Agamben is slowly entering the English academy. This review shows how Agamben's understanding of poetry can and should inform the eschatological nature of the lyric. The review does its cultural work by rethinking poetry and the poetic impulse. The book under review by Claire Colebrook and Jason Maxwell, prepare us for messianic times and shows how Agamben critiques the Spinozist-Marxist project. This book's weaknesses lie in Agamben's hubris in glibly going on to write on Hinduism. & Colebrook (...) and Mason have been excused for not bothering with the religion of a poorer nation than theirs. After all, this reviewer never said that Hinduism is India's state religion. Leave it to others to state that. LOL. Agamben's onto-theology is brought out in this review as has been by Colebrook and Maxwell. (shrink)

Denis Diderot’s natural philosophy is deeply and centrally ‘biologistic’: as it emerges between the 1740s and 1780s, thus right before the appearance of the term ‘biology’ as a way of designating a unified science of life (McLaughlin), his project is motivated by the desire both to understand the laws governing organic beings and to emphasize, more ‘philosophically’, the uniqueness of organic beings within the physical world as a whole. This is apparent both in the metaphysics of vital matter he (...) puts forth in works such as D’Alembert’s Dream (1769) and the more empirical concern with the mechanics of life in his manuscript Elements of Physiology, on which he worked during the last twenty years of his life. This ‘biologism’ obviously presents the interpreter of Diderot with some difficulties, notably as regards his materialism, given that contemporary forms of materialism have on the contrary strongly rejected notions of emergence, vitalism, teleology and any concepts appealing to unique, irreducible features of organisms. In response, some have described him as a ‘holist’ (Kaitaro) while others have emphasized his materialist, naturalist project (Bourdin, Wolfe). In what follows I examine a little-known aspect of Diderot’s articulation of his biological project: his statement in favour of epigenesis within the short but suggestive Encyclopédie article “Spinosiste.” Diderot was, of course, a partisan of epigenesis (the developmental-biological theory opposed to preformation, according to which beings develop by successive adjunction of layers of matter), but why include a statement in favour of a particular biological (or developmental) theory within an entry dealing with a philosopher, Spinoza, who does not seem to have been concerned at all with the specific properties of living beings, how they grow from embryonic to developed states, and so on? By trying to answer this question I also try and locate Diderot’s biological project in relation to what will become, in the years after his death, the project for a science called ‘biology’, with figures such as Treviranus and Lamarck. For it is not clear that the two can be easily correlated or causally linked: Diderot’s ‘epigenetic Spinozism’ is a different conceptual entity from what we find in histories of biology. (shrink)

There exists a real dearth of literature available to Anglophones dealing with philosophical connections between transhumanism and Marxism. This is surprising, given the existence of works on just this relation in the other major European languages and the fact that 47 per cent of people surveyed in the 2007 Interests and Beliefs Survey of the Members of the World Transhumanist Association identified as “left,” though not strictly Marxist (Hughes 2008). Rather than seeking to explain this dearth here, I aim (...) to contribute to its being filled in by identifying three fundamental areas of similarity between transhumanism and Marxism. These are: the importance of material conditions, and particularly technological advancement, for revolution; conceptions of human nature; and conceptions of nature in general. While it is true that both Marxism and (especially) transhumanism are broad fields that encompass diverse positions, even working with somewhat generalized characterizations of the two reveals interesting parallels and dissimilarities fruitful for future work. -/- This comparison also shows that transhumanism and Marxism can learn important lessons from one another that are complementary to their respective projects. I suggest that Marxists can learn from transhumanists two lessons: that some “natural” forces may become reified forces and the extent to which the productive apparatus is now relevant to revolution. Transhumanists, on the other hand, can learn from Marxist theory the essentially social nature of the human being and the ramifications this has for the transformation of the human condition and for the forms of social organization compatible with transhumanist aims. Transhumanists can also benefit from considering the relevance of Marx’s theory of alienation to their goals of technological advancement. (shrink)

(a chapter in Laruelle and Non-Philosophy, ed. John Mullarkey and Anthony Paul Smith) Orthodox reverence of transcendental constructs such as 'dialectical materialism' and the inability to reduce them to chôra - mere transcendental material instead of finished conceptual wholes - is what disables the completion of the project of stepping out of philosophy which Marxism initially set for itself (in the Theses on Feuerbach). In order to radicalise its position, argues Laruelle, and place itself outside philosophy, Marxism has to (...) take a step outside itself by virtue of admitting its own transcendental, i.e., philosophical character. It has to adopt the stance of the 'non-' that is situated in the Real that clones itself through concepts. In order to preserve its grain of 'thinking affected by immanence', 18 Marxism ought to become non-Marxism, argues Laruelle. (shrink)

This article aims to examine the main tenets of Merleau-Ponty’s political thought. To this end, his early Marxism and his later support for Liberalism are contextualised within Merleau-Ponty’s philosophical work, put into relation and both criticised. The focus of the discussion is shifted onto the role and locus of the political thinker in order to evaluate the scope of a political project such as Marxism might have. It is divided into three sections. The first explores the themes of the (...) philosophy developed until the early 1950s. The two sections that follow aim to critique his later work and to integrate and relate its arguments to earlier writings. (shrink)

