This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

In the paper “Math Anxiety,” Aden Evens explores the manner by means of which concepts are implicated in the problematic Idea according to the philosophy of Gilles Deleuze. The example that Evens draws from Difference and Repetition in order to demonstrate this relation is a mathematics problem, the elements of which are the differentials of the differential calculus. What I would like to offer in the present paper is an historical account of the mathematical problematic that Deleuze deploys in his (...) philosophy, and an introduction to the role that this problematic plays in the develop- ment of his philosophy of difference. One of the points of departure that I will take from the Evens paper is the theme of “power series.”2 This will involve a detailed elaboration of the mechanism by means of which power series operate in the differential calculus deployed by Deleuze in Difference and Repetition. Deleuze actually constructs an alternative history of mathematics that establishes an historical conti- nuity between the differential point of view of the infinitesimal calculus and modern theories of the differential calculus. It is in relation to the differential point of view of the infinitesimal calculus that Deleuze determines a differential logic which he deploys, in the form of a logic of different/ciation, in the development of his proj- ect of constructing a philosophy of difference. (shrink)

A summary of issues related to symbolic capital, authorial presences, and intellectual property rights, and the necessity of finding a way out of 500-600 years of capitalist exploitation of the knowledge commons.

Maimon’s theory of the differential has proved to be a rather enigmatic aspect of his philosophy. By drawing upon mathematical developments that had occurred earlier in the century and that, by virtue of the arguments presented in the Essay and comments elsewhere in his writing, I suggest Maimon would have been aware of, what I propose to offer in this paper is a study of the differential and the role that it plays in the Essay on Transcendental Philosophy (1790). In (...) order to do so, this paper focuses upon Maimon’s criticism of the role played by mathematics in Kant’s philosophy, to which Maimon offers a Leibnizian solution based on the infinitesimal calculus. The main difficulties that Maimon has with Kant’s system, the second of which will be the focus of this paper, include the presumption of the existence of synthetic a priori judgments, i.e. the question quid facti, and the question of whether the fact of our use of a priori concepts in experience is justified, i.e. the question quid juris. Maimon deploys mathematics, specifically arithmetic, against Kant to show how it is possible to understand objects as having been constituted by the very relations between them, and he proposes an alternative solution to the question quid juris, which relies on the concept of the differential. However, despite these arguments, Maimon remains sceptical with respect to the question quid facti. (shrink)

Explications of the reconstruction of Leibniz’s metaphysics that Deleuze undertakes in 'The Fold: Leibniz and the Baroque' focus predominantly on the role of the infinitesimal calculus developed by Leibniz.1 While not underestimat- ing the importance of the infinitesimal calculus and the law of continuity as reflected in the calculus of infinite series to any understanding of Leibniz’s metaphysics and to Deleuze’s reconstruction of it in The Fold, what I propose to examine in this paper is the role played by other (...) developments in mathematics that Deleuze draws upon, including those made by a number of Leibniz’s near contemporaries – the projective geometry that has its roots in the work of Desargues (1591–1661) and the ‘proto-topology’ that appears in the work of Du ̈rer (1471–1528) – and a number of the subsequent developments in these fields of mathematics. Deleuze brings this elaborate conjunction of material together in order to set up a mathematical idealization of the system that he considers to be implicit in Leibniz’s work. The result is a thoroughly mathematical explication of the structure of Leibniz’s metaphysics. What is provided in this paper is an exposition of the very mathematical underpinnings of this Deleuzian account of the structure of Leibniz’s metaphysics, which, I maintain, subtends the entire text of The Fold. (shrink)

