a need to recognize that the modernism of the late 19th (...) and early 20th century is no longer modern. It would be better described as the formalesque. This will make it possible to recognize the `postmodern' as the true modernism of the 20th century, the prime sources of which lie in Dada, surrealism and the Neue Sachlichkeit. (shrink)

Straipsnyje grindžiama nuomonė, jog postmodernybė yra iš modernybės kylantis kapitalizmo sistemos būvis, kuriam būdinga gyvybės suprekinimas ir suišteklinimas. Postmodernybę charakterizuoja populiariosios ir medijų kultūros išplitimas. Tos kultūros apima ne tik kultūros prekes, bet ir vartojimo būdus, įgūdžius ir jų lavinimą. Pastaruoju metu jos kuria nemirtingumo vaizdiniams bei nuojautoms palankią kultūrinę, intelektinę ir pasaulėvaizdinę terpę, kurioje struktūriškai įsitvirtina genetinis diskursas ir jo nustatomos žmogaus ir jo gyvenamo pasaulio aiškinimo gairės. Svarbus šio diskurso bruožas yra technologinis inžinerinis jo pobūdis, išryškėjęs susiejant nano (...) ir biotechnologijas, kuriomis tikimasi įveikti gyvąją ir negyvąją gamtą skiriančią prarają, iš reikalingų atomų bei molekulių kuriant reikalingų ląstelių dalis ir klonuojant gyvas būtybes. Gyvybė suprekinama ir suišteklinama patentuojant gyvybės elementus – genus ir su jais susijusius procesus. Daroma išvada, jog visi genetikos, informatikos ir kitų mokslų laimėjimai, teikiantys žmogaus gyvenimo ilginimo galimybių, kurios palaiko gundančią nemirtingumo idėją, jau yra persmelkti prekinių santykių, tad ir pats nemirtingumas įmanomas tik kaip prekė. Aptariami kai kurie evoliuciniai ir religiniai techno sapiens sampratos aspektai. Detaliau gvildenamos dvi „nemirtingumo“ versijos: Z. Baumano, kuris nemirtingumo pažadą sieja su kompiuterinės technikos plėtra prasidėjus „Antrajai medijų erai“, ir J. Baudrillard’o, tegiančio, jog klonavimo technologijos „apgręžia“ evoliuciją ir žmogų gundo virusiniu ar vėžiniu belyčiu nemirtingumu. Pagrindiniai žodžiai: genetinis diskursas, klonavimas, medijų kultūra, nanobiotechnologijos, nemirtingumas, suprekinimas. Genetic Discourse in Media Culture: Temptation by Commodified Immorality Vytautas Rubavičius Summary Postmodernity is maintained as a stage of the development of capitalism. The difference between modernity and postmodernity is explained in relation to the new sphere of commodification and resourcification, namely, that of life and of all natural living processes. Postmodern media culture, or popular culture, is peopled by signs of immortality and various kinds of immortals – cyborgs, clones, zombies, immortal human beings and others. Thus, culture accustoms a consumer to immortals and immortality which is concidered as the main goal of a human being and evolution. By nano-bio-technologies and genetic discourse this goal is made scientifically valid, thus reachable. Genetic discourse is becoming the fundamental world-view providing focal landmarks for the emerging future. Media culture supports the spreading of genetic discourse and facilitates its understanding. The temptation by immortality can be considered as a version of modernist ideology of human liberation from various natural, social and heavenly bonds. This liberation, and also secularization, is supported by a scientific genetic technological discourse which is becoming a stimulating factor of postmodern media production. The genetic explanation of the world is particularly handy for technological reflexivity: the entire world is as if encapsulated into human genes, which become the principle explaining the mystery of life, evolution and the future of humanity, thus rendering power to produce the human proper form and the future of people. All the possibilities stemming from the new genetic and biotech discoveries fell under the regulation of property relations by patenting, thus making “immortality” – as a temptation and brand – not only an exeptional commodity, but also a political tool and a commodifying force. As the relationships of private property have penetrated natural biogenetic diversity and, having turned it into a resource, the cognitive subject has reached the goal to secularise the Universe, which he has set for himself: only he as the owner and producer of genes lures people with the eternal shapes of the clones and their genetic information, which will be sustained in any location of the Universe. The temptation by “immortality” will become even stronger when the genetic code is mastered. The future of humanity is related to the mixed forms of life, trans-genic or otherwise genetically modified organisms and techno-human forms that will help to postpone, and later to conquer, death. Even thinkers with religious tendencies perceive the technological improvement of human beings as their evolution towards the techno sapiens and consider such a development as an advancement towards the Kingdom of God. The technologization of human beings is imagined in terms of their divination. Yet in this case the character of contemporary science secularising God and obliterating the perception of divinity is overlooked. Two versions of immortality are analyzed more closely – that of Z. Bauman, who links it with the development of computer technologies, and that of J. Baudrillard, who gives a warning that by cloning technologies humanity is trying to inverse the evolution and to return to the undifferentiated state of cells. The conclusion is drawn that regardless of how we understand ‘immortality,’ argue over its reality or unreality, all possibilities to prolong human life granted by genetics, informatics and other advances in science and technologies, which support the tempting idea of immortality, have already been penetrated by commodity relationships; therefore, “immortality” itself will be available only as a commodity. Keywords: cloning, commodification, genetic discourse, immortality, media culture, nano-bio-technologies. (shrink)