Alexander R. Galloway and Jason R. LaRiviére’s article “Compression in Philosophy” seeks to pose François Laruelle’s engagement with metaphysics against Bernard Stiegler’s epistemological rendering of idealism. Identifying Laruelle as the theorist of genericity, through which mankind and the world are identified through an index of “opacity,” the authors argue that Laruelle does away with all deleterious philosophical “data.” Laruelle’s generic immanence is posed against Stiegler’s process of retention and discretization, as Galloway and LaRiviére argue that Stiegler’s philosophy seeks to reveal (...) an enchanted natural world through the development of noesis. By further developing Laruelle and Stiegler’s Marxian projects, I seek to demonstrate the relation between Stiegler's artefaction and “compression” while, simultaneously, I also seek to create further bricolage between Laruelle and Stiegler. I also further elaborate on their distinct engagement(s) with Marx, offering the mold of synthesis as an alternative to compression when considering Stiegler’s work on transindividuation. In turn, this paper seeks to survey some of the contemporary theorists drawing from Stiegler (Yuk Hui, Al-exander Wilson and Daniel Ross) and Laruelle (Anne-Françoise Schmidt, Gilles Grelet, Ray Brassier, Katerina Kolozova, John Ó Maoilearca and Jonathan Fardy) to examine political discourse regarding the posthuman and non-human, with a particular interest in Kolozova’s unified theory of standard philosophy and Capital. (shrink)

“We are experiencing an ecological and social crisis, driven by exponential capital accumulation, whose end result will be the extinction of human civilisation” (p. 18). While it is easy to shrug off such a dramatic claim, in Alienation, Spectacle, & Revolution: A Critical Marxist Essay, Neil Faulkner takes this relatively strong claim and endeavors to demonstrate its truth. Thus begins his project of updating our understanding of alienation—not an easy task, but one that Faulkner does well. In a (...) time of a simultaneous dearth and deluge of information, Faulkner attempts to pull apart the dialectical and economic structures of the third industrial revolution and follows the breadcrumbs until he comes to a different “end of history.” Faulkner, who died in February 2022, was an archeologist and a political activist. He was a member of the Socialist Workers Party in the U.K. for many years and later a founding member of Anti-Capitalist Resistance. He wrote on topics ranging from the Arab-Anglo conflict to the history of the Olympics. While his corpus spanned several subjects, his books and articles all have a bitingly Marxist take that brought Faulkner much acclaim. (shrink)

If ecocriticism can and should be dialectically assimilated to the project of a Marxist literary and cultural criticism, how do we have to rethink both ecocritical and Marxist literary critical praxis? What can a Marxist ecocriticism lend to interrogations of the relation between literature and ecocriticism’s most undertheorized category: the environment? Leerom Medovoi illustrates that Marxism not only can, but must play a central role in the formulation of an ecocritical approach to literature capable of transcending (...) the inability to think beyond thematic criticism and ethical critique. (shrink)

This chapter aims to revisit some of the key questions which were debated at the University of Dar es Salaam during the 1970s and 1980ss. The University of Dar es Salaam was a hotbed of progressive politics during the period in question. Radial political economy was frequently taught and discussed by the students and professors at the university. The ruling party, the Tanganyika African National Union (TANU), under the leadership of Julius Nyerere, was embarked on a project of building (...) socialism, but this was not a Marxist project, rather it was informed by the theory of ‘African Socialism’ which was adhered to by Nyerere. Proponents of African Socialism claimed that because African societies were and are classless societies, a theory of social transformation which was centred on class struggle was inapplicable to such societies. There were other proponents of African Socialism, but it was only in Tanzania that this theory was applied as a theory of socialist development. The proponents of African Socialism in Tanzania held that the situation there was exceptional compared to developments across the African continent in so far as communal forms had survived into the end of the colonial period. On this basis, the claim was made that such communal forms could provide an alternative basis for building a socialist society without the need for going through a stage of independent capitalist development. This view might have appeared especially plausible when its proponents contrasted the case of Tanzania with the case of neighbouring Kenya, where a fairly strong class of rich peasants able to hire the labour of others emerged during the colonial period. (shrink)

Despite the centrality of ideology critique in the works of Louis Althusser and his students, the Marxian concept of “appearance” as constitutive of the necessary obfuscation of social modes of exchange has not been sufficiently explicated. Furthermore, perceived incompatibility between ideology and commodity fetishism by this group of philosophers has amounted to a critical lacuna in the shape of a materialist theory of the valueform. This essay articulates the concept of appearance as framed by Gilles Deleuze’s concept of expression in (...) an attempt to foreground the structuring relations that immanently determine capital, appearance, and value. By carefully reformulating Marx’s value-form theory through the rationalist metaphysics of Baruch Spinoza, this essay endeavors to produce a value-form theory compatible with the Spinozist Marxist tradition. (shrink)