According to the reading of Spinoza that Gilles Deleuze presents in Expressionism in Philosophy: Spinoza, Spinoza's philosophy should not be represented as a moment that can be simply subsumed and sublated within the dialectical progression of the history of philosophy, as it is figured by Hegel in the Science of Logic, but rather should be considered as providing an alternative point of view for the development of a philosophy that overcomes Hegelian idealism. Indeed, Deleuze demonstrates, by means of Spinoza, that (...) a more complex philosophy antedates Hegel's which cannot be supplanted by it. Spinoza therefore becomes a significant figure in Deleuze's project of tracing an alternative lineage in the history of philosophy, which, by distancing itself from Hegelian idealism, culminates in the construction of a philosophy of difference. Deleuze presents Spinoza's metaphysics as determined according to a 'logic of expression', which, insofar as it contributes to the determination of a philosophy of difference, functions as an alternative to the Hegelian dialectical logic. Deleuze's project in Expressionism in Philosophy is therefore to redeploy Spinoza in order to mobilize his philosophy of difference as an alternative to the dialectical philosophy determined by the Hegelian dialectic logic. (shrink)

To make sense of what Gilles Deleuze understands by a mathematical concept requires unpacking what he considers to be the conceptualizable character of a mathematical theory. For Deleuze, the mathematical problems to which theories are solutions retain their relevance to the theories not only as the conditions that govern their development, but also insofar as they can contribute to determining the conceptualizable character of those theories. Deleuze presents two examples of mathematical problems that operate in this way, which he considers (...) to be characteristic of a more general theory of mathematical problems. By providing an account of the historical development of this more general theory, which he traces drawing upon the work of Weierstrass, Poincaré, Riemann, and Weyl, and of its significance to the work of Deleuze, an account of what a mathematical concept is for Deleuze will be developed. (shrink)

Of all twentieth century philosophers, it is Gilles Deleuze whose work agitates most forcefully for a worldview privileging becoming over being, difference over sameness; the world as a complex, open set of multiplicities. Nevertheless, Deleuze remains singular in enlisting mathematical resources to underpin and inform such a position, refusing the hackneyed opposition between ‘static’ mathematical logic versus ‘dynamic’ physical world. This is an international collection of work commissioned from foremost philosophers, mathematicians and philosophers of science, to address the wide range (...) of problematics and influences in this most important strand of Deleuze’s thinking. Contributors are Charles Alunni, Alain Badiou, Gilles Châtelet, Manuel DeLanda, Simon Duffy, Robin Durie, Aden Evens, Arkady Plotnitsky, Jean-Michel Salanskis, Daniel Smith and David Webb. (shrink)

This thesis sets out an argument in defence of moral objectivism. It takes Mackie as the critic of objectivism and it ends by proposing that the best defence of objectivism may be found in what I shall call Kantian intuitionism, which brings together elements of the intuitionism of Ross and a Kantian epistemology. The argument is fundamentally transcendental in form and it proceeds by first setting out what we intuitively believe, rejecting the sceptical attacks on those beliefs, and by then (...) proposing a theory that can legitimize what we already do believe. Chapter One sets out our intuitive understanding of morality: that morality is cognitive, moral beliefs can be true or false; that morality is real, we do not construct it; that morality is rational, we can learn about it by rational investigation; and that morality places us under an absolute constraint. The chapter ends by clarifying the nature of that absolute demand and by arguing that the critical idea within morality is the idea of duty. In Chapter Two Mackie’s sceptical attack on objectivism is examined. Four key arguments are identified: that moral beliefs are relative to bfferent agents; that morality is based upon on non-rational causes; that the idea of moral properties or entities is too queer to be sustainable; and that moral objectivism involves queer epistemological commitments. Essentially all of these arguments are shown to be ambiguous; however it is proposed that Mackie has an underlying epistemological and metaphysical theory, scientific empiricism, which is hostile to objectivism and a theory that many find attractive for reasons that are independent of morality. Chapter Three explores the nature of moral rationality and whether scientific empiricism can use the idea of reflective equilibrium to offer a reasonable account of moral rationality. It concludes that, while reflective equilibrium is a useful account of moral rationality, it cannot be effectively reconciled with scientific empiricism. In order to function effectively as a rational process, reflective equilibrium must be rationally constrained by our moral judgements and our moral principles. Chapter Four begins the process of exploring some alternative epistemologies and argues that the only account that remains true to objectivism and the needs of reflective equilibrium is the account of intuitionism proposed by Ross. However this account can be developed further by drawing upon number of Kantian ideas and using them to supplement Ross’s intuitionism. So Chapter Five draws upon a number of Kant's ideas, most notably some key notions from the Critique of Judgement. These ideas are: that we possess a rational will that is subject to the Moral law and determined by practical reason; that we possess a faculty of judgement which enables us to become aware of moral properties and that these two faculties together with the third faculty of thought can function to constitute the moral understanding. Using these ideas the thesis explores whether they can serve to explain how intuitions can be rational and how objectivism can be justified. (shrink)