This essay explores the works of German artist Gustav Metzger as a potential response to Theodor W. Adorno’s dictum “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch” (“To write poetry after Auschwitz is barbaric”). It argues that culture, as understood in the Adornian sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. In (...) spite of this, culture, and art in particular, must not refrain from the very act of writing. Metzger’s works are discussed as aesthetic responses to the “new categorical imperative” of Adorno, who addresses art’s failure in light of Auschwitz by pointing to aporias that constitute the inescapable condition of “barbarism.” This essay suggests that Metzger’s aesthetic articulations are nonbarbaric ruptures, in that they challenge our living on irresponsibly within the condition of barbarism via a constant confrontation with complicity. (shrink)

Current approaches in psychology have replaced the idea of a centralized, self-present identity with that of a diffuse system of contextually changing states distributed ecologically as psychologically embodied and socially embedded. However, the failure of contemporary perspectives to banish the lingering notion of a literal, if fleeting, status residing within the parts of a psycho-bio-social organization may result in the covering over of a rich, profoundly intricate process of change within the assumed frozen space of each part. In this paper (...) I show how Heidegger, Derrida and Gendlin help us think from this more intimate process to transform current views of metaphor, the unconscious, and the relation between affect and cognition. (shrink)

Current approaches in psychology have replaced the idea of a centralized, self-present identity with that of a diffuse system of contextually changing states distributed ecologically as psychologically embodied and socially embedded. However, the failure of contemporary perspectives to banish the lingering notion of a literal, if fleeting, status residing within the parts of a psycho-bio-social organization may result in the covering over of a rich, profoundly intricate process of change within the assumed frozen space of each part. In this paper (...) I show how thinking from this more intimate process may transform current views of metaphor, the unconscious, and the relation between affect and cognition. (shrink)

Common to different versions of social constructionism is the definition of discourse as taking place between persons. Experiences which take place in the absence of immediate others, such as thinking to oneself or reading a text, are treated as secondary phenomena, as introjected versions of social utterance-gestures. This article asserts that representative constructionist articulations of between-person relationality rest on abstractions masking a more primary locus of sociality. I offer an alternative formulation of the social as the embodiment of sensate experience, (...) borrowing from Merleau-Ponty's and Gendlin's accounts. Sensate experience is already radically relational before and beyond any notion of sociality as between-person voices-gestures, generating more intimate and mobile possibilities of interpersonal understanding than is offered via discursive readings of terms like social, language and embodiment. Note; Although this paper pertains to social constructionist positions, my central criticism of these approaches applies as well to Deleuze's bio-political notion of sociality. While constructionists restrict their focus to inter-personal communication, Deleuze broadens the notion of language to include the living and material world, which includes the body. This places the site of otherness and sociality within intentionality itself via its entanglement with affect. Nevertheless, Deleuze's treatment of affective-intentional dynamics, rather than dismantling social constructionism's between-person abstractions, manages to import them into bodily process. (shrink)

Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms nor in performative terms, but in a perpendicular relation akin to that which brings space and time together. In doing so, (...) this book doesn’t aim to establish yet another theory within the field of masculism or men’s studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity. virility and patriarchy. (shrink)

Current approaches in psychology have replaced the idea of a centralized, self-present identity with that of a diffuse system of contextually changing states distributed ecologically as psychologically embodied and socially embedded. However, the failure of contemporary perspectives to banish the lingering notion of a literal, if fleeting, status residing within the parts of a psycho-bio-social organization may result in the covering over of a rich, profoundly intricate process of change within the assumed frozen space of each part. In this paper (...) I show how thinking from this more intimate process may transform current views of metaphor, the unconscious, and the relation between affect and cognition. (shrink)