This article brings to the forefront Timothy Brennan’s emphasis on Edward Said’s engagement with philosophy. An attempt is made to reconstruct some of Brennan’s claims about Said’s views on the relationship between mental representations and the external world. It is shown that Said rejected naïve or direct realism in favor of representationalism. It is also argued that, despite being seen as a post-modern thinker, Said subscribed to a version of the correspondence theory of truth. Said embraced some form of standpoint (...) epistemology, but he did not think that this had any direct bearing on how we should think about what makes a given claim true. Finally, an attempt is made to understand the relationship between Said’s project and the classical Marxist project of ideology critique, as well as contemporary attempts to develop an epistemology of ignorance. (shrink)

This paper argues that the current scholarship of radical politics primarily bannered by Christopher Ryan Maboloc is a misappropriation of the postMarxist political project of Mouffe and Laclau. Drawing primarily both on Mouffe’s and Laclau’s work Hegemony and Socialist Strategy: Towards a Radical Democratic Politics and an interview with Chantal Mouffe herself, the paper argues how the post-Marxist radical political project of Mouffe and Laclau fails to theoretically fit to the style of governance and regime of Duterte. (...) Fundamental to the idea of radical democratic politics is the task of radicalizing liberal democracy. However, as discussed in the paper, liberal democracy is a project whose very institutions and processes Duterte and his regime have undermined and attacked. Under Duterte’s regime, radical democracy lost the conditions for its flourishing, rendering its own impossibility. (shrink)

In this paper I consider Althusser's concept of 'overdetermination' as a variation on the theme of a Spinozist physics of modes that attempts to incorporate the Marxist problematic of social antagonism.

Kant’s critique/doctrine distinction tracks the difference between a canon for the understanding’s proper use and an organon for its dialectical misuse. The latter reflects the dogmatic use of reason to attain a doctrine of knowledge with no antecedent critique. In the 1790s, Fichte collapses Kant’s distinction and redefines dogmatism. He argues that deriving a canon is essentially dialectical and thus yields an organon: critical idealism is properly a doctrine of science or Wissenschaftslehre. Criticism is furthermore said to refute dogmatism, by (...) which Fichte means Spinozism. Schelling repudiates Fichte’s position in his Philosophical Letters by reviving Kant’s distinction. First, ‘critique’ for Schelling names a canon that is valid for all systems—including Spinozism—and thus favours none—not even the Wissenschaftslehre. Second, Schelling coins ‘dogmaticism’ to refer to what Kant calls ‘dogmatism’: reason’s uncritical claim to doctrine. Hence, he says all systems—even Fichte’s—are susceptible to the ‘enthusiasm’ of mistaking themselves for doctrines or ‘objects of knowledge’, instead of subjectively valid ‘objects of freedom’. I reconstruct Schelling’s argument for reviving Kant’s distinction, while noting two consequences for German idealism. First, if criticism favours no system, a system’s origin cannot be an act of knowledge, e.g., intellectual intuition, but only an act of endorsement. Second, if dogmaticism entails enthusiasm, a system’s goal cannot be absolute knowledge, but only infinite striving. Hence, by retrieving Schelling’s notion of dogmaticism, we can both gain a better understanding of the Letters and register the impact of a core Kantian distinction on the German idealist project. (shrink)

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)

During the second half of the 20th century, despite the flourishing of Spinoza scholarship (particularly in the French-speaking world) references to Spinoza seem to be rather infrequent in the famous Catholic journal Revue philosophique de Louvain. On closer inspection, however, it is possible to trace a precise attitude of the editors of the Belgian journal, according to which the historiographic representation of the Dutch philosopher constitutes the test-bed of a more general cultural strategy. In contact with phenomenology, anti-Cartesianism, the biological (...) sciences, psychoanalysis and Marxism, the Spinoza of the Catholic journal becomes an entirely new and unusual figure, with respect to the image still prevalent in Spinoza studies today. (shrink)

A new book by Timothy Morton, Humankind: Solidarity with Nonhuman People, is reviewed. Humankind: Solidarity with Nonhuman People is a project into the applied political ethics that emerge between speculative realism and Marxism. This book is intended to build on the object-oriented ontology that Morton has espoused in previous volumes, however with a greater emphasis on normative politics. The book’s core methodology is to outline the various neologisms that Morton employs and incorporate those speculative realist terms into a retooling (...) of Marxist. The book dialogue prose is a poetic tour de force that is both academically and philosophically rigorous. Morton provides a novel reworking of Marxist theory that can exist on the cutting edge of continental philosophy. -/- . (shrink)

It is a matter of philosophical debate whether Jonathan Israel’s assessment of Spinoza’s notion of ‘state religion’ can be interpreted as an atheistic and Marxist reading of Spinoza. Contrary to the widely accepted view, Spinoza has a peculiar understanding of religion; and thus, his views cannot, simply, be equated with atheism. By relying on this fact, in this article, I am going to shed light on the issue and try to show to what extent Israel’s interpretation goes beyond what (...) Spinoza himself claims and whether or not Spinoza’s views can make him an atheist. Another concern of the text will be elucidating Marx’s critique of Bruno Bauer’s argument for the abolition of religion and laying bare if there is any continuity between Marx and Spinoza on the problem of religion. After Israel’s interpretation is restated, both Spinozistic view of religion, as he puts forward in the Theological-Political Treatise [Tractatus Theologico- Politicus, 1670] and Political Treatise [Tractatus Politicus, 1676] and Marx’s arguments on the same issue in “On the Jewish Question” [in Deutsch-Franzosische Jahrbucher, 1844] will be examined in detail. Depending on these investigations, it will be argued that what Israel defends in his text Radical Enlightenment [2001] does not make Spinoza an atheist; on the contrary, although Spinoza is not an advocate of the commonsensical view of religion, he defends his own understanding of religion—which causes him to be regarded, prejudicedly, as an atheist. Furthermore, it will be pointed out that Israel’s interpretation cannot be a Marxist interpretation either because Marx’s critique of religion is generally misunderstood and mistaken with that of Bruno Bauer. Neither Spinoza’s views on religion nor that of Marx are completely compatible with what Israel defends in Radical Enlightenment; nevertheless, this does not mean that Israel tries to make an atheist or Marxist out of Spinoza through his appropriation of the philosopher. (shrink)