Press Release for Works for Works, Book 1: Useless Beauty (Punctum Books, 2022).

Review of “The Mad Square: Modernity in German Art 1910-37”, National Gallery of Victoria, Melbourne, Australia, November 25, 2011-March 4, 2012. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 153-57.

What I plan to do in this paper is to provide a survey of the ways in which Spinoza’s philosophy has been deployed in relation to early modern thought, in the history of ideas and in a number of different domains of contemporary philosophy, and to offer an account of how some of this research has developed. The past decade of research in Spinoza studies has been characterized by a number of tendencies; however, it is possible to identify four main (...) domains that characterize these different lines of research: studies of Spinoza’s individual works, of its problematic concepts, from the point of view of the history of ideas, and comparative studies of Spinoza’s ideas. (shrink)

Landscape Agency New York was founded by Gavin Keeney, c.1997, and encompassed a wide array of activities and effects – e.g., research, writing, design, consulting, and teaching. /S/OMA (Syntactical Operations Metaphorical Affects) was the mobile, and sometimes global design and teaching module within LANY, focusing primarily on entirely hypothetical and/or irreal projects, many becoming the foundation for lectures and courses delivered at institutions in the US, Canada, Australia, and Europe, from 2003 to 2007. Lastly, the LANY Archive-Grotto was established (...) following publication of On the Nature of Things: Contemporary American Landscape Architecture (Birkhauser, 2001), primarily as a means of escaping the then-formulaic production of texts common to Landscape Architecture and Architecture. (shrink)

The reconstruction of Leibniz’s metaphysics that Deleuze undertakes in The Fold provides a systematic account of the structure of Leibniz’s metaphysics in terms of its mathematical foundations. However, in doing so, Deleuze draws not only upon the mathematics developed by Leibniz—including the law of continuity as reflected in the calculus of infinite series and the infinitesimal calculus—but also upon developments in mathematics made by a number of Leibniz’s contemporaries—including Newton’s method of fluxions. He also draws upon a number of subsequent (...) developments in mathematics, the rudiments of which can be more or less located in Leibniz’s own work—including the theory of functions and singularities, the Weierstrassian theory of analytic continuity, and Poincaré’s theory of automorphic functions. Deleuze then retrospectively maps these developments back onto the structure of Leibniz’s metaphysics. While the Weierstrassian theory of analytic continuity serves to clarify Leibniz’s work, Poincaré’s theory of automorphic functions offers a solution to overcome and extend the limits that Deleuze identifies in Leibniz’s metaphysics. Deleuze brings this elaborate conjunction of material together in order to set up a mathematical idealization of the system that he considers to be implicit in Leibniz’s work. The result is a thoroughly mathematical explication of the structure of Leibniz’s metaphysics. This essay is an exposition of the very mathematical underpinnings of this Deleuzian account of the structure of Leibniz’s metaphysics, which, I maintain, subtends the entire text of The Fold. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.

A discussion of what operates from "within" formal agency as irreal surplus to artworks and how otherwise discursive systems become abstracted by the artwork. Text by Gavin Keeney. Images by Parsa Khalili.