My topic is the materialist appropriation of empiricism – as conveyed in the ‘minimal credo’ nihil est in intellectu quod non fuerit in sensu (which interestingly is not just a phrase repeated from Hobbes and Locke to Diderot, but is also a medical phrase, used by Harvey, Mandeville and others). That is, canonical empiricists like Locke go out of their way to state that their project to investigate and articulate the ‘logic of ideas’ is not a scientific project: (...) “I shall not at present meddle with the Physical consideration of the Mind” (Essay, I.i.2, in Locke 1975; which Kant gets exactly wrong in his reading of Locke, in the Preface to the A edition of the first Critique). Indeed, I have suggested elsewhere, contrary to a prevalent reading of Locke, that the Essay is not the extension to the study of the mind of the methods of natural philosophy; that he is actually not the “underlabourer” of Newton and Boyle he claims politely to be in the Epistle to the Reader (Wolfe and Salter 2009, Wolfe 2010). Rather, Locke says quite directly if we pay heed to such passages, “Our Business here is not to know all things, but those which concern our Conduct” (Essay, I.i.6). There would be more to say here about what this implies for our understanding of empiricism (see Norton 1981 and Gaukroger 2005), but instead I shall focus on a different aspect of this episode: how a non-naturalistic claim which falls under what we now call epistemology (a claim about the senses as the source of knowledge) becomes an ontology – materialism. That is, how an empiricist claim could shift from being about the sources of knowledge to being about the nature of reality (and/or the mind, in which case it needs, as David Hartley saw and Denis Diderot proclaimed more overtly, an account of the relation between mental processes and the brain). (David Armstrong, for one, denied that there could be an identification between empiricism and materialism on this point: eighteenth-century history of science seems to prove him wrong: see Armstrong 1968 and 1978.) Put differently, I want to examine the shift from the logic of ideas in the seventeenth century (Locke) to an eighteenth-century focus on what kind of ‘world’ the senses give us (Condillac), to an assertion that there is only one substance in the universe (Diderot, giving a materialist cast to Spinozism), and that we need an account of the material substrate of mental life. This is neither a ‘scientific empiricism’ nor a linear developmental process from philosophical empiricism to natural science, but something else again: the unpredictable emergence of an ontology on empiricist grounds. (shrink)

The relationship between Marxism and psychoanalysis has been frequently debated; nonetheless, one rarely comes upon a thoroughgoing, in-depth treatment of this connection. The Capitalist Unconscious is therefore a belated but welcome inquiry into the points of intersection between the two, a project whose contours could be traced back to the works of Marx and Freud. It is in the work of Lacan, however, that this correlation between Marxism and Psychoanalysis becomes visible. This article explores Samo Tomšič’s analysis of the (...) logical, epistemological, and political continuity of Marx’s critique of political economy and Freud’s theory of libidinal economy, meanwhile appraising the possible emancipatory potential of this project. (shrink)

: Two common ways of explaining akrasia will be presented, one which focuses on strength of desire and the other which focuses on action issuing from practical judgment. Though each is intuitive in a certain way, they both fail as explanations of the most interesting cases of akrasia. Spinoza 's own thoughts on bondage and the affects follow, from which a Spinozist explanation of akrasia is constructed. This account is based in Spinoza 's mechanistic psychology of cognitive affects. Because (...) Spinoza 's account explains action asissuing from modes of mind that are both cognitive and affective, it captures the intuitions that motivate the two traditional views while avoiding the pitfalls that result from their one‐sided approaches. This project will allow us a fuller understanding of Spinozist moral psychology. In addition to this historical value, the Spinozist theory may offer a satisfactory explanation of certain hard cases of akrasia while avoiding the problems be set by other theories. For this reason, the Spinozist account could also be seen as a useful contribution to our philosophical understanding of the phenomenon of akrasia. (shrink)

Negri celebrates a conception of democracy in which the concrete powers of individual humans are not alienated away, but rather are added together: this is a democracy of the multitude. But how can the multitude act without alienating anyone’s power? To answer this difficulty, Negri explicitly appeals to Spinoza. Nonetheless, in this paper, I argue that Spinoza’s philosophy does not support Negri’s project. I argue that the Spinozist multitude avoids internal hierarchy through the mediation of political institutions and (...) not in spite of them; nor do these institutions merely emanate from the multitude as it is, but rather they structure, restrain and channel its passions. In particular, the required institutions are not those of a simple direct democracy. There may be other non-Spinozist arguments on which Negri can ground his theory, but he cannot legitimately defend his conception of the democratic multitude by appeal to Spinoza. (shrink)

In this paper I discuss two related ideas and cross-reference them, as it were, on the common ground of the Spinozistic text. First, I want to construct a Spinozistic account of domestic violence and a Spinozistic response to such violence. This will involve attempting to explicate the phenomenon (or at least one aspect of it, to be defined) through the terms and conceptual structure of Spinoza's Ethics. Second, I want to discuss a feminist reading (interpretation) of Spinoza, that of Luce (...) Irigaray. The projects work together, as a better Spinozistic account requires a charitable reading of Spinoza to which Irigaray points the way. Irigaray will turn out to be more Spinozistic that Spinoza himself. In addition, the construction of a Spinozistic response to domestic violence will highlight the textual basis of Irigaray’s reading. It is hoped that this will contribute to making Irigaray’s reading accessible to philosophers trained in the analytic tradition. The undercurrent of both discussions will be an attempt to explicate and further what I take to be a shared moral insight in the late twentieth century, namely, that domestic violence, and particularly violence against women as wives and partners, is morally wrong. (shrink)

Departing from the conventional readings of Karl Marx’s Capital and other of his works, by way of François Laruelle’s “radicalization of concepts,” Katerina Kolozova identifies a theoretical kernel in Marx’s thought whose critical and interpretative force can be employed without reference to its subsequent interpretations in the philosophical mainstream. The latter entails a process of abstracting a philosophical legacy — or rather, of putting it in brackets — and then codifying a history of a learned interpretation established in supposed fidelity (...) to the theoretical project of a “master.” Interpreting the master implies a mastery of doctrinal tools, which results in establishing a catechism of the Logos of the Master. And this catechism interferes, Kolozova argues, with more direct encounters with Marx’s writings. As we know, Marx’s rigorously descriptive language unravels the radical core of capitalist economic processes and, through that unraveling, also reveals capitalism’s necessary exploitation and subjugation of human labor. Toward a Radical Metaphysics of Socialism attempts to recuperate and emancipate the notion of metaphysics in this scenario by virtue of radicalizing thought’s encounter with the Real. Kolozova argues that this metaphysical drama is at the origin of the social and economic injustices of contemporary global economic-political realities, and she illustrates this state of affairs in discussions of the problem of wage labor, automated speculation as the core of late capitalism, the post-2008 financial crisis, the status of technology in late capitalism, sexual difference and gender, and the human and non-human body’s subjugation capitalist automation. (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)

In this article, I explore Seth Farber’s critique in _The Spiritual Gift of Madness_ that the leaders of the Mad Pride movement are failing to realize his vision of the mad as spiritual vanguard of sociopolitical transformation. First, I show how, contra Farber’s polemic, several postmodern theorists are well suited for this leadership (especially the Argentinian post-Marxist philosopher Ernesto Laclau). Second, I reinterpret the first book by the Icarus Project, _Navigating the Space between Brilliance and Madness_, by reimagining (...) its central metaphor of Icarus in the context of late capitalism as a prison world. Finally, I conclude with four strategies derived therefrom for higher functioning mad leaders to transform our penitentiary world. (shrink)

The present investigation brings into view the philosophy of nature of German Idealism, a philosophical movement which emerged around the beginning of the nineteenth century. German Idealism appro- priated certain motivations of the Kantian philosophy and developed them further in a "speculative" manner (Engelhardt 1972, 1976, 2002). This powerful philosophical movement, associated above all with the names of Fichte, Schelling and Hegel - and moreover having nothing whatsoever to do with the "subjective idealism" of George Berkeley - was replaced by (...) philosophical positions designated roughly as metaphysics of the will, Marxism, life-philosophy, phenomenology and existentialism, as well as positivism, empiricism, philosophy of science, the linguistic turn, and analytic philosophy. These philosophical positions more or less still shape us today. German Idealism amounts to a virtual intellectual-historical antithesis to these movements and thus presents itself in retrospect as a striking alternative. The basis of Idealism - in its various respective forms - is the ideal <Ideelle>, and thus the opposite of that which is real. It continually takes as its task explaining the real in terms of the ideal, and this is especially true of the Idealists' philosophy of nature.' Is this a hopeless undertaking? Does Idealism not lack an empirical basis? Can one secure any solid ground whatsoever in the ether of the ideal? In what follows, I explain how, more than anyone else, Schelling and Hegel sought to handle this problem and to cope with it. By way of anticipation, a clear preference for the Hegelian philosophy of nature will emerge in what follows, a preference which may come as some surprise considering how much controversy has surrounded the significance of that view. The project of renewing a thoroughgoing philosophy of nature can meaningfully begin here. (shrink)