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

This essay addresses arguments regarding the “place” or “non-place” in which ideas originate and whether they are wholly transcendental, wholly contingent, or a combination of transcendental and contingent. Far from a resuscitation or recitation of Medieval scholastic disputations, the essay seeks to situate these untimely concerns in the context of spent discursive and ideological systems that support capitalist exploitation of the knowledge commons, exploitation only made possible because of a decisive and historically determined reduction of knowledge to fully contingent status (...) as spectral commodity. (shrink)

Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very presence (...) as wall-cum-images, or as images-out-of-a-wall, eroding its foundational condition to a flickering-tele-techno-pixelated spectral apparatus. Its radically modern and outdated presence reconfigures contemporary reflections on what architecture and what the modern is, indirectly referencing “Fundamentals,” the 2014 Venice Architecture Biennale curated by Rem Koolhaas. (shrink)

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

Not-I/Thou: The Other Subject of Art & Architecture is to be a highly focused exhibition/folio of works by perhaps 12 artists (preferably little-known or obscure), with precise commentaries denoting the discord between the autonomous object (the artwork or architectural object per se) and the larger field of reference (worlds); inference (associative magic), and insurrection (against power and privilege) – or, the Immemorial. Engaging the age-old “theological apparatuses” of the artwork, the folio is intended to upend the current fascination with personality, (...) celebrity, and fashion to reach the timeless horizon of the subject of Art and Architecture as the subject other than the subject of Art and Architecture proper. Word as image, and image as word, is the central paradox given to this discord – an elective, yet universal condition that also makes certain art and architectural works heedlessly existential-metaphysical (and, therefore, “theological”). This paper, as part of the essay “White Paper: Gray Areas and Black Zones,” is a preliminary investigation of the conceptual architecture for the overall, ongoing exhibition/book project. (shrink)

In the chapter of Difference and Repetition entitled ‘Ideas and the synthesis of difference,’ Deleuze mobilizes mathematics to develop a ‘calculus of problems’ that is based on the mathematical philosophy of Albert Lautman. Deleuze explicates this process by referring to the operation of certain conceptual couples in the field of contemporary mathematics: most notably the continuous and the discontinuous, the infinite and the finite, and the global and the local. The two mathematical theories that Deleuze draws upon for this purpose (...) are the differential calculus and the theory of dynamical systems, and Galois’ theory of polynomial equations. For the purposes of this paper I will only treat the first of these, which is based on the idea that the singularities of vector fields determine the local trajectories of solution curves, or their ‘topological behaviour’. These singularities can be described in terms of the given mathematical problematic, that is for example, how to solve two divergent series in the same field, and in terms of the solutions, as the trajectories of the solution curves to the problem. What actually counts as a solution to a problem is determined by the specific characteristics of the problem itself, typically by the singularities of this problem and the way in which they are distributed in a system. Deleuze understands the differential calculus essentially as a ‘calculus of problems’, and the theory of dynamical systems as the qualitative and topological theory of problems, which, when connected together, are determinative of the complex logic of different/ciation. (DR 209). Deleuze develops the concept of a problematic idea from the differential calculus, and following Lautman considers the concept of genesis in mathematics to ‘play the role of model ... with respect to all other domains of incarnation’. While Lautman explicated the philosophical logic of the actualization of ideas within the framework of mathematics, Deleuze (along with Guattari) follows Lautman’s suggestion and explicates the operation of this logic within the framework of a multiplicity of domains, including for example philosophy, science and art in What is Philosophy?, and the variety of domains which characterise the plateaus in A Thousand Plateaus. While for Lautman, a mathematical problem is resolved by the development of a new mathematical theory, for Deleuze, it is the construction of a concept that offers a solution to a philosophical problem; even if this newly constructed concept is characteristic of, or modelled on the new mathematical theory. (shrink)

The aim of this chapter is to test the degree to which Deleuze’s philosophy can be reconciled with the subject naturalist approach to pragmatism put forward by Macarthur and Price.

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neo-liberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and (...) renascent) avant-garde agitation. In-between these twin systems of taking the measure of things, Art and Architecture, as forms of speculative intellectual capital, emerge from the shadow-lands of half-conscious and half-unconscious forces to become gestures toward a type of knowledge that has no utilitarian or generic agency. Defying the tendencies of such discourses to fall prey to instrumental orders that effectively neuter the inherent radical agenda of both, Art and Architecture are represented in this series of essays as noetic apparatuses, operating at the edge of authorized systems of knowledge, quietly and secretly validating and valorizing the shadowy and recondite, collective and personal operations of intellect in service to no particular end. (shrink)

In Hegel ou Spinoza,1 Pierre Macherey challenges the influence of Hegel’s reading of Spinoza by stressing the degree to which Spinoza eludes the grasp of the Hegelian dialectical progression of the history of philosophy. He argues that Hegel provides a defensive misreading of Spinoza, and that he had to “misread him” in order to maintain his subjective idealism. The suggestion being that Spinoza’s philosophy represents, not a moment that can simply be sublated and subsumed within the dialectical progression of the (...) history of philosophy, but rather an alternative point of view for the development of a philosophy that overcomes Hegelian idealism. Gilles Deleuze also considers Spinoza’s philosophy to resist the totalising effects of the dialectic. Indeed, Deleuze demonstrates, by means of Spinoza, that a more complex philosophy antedates Hegel’s, which cannot be supplanted by it. Spinoza therefore becomes a significant figure in Deleuze’s project of tracing an alternative lineage in the history of philosophy, which, by distancing itself from Hegelian idealism, culminates in the construction of a philosophy of difference. It is Spinoza’s role in this project that will be demonstrated in this paper by differentiating Deleuze’s interpretation of the geometrical example of Spinoza’s Letter XII (on the problem of the infinite) in Expressionism in Philosophy, Spinoza,2 from that which Hegel presents in the Science of Logic.3. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Brief essay on Giorgio Agamben's concept of "bare life" from Homo Sacer: Sovereign Power and Bare Life (1998), with reference to The Time that Remains: A Commentary on the Letter to the Romans (2005).

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...) (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

Plato’s philosophy is important to Badiou for a number of reasons, chief among which is that Badiou considered Plato to have recognised that mathematics provides the only sound or adequate basis for ontology. The mathematical basis of ontology is central to Badiou’s philosophy, and his engagement with Plato is instrumental in determining how he positions his philosophy in relation to those approaches to the philosophy of mathematics that endorse an orthodox Platonic realism, i.e. the independent existence of a realm of (...) mathematical objects. The Platonism that Badiou makes claim to bears little resemblance to this orthodoxy. Like Plato, Badiou insists on the primacy of the eternal and immu- table abstraction of the mathematico-ontological Idea; however, Badiou’s reconstructed Platonism champions the mathematics of post-Cantorian set theory, which itself af rms the irreducible multiplicity of being. Badiou in this way recon gures the Platonic notion of the relation between the one and the multiple in terms of the multiple-without-one as represented in the axiom of the void or empty set. Rather than engage with the Plato that is gured in the ontological realism of the orthodox Platonic approach to the philosophy of mathematics, Badiou is intent on characterising the Plato that responds to the demands of a post-Cantorian set theory, and he considers Plato’s philosophy to provide a response to such a challenge. In effect, Badiou reorients mathematical Platonism from an epistemological to an ontological problematic, a move that relies on the plausibility of rejecting the empiricist ontology underlying orthodox mathematical Platonism. To draw a connec- tion between these two approaches to Platonism and to determine what sets them radically apart, this paper focuses on the use that they each make of model theory to further their respective arguments. (shrink)