In a beautiful recent essay, the philosopher Walter Sinnott-Armstrong explains the reasons for his departure from evangelical Christianity, the religious culture in which he was brought up. Sinnot-Armstrong contrasts the interpretive methods used by good philosophers and fundamentalist believers: Good philosophers face objections and uncertainties. They follow where arguments lead, even when their conclusions are surprising and disturbing. Intellectual honesty is also required of scholars who interpret philosophical texts. If I had distorted Kant’s view to make him reach a conclusion (...) that I preferred, then my philosophy professor would have failed me. The contrast with religious reasoning is stark. My Christian friends seemed happy to hide serious problems in the Bible and in their arguments. They preferred comfort to intellectual honesty. I couldn’t. To what extent can we, historians of philosophy, claim the virtue of intellectual honesty? Speaking frankly, I do not find the practice criticized by Sinnot-Armstrong’s philosophy professor rare or unusual at all. We very frequently distort the views of past philosophers in order to reach the conclusions we prefer. We just call it “Charitable Interpretation.” In this essay, I discuss and criticize the logic behind so-called charitable interpretations in the history of philosophy. This phenomenon is ubiquitous and is not at all restricted to a particular philosophical strand or ideology. Analytic philosophers and post-modernists, Marxists, liberals, secularists, and fundamentalists, we all engage in the very same domestication project. Even more disturbing than the sheer ideological pervasiveness of this phenomenon is the fact that, on many occasions, superb philosophers and historians take part in this fairly childish endeavor. In the first part of this essay, I discuss the general logic of charitable interpretations in the history of philosophy, mostly by addressing discussions in metaphysics and epistemology. In the second part, I focus on the somewhat less noticed use of charitable interpretations in the study of political philosophy, and point out the quintessential role ideology plays in these discussions. In both parts, I concentrate mostly on the interpretation of Spinoza’s thought. I do so not because I have special fondness for Spinoza (“guilty as charged,” I admit), but because Spinoza is such a beast (and may I add, an enchanting beast) and attracts a disproportionate share of the domestication efforts from historians and philosophers of all creeds and persuasions. In the third and final part of the paper, I will begin to outline an alternative methodology, which suggests that past philosophers can be most relevant to our current philosophical discussion, to the extent that they provide us with well-motivated challenges to our common-sense beliefs. Such challenges have the invaluable virtue of being able to undermine our most fundamental and secure beliefs, and force us to engage with the most fundamental questions. What more can we expect from good philosophy? (shrink)

(A chapter in the book edited by Ine Gevers, Robot Love: Can We Learn from Robots About Love?) Similarly to the method employed by Marx in his analysis of the capital and to de Saussure’s structuralist explanation of language, I suggest we conceive the categories in question as materially conditioned while resulting into full abstraction in the process of analysis. Thus, instead of theorising in terms of the anthropologically (and philosophically) conditioned phantasm of a “digital subjectivity” or a “cyborg self,” (...) let us radicalise and absolutise the concepts of the material and the ideal (or the mind understood in opposition to the material), arriving to physicality, regardless of whether organic or synthetic, and the automaton of signification as our main two categories of analysis. Therefore, let us also note that the category of “automaton” implies we are not dealing with a form of cognition but rather of language or signification. It is through operation with these categories that we shall postulate the sociopolitical and economic relevance of the cybernetic development for the post-human society and for the post-humanist self. The statement just made refers to a de facto political project, and it is impossible to arrive to results that would represent a fundamental change in relation to the humanist history of civilization/s without resorting to philosophical concepts. (shrink)

The paper discusses how some Cartesian dualism, inherited from Sartre, is an obstacle to Beauvoir's project of a new comprehension of the feminine ‘situation', aimed at rescuing women from an 'inauthentic' self-definition. Suggestions coming from the phenomenological approach of a positive value of the bodily dimension as such, and hence of the feminine bodily dimension, are never fully spelt out, and Beauvoir falls back into the trap of grounding claims of equality between men and women on the assumption that (...) bodily differences are of limited relevance. The eventual reason for a such step back is the distorting Cartesian mirror into which Beauvoir still looks in the vain hope of discovering a disembodied self as the (Cartesian) subject of an impossible kind of liberation. This is an unpublished English version of Sergio Cremaschi, “Il concetto di eros in Le deuxième sexe di Simone de Beauvoir”, in V. Melchiorre (ed.), Amore e matrimonio nel pensiero filosofico e teologico moderno, Vita e Pensiero, Milano 1976, pp. 296-318. (shrink)

Abstract (German) Dieses Buch faßt meine Forschungen zur Semiotik Giordano Brunos und zu deren Grundlagen in der Kosmologie und in der Gedächtnistheorie zusammen, wobei sowohl die Heterogenität als auch der Universalität des Denkers den Charakter dieses Buches geprägt haben. Es wird kein glattes Bild seiner Person oder seines Werkes angeboten, kein bejahender Jubel über eine epochale Leistung; wichtiger war mir die bis ins Detail gehende, manchmal mühselige Interpretation seiner Systementwürfe, wobei ich versucht habe, auch deren formales und technisches Niveau deutlich (...) zu machen. Nicht seine Weltanschauung soll dargestellt werden, sondern sein Versuch, eine Vielfalt von Detaillösungen in eine wohlproportionierte, wenn auch ins Unendliche reichende Wissensarchitektur zu integrieren. Als Startsignal mag folgende Frage dienen: Inwiefern ist Giordano Bruno Semiotiker? Der Philosoph Bruno wird von Jacobi als Beispiel spinozistischer Tendenzen wieder ins Gespräch gebracht; später wird er für die spekulative Naturphilosophie, die aus Kants Schatten heraustritt, z.B. für Schelling und Hegel, interessant, und schließlich wird er als Märtyrer der Freiheit von den Antiklerikalen im Risorgimento hochgehoben. Der Heroenkult um die „Kopernikanische Wende" weiß mit Bruno nichts anzufangen, er ist kein Naturwissenschaftler, wie man ihn sich im 20 . Jh . wünscht. Von Yates ( 1964 ) wird er als Hermetiker und Ahnherr der Rosenkreuzer entdeckt, und plötzlich soll er auch noch ein Semiotiker sein ? Die Etikette „Semiotiker" ist allerdings weniger riskant als jene früher an Bruno herangetragenen. Bruno ist Philosoph, in einem allgemeinen Sinn , insofern er alle wesentlichen Aspekte: metaphysische, natur philosophische, ethische, semiotische, poetologische zum Entwurf eines möglichst kohärenten Bildes vereint, und er ist ein Renaissance-Philosoph, d .h. das antike Erbe, besonders jenes in den orientalischen Tiefen der Kulturgeschichte (Ägypten und Chaldäer) ist sein Ausgangspunkt. Selbst den Entwurf des Copernicus versteht Bruno in erster Linie als eine Wiederentdeckung antiker Einsichten. Es gibt jedoch in Brunos Schaffen einen roten Faden: die Architektur unseres Wissens, das Gedächtnis der Kultur- und Wissensgemeinschaft und natürlich desjenigen, der wie Bruno dieses Wissen zu einer Synthese vereinigen will . Seine Philosophie versucht, wie jede große Philosophie, alles, was wir wissen und was wir daraus an weiterem impliziten Wissen erschließen können, in einer Einheit zu denken, und diese Einheit ist notwendigerweise nur als Zeichensystem (begrifflich, argumentativ, bildhaft, als imaginierte Welt) zu realisieren. -/- Abstract (English) This book summarizes my research on Giordano Bruno's semiotics and its foundations in cosmology and memory theory, whereby both the heterogeneity and the universality of the thinker have shaped the character of this book. No smooth picture of his person or his work is offered, no affirmative jubilation over an epochal achievement; What was more important to me was the sometimes laborious interpretation of his system designs, which went down to the last detail, and I also tried to make their formal and technical level clear. It is not his worldview that should be presented but his attempt to integrate various detailed solutions into a well-proportioned, albeit infinitely reaching, architecture of knowledge. The following question may serve as a starting signal: To what extent is Giordano Bruno a semiotician? Jacobi brings up the philosopher Bruno again as an example of Spinozist tendencies; later, he becomes important for the speculative natural philosophy emerging from Kant's shadow, e.g., for Schelling and Hegel. He is finally extolled as a martyr of freedom by the anticlericals in the Risorgimento. The hero cult around the "Copernican turn" does not know what to do with Bruno; he is not a natural scientist as one would wish in the 20th century. Yates (1964) discovered him as a hermetic, even an ancestor of the Rosicrucians. The etiquette "semiotic" is certainly less risky than the associations that Bruno used to have. Bruno is a philosopher, in a general sense, in that he combines all the essential aspects: metaphysical, natural philosophical, ethical, semiotic, poetological to project a picture that is as coherent as possible, and he is a Renaissance philosopher, i .e . the ancient heritage, especially that in the oriental depths of cultural history (Egypt and Chaldeans) is his starting point. Bruno sees even the draft of Copernicus primarily as a rediscovery of ancient insights. However, there is a common thread in Bruno's work: the architecture of our knowledge, the memory of the cultural and knowledge community and, of course, of those who, like Bruno, want to unite this knowledge into a synthesis. His philosophy, like every great philosophy, tries to think of everything that we know and what we can deduce from it as further implicit knowledge as a unit, and this unit is necessarily only available as a system of signs (conceptual, argumentative, pictorial, as an imagined world). to realize. 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Karl Polanyi in The Great Transformation diagnosed what had happened in the Nineteenth Century that led to poverty, increasingly wild economic fluctuations, increasingly severe depressions, and social dislocation and oppression on a massive scale – the market had been disembedded from communities which were then subjected to the imperatives of a supposedly autonomous market. In fact, such disembedding and imposition of these imperatives was a deliberate strategy developed as a means to impose exploitative relations on people, in opposition to ideas (...) of republican democracy. Recognizing this, after such disembedding had engendered a major global depression in the 1890s and an even more severe depression in the 1930s, along with two world wars, reformers largely succeeded in re-embedding markets. This achievement was fought by neoliberals, and their triumph in the 1970s was a really a project of reversion to the Nineteenth Century economic and political order, now upheld by much more powerful forces, including immensely powerful transnational corporations and financial institutions, corrupt politicians, and much more effective mind control industries. As in the Nineteenth Century, it has concentrated wealth and income, destabilized economies, and threatens a new Great Depression and, as a by-product of the tensions generated by global ecological destruction, possibly a new world war. As opposed to Marxist analyses, Polanyi’s analysis provided a much clearer goal to aim at that has not been discredited by the failures of supposedly communist countries. However, there are still huge problems to be overcome if we are to re-embed the market in communities, including the problem of grappling with the immense power of transnational corporations and financial institutions and those who serve them and the success they have had in corrupting the institutions and culture of democracy. This includes not only undermining the power of nations to control their economies and their subversion of democratic processes, but also in promoting passivity in the population to render them inert and powerless. In this paper I will examine proposals, such as those promoted by Arild Vatn in his book Institutions and the Environment, to develop institutions able to achieve this re-embedding. (shrink)