The role of mathematics in the development of Gilles Deleuze's (1925-95) philosophy of difference as an alternative to the dialectical philosophy determined by the Hegelian dialectic logic is demonstrated in this paper by differentiating Deleuze's interpretation of the problem of the infinitesimal in Difference and Repetition from that which G. W. F Hegel (1770-1831) presents in the Science of Logic . Each deploys the operation of integration as conceived at different stages in the development of the infinitesimal calculus in his (...) treatment of the problem of the infinitesimal. Against the role that Hegel assigns to integration as the inverse transformation of differentiation in the development of his dialectical logic, Deleuze strategically redeploys Leibniz's account of integration as a method of summation in the form of a series in the development of his philosophy of difference. By demonstrating the relation between the differential point of view of the Leibnizian infinitesimal calculus and the differential calculus of contemporary mathematics, I argue that Deleuze effectively bypasses the methods of the differential calculus which Hegel uses to support the development of the dialectical logic, and by doing so, sets up the critical perspective from which to construct an alternative logic of relations characteristic of a philosophy of difference. The mode of operation of this logic is then demonstrated by drawing upon the mathematical philosophy of Albert Lautman (1908-44), which plays a significant role in Deleuze's project of constructing a philosophy of difference. Indeed, the logic of relations that Deleuze constructs is dialectical in the Lautmanian sense. (shrink)

Much has been made of Deleuze’s Neo-Leibnizianism,3 however not very much detailed work has been done on the specific nature of Deleuze’s critique of Leibniz that positions his work within the broader framework of Deleuze’s own philo- sophical project. The present chapter undertakes to redress this oversight by providing an account of the reconstruction of Leibniz’s metaphysics that Deleuze undertakes in The Fold. Deleuze provides a systematic account of the structure of Leibniz’s metaphys- ics in terms of its mathematical underpinnings. (...) However, in doing so, Deleuze draws upon not only the mathematics developed by Leibniz – including the law of continuity as reflected in the calculus of infinite series and the infinitesimal calculus – but also the developments in mathematics made by a number of Leibniz’s contemporaries – including Newton’s method of fluxions – and a number of subsequent developments in mathematics, the rudiments of which can be more or less located in Leibniz’s own work – including the theory of functions and singularities, the theory of continuity and Poincaré’s theory of automorphic functions. Deleuze then retrospectively maps these developments back onto the structure of Leibniz’s metaphysics. While the theory of continuity serves to clarify Leibniz’s work, Poincaré’s theory of automorphic functions offers a solution to overcome and extend the limits that Deleuze identifies in Leibniz’s metaphysics. Deleuze brings this elaborate conjunction of material together in order to set up a mathematical idealization of the system that he considers to be implicit in Leibniz’s work. The result is a thoroughly mathematical explication of the structure of Leibniz’s metaphysics. What is provided in this chapter is an exposition of the very mathematical underpinnings of this Deleuzian account of the structure of Leibniz’s metaphysics, which, I maintain, subtends the entire text of The Fold. (shrink)

The theme of the conflict between the different interpretations of Spinoza’s philosophy in French scholarship, introduced by Christopher Norris in this volume and expanded on by Alain Badiou, is also central to the argument presented in this chapter. Indeed, this chapter will be preoccupied with distinguishing the interpretations of Spinoza by two of the figures introduced by Badiou. The interpretation of Spinoza offered by Gilles Deleuze in Expressionism in Philosophy provides an account of the dynamic changes or transformations of the (...) characteristic relations of a Spinozist finite existing mode, or human being. This account has been criticized more or less explicitly by a number of commentators, including Charles Ramond. Rather than providing a defence of Deleuze on this specific point, which I have done elsewhere, what I propose to do in this chapter is provide an account of the role played by “joyful passive a affections” in these dynamic changes or transformations by distinguishing Deleuze’s account of this role from that offered by one of his more explicit critics on this issue, Pierre Macherey. An appreciation of the role played by “joyful passive affections” in this context is crucial to understanding how Deleuze’s interpretation of Spinoza is implicated in his broader philosophical project of constructing a philosophy of difference. The outcome is a position that, like Badiou in the previous chapter, rules out “intellect in potentiality” but maintains a role for the joyful passive affects in the development of adequate ideas. (shrink)

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

An argument for the abolition of Intellectual Property Rights (IPR) and a step into the wild blue yonder – i.e., beyond Open Access (OA) and Creative Commons (CC) protocols. The “Introduction,” prior to “Paralogisms for Artist-scholars” utilizes an almost Pater-esque aesthetic deployment of time-senses and verb tenses that also resembles the doubled subjective states of Derridean exposition, but actually opens on to theologically inflected re-considerations of the generative nature of gramma.

Essays from the political website CounterPunch. - Requiem: Dies Non, Not Dies Irae (September 18, 2001) - Mouth Wide Shut (April 8, 2002) - So Long Frank O. Gehry? (April 28, 2002) - Bête Noire (May 22, 2002) - “All politics is local?”: The Unbearable Lightness of NGOs (May 24, 2002) - Bush and Mies van der Rohe: Architecture and Ideology (June 1, 2002) - The Adventures of Mademoiselle M.: Or Getting Screwed in Paris (June 8-9, 2002) - Loose Lips: (...) Liberty, Democracy and Bush (July 6, 2002) - Go Tell Karl Rove!: The Anti-Republican Party (July 13, 2002) - Be Still My Beating Heart (July 15, 2002) - Grave New Urbanism: The World Trade Center Burlesque (July 20, 2002) - Roamin’ in the Gloamin’: Van Morrison: In September (July 25, 2002) - Sublime Žižek: Guarding Lenin’s Tomb (July 27, 2002) - Vox Populi: Everyone’s a Critic (August 3, 2002) - Auteur-Driven Vehicles: The New New Laocoon (August 19, 2002) - Beaux Rêves, Citoyens!!! (September 5, 2002) - Immortality: The Quest for Fire (August 31, 2002) Parting Shots: A Refracted History (Summary) Of The Twentieth Century (November 2, 2002) - New Books Christmas 2002: Livres Deluxe (December 23, 2002) - The Drunken Flower (July 26, 2003) - The Infernal Machine: “Architectures” in Service to Nothing (August 23, 2003). (shrink)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

The Fundamental Interrelationships Model – An Alternative Approach to the Theory of Everything, Part 4 Subtitle: The Nature of Beauty and Fundamental Interrelationships -/- Abstract: This article is Chapter 21, titled The Nature of Beauty and the Fundamental Interrelationships, from the book Behind Civilization. It posits that the nature of beauty is rooted in one of the fundamental interrelationships: order. Beauty is perceived as a response in the human brain to this fundamental interrelationship. This article provides evidence that the order (...) theory uniquely explains all forms of beauty and reaffirms the IRM's ability to offer a comprehensive framework for the Theory of Everything. (shrink)

The quest for a unified “Theory of Everything” that explains the fundamental nature of the universe has long been a holy grail for scientists and philosophers, dating back to the ancient Greeks’ search for Arche. -/- So far, the mainstream of research on A Theory of Everything primarily focuses on the lifeless phenomena and laws of physics while ignores the realm of biology. However, a fundamentally different approach to the ToE has been put forward, presenting a viable alternative to address (...) the challenge of a Theory of Everything. This approach does not seek the ultimate “building block” but rather aims to uncover the intangible rules that fundamentally govern everything in the universe, seeking their universality across the vast spectrum, from the minute subatomic world to the mega mass cosmic world and the magical biological world. -/- To address the challenge, a set of the fundamental interrelationships is introduced and represented by a model, the Fundamental Interrelationships Model. This model cohesively represents these fundamental interrelationships, including serial-parallel relationships, transition of state, critical point, continuation-discontinuation, convergence-divergence, contraction-expansion, singularity-plurality, commonality-difference, similarity, symmetry-asymmetry, periodicity, dynamics-stability, order-disorder, limitation-without limitation, hierarchical structure, and cohesive interconnectedness. These interrelationships, found in nature, can be interpreted as the fundamental laws of physics. -/- Built on the foundation of the Fundamental Interrelationships Model, a collection of the well-established laws of physics and theories are represented and unified, including Newton’s three laws of motion, the four laws of thermodynamics, Einstein’s space-time relationship, Heisenberg’s uncertainty principle, Noether’s theorem, Schrodinger’s wave function collapse, chaos theory and complexity theory. The list continues to grow… Based on this model, a groundbreaking research has, for the first time, put forward a new hypothesis that unifies the Big Bang theory with the evolutionary theory, published in a book in 2022. This research unequivocally demonstrates that the evolution of life also follows the fundamental laws of physics, marking a significant stride toward addressing the longstanding challenge of a comprehensive Theory of Everything. -/- Subsequent studies reveal that the evolution of life (including the evolution of multicellularity), embryonic development, evolution of society (civilisation), and the evolution of the universe all adhere to these fundamental interrelationships. These events are specific expressions of the underlying principles of the Fundamental Interrelationships Model. -/- Ultimately, as a truly all-encompassing theory, the Theory of Everything should not only incorporate non-biological events and the laws of physics but also extend to all facets of life. Thus, unlike most existing candidates, the Fundamental Interrelationships Model offers a comprehensive framework, encompassing both non-biological and living phenomena. Therefore, any hypothesis failing to integrate biology and sociology shouldn’t be considered a comprehensive Theory of Everything -/- This article and the subsequent ones are the abstracts derived from the book, Behind Civilisation/civilization (multiple editions), which represents the culmination of decades of research. The book offers a more comprehensive exploration of how fundamental interrelationships govern all aspect of the universe. -/- . (shrink)

Within the cognitive science of religion, some scholars hypothesize (1) that minimally counterintuitive (MCI) concepts enjoy a transmission advantage over both intuitive and highly counterintuitive concepts, (2) that religions concern counterintuitive agents, objects, or events, and (3) that the transmission advantage of MCI concepts makes them more likely to be found in the world’s religions than other kinds of concepts. We hypothesized that the memorability of many MCI supernatural concepts was due in large part to other characteristics they possess, such (...) as their frequent and salient association with moral concerns and the alleviation of existential anxieties, and that without such characteristics they would fail to be memorable. We report the results of three experiments designed to test the relative contributions of minimal counterintuitiveness, moral valence, and existential anxiety to the memorability of supernatural ideas. We observed no main effects for minimal counterintuitiveness but did observe main effects for both moral valence and existential anxiety. We also found that these effects did not seem to stem from the greater visualizability of morally valenced concepts or concepts that concerned existential anxieties. These findings challenge important claims made by leading researchers regarding MCI concepts within the cognitive science of religion. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

Sublime Žižek: Guarding Lenin’s Tomb (July 2002) - Žižek & Badiou: The Neo-Marxist Magicians (November 2003) - The Ruins of Thought: Five Scenarios Toward a Short Film (November 2005) - Slavoj Žižek at Jack Tilton Gallery, New York, New York, April 2009 (April 2009) - Questions for Žižek (April 2009).

Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsches’ The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discurses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

Darwin’s evolution theory revolutionises our understanding of the biological world. In parallel, this book is a critical breakthrough in scientific philosophy. It revolutionises our understanding of nature, particularly on civilisation, through discovering a fundamental mechanism which not only governs lifeless objects but intelligence-driven civilisation as well. This discovery provides an alternative to challenge the most fundamental issue – “the Theory of Everything”. As this mechanism is the most fundamental level, it is the foundation of similarity, including the amazing similarities between (...) a human body and a society. Upon this theoretical basis, following the rules of this mechanism and using a human body as a model, civilisation is systematically investigated. As such, technological development and its consequential social development are understood from the most fundamental level. As a result, the human future have been successfully predicted and many historical puzzles have been unequivocally solved, such as: why could the ancient Greeks create a brilliant civilisation; why were there so many great thinkers; why did Scientific Revolution and the model of university education originate from Europe rather than from other places; why did the Chinese civilisation remain stagnant when the West was rapidly rising after Scientific Revolution. Finally, one of the long-lasting enigmatic question, “what is beauty”, is unequivocally answered once and for all. It is the expression of one of the fundamental laws of physics but it is not symmetry. (shrink)

Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like an (...) “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

Photo-essay/travelogue from 2004 regarding the gentrification of San Francisco.