This essay has two aims. The first is to show that the editors of Lotus: Afro-Asian Writings and some of the writers who contributed to it (especially Ismail Ezzedine, Anar Rzayev, Tawfick Zeyad, Abdel Aziz El-Ahwani, Joseph Ki-Zerbo, Alex La Guma, Adonis, Salah Dehni, Luis Bernardo Honwana, Ghassan Kanafany, and Tozaburo Ono) attempted to reconceive of nationalism in a way that would make international solidarity constitutive of the new national projects. It is argued that this is quite different from thinking (...) of the contributors to Lotus as abandoning nationalism in favor of a supranationalist project. The second aim is to show that at least some of the contributors to Lotus thought of themselves as being the vanguard of modernity, and not as the creators of “alternative modernities”. This essay shows that some of the aforementioned contributors to Lotus implicitly drew on standpoint epistemology in order to argue that, due to their struggles against colonialism, racial discrimination, etc., they had a privileged epistemic vantage point from which to criticize modernity in its European form for not being modern enough. (shrink)

Although Merleau-Ponty’s early phenomenology of perception and his essays on art, politics, and language already showed an affinity between the aesthetic phenomena of expression and style and the political and cultural dynamics of society at large, this paper specifically focuses on his late theorizing of the notion of flesh and its relevance to his late understanding of politics and democracy. The emergence of flesh as a concept was contemporary to Merleau-Ponty’s break with Marxism as a philosophical model and with revolutionary (...) dialectics as a political project. It is by showing that such a break was consistently grounded on his theorizing of the being flesh of both the body and of society that this paper shows Merleau-Ponty’s unique contribution to democratic theory and to contemporary political philosophy. In the course of this analysis, it will become clear that in philosophically breaking with the position of a “no that is a yes”—i.e. the model of the revolution, which implies a total negation of the given that becomes a total affirmation of the new order (dictatorship) once in power—he would politically embrace the Weberian “heroic liberalism”—or his “non-communist left”—of parliamentary democracy. (shrink)

Avicena´s Metaphysics is probably the most mature expression of the Muslim rationalist thinking from the Middle Ages. From a Marxist point of view, this essay investigates how this way of thinking came to be, its historical roots and the economic, political and social network that made it possible. It also tries to uncover the theoretical problems it addresses and the intellectual needs tries to solve. Finally, this paper outlines a brief review of its historical significance as well as its (...) future projections, today our past. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics (...) and feminist critique, such as Bogna Konior, Yvette Granata, Jonathan Fardy and John Ó Maoilearca. Within this variegated assemblage, Kolozova’s most recent project, Capitalism’s Holocaust of Animals(2019), saliently reconciles and radicalizes Haraway’s epochal dyad of the “inhuman”—a bifurcation riven by technology on one node and the animal on the other—by a resolution of superlative unity. This methodology, adhering to Laruelle’s system of“synthesis-without-synthesizing” attempts to dissolve the spectral chimeras that have haunted philosophy’s metaphysical heredity, proffering a generic identity. (shrink)

The Situationist International (1957-1972) was a small group of communist revolutionaries, originally organised out of the West European artistic avant-garde of the 1950s. The focus of my thesis is to explain how the Situationist International (SI) became a group able to exert a considerable influence on the ultra-left criticism that emerged during and in the wake of the May movement in France in 1968. My wager is that the pivotal period of the group is to be found between 1960 and (...) 1963, a period marked by the split of 1962. Often this is described as the transition of the group from being more concerned with art to being more concerned with politics, but as I will argue this definitional shorthand elides the significance of the Situationist critique of art, philosophy and politics. The two axes of my thesis are as follows. First, that the significant minority in the group which carried out the break of 1962, identified a homology between the earlier Situationist critique of art — embodied in the Situationist ‘hypothesis of the construction of situations’ — and Marx’s critique and supersession of the radical milieu of philosophy from which he emerged in the mid- 1840s. This homology was summarised in the expression of the Situationist project as the ‘supersession of art’ (dépassement de l’art). Secondly, this homology was practically embodied in the resolution of the debates over the role of art in the elaboration of the Situationist hypothesis, which had been ongoing since 1957. However, it was the SI’s encounter with the ultra-left group Socialisme ou Barbarie that would prove decisive. Via Guy Debord’s membership, the group was exposed to both the idea of a more general revolutionary criticism, but also ultimately what was identified as the insufficiently criticised ‘political militancy’ of this group. Indeed, in the ‘political alienation’ found in Socialisme ou Barbarie, a further homology was established between the alienation of the political and artistic avant-gardes. This identity would prove crucial to the further elaboration of the concept of ‘spectacle’. By way of an examination of the peculiar and enigmatic ‘Hamburg Theses’ of 1961, and the relationship between these ‘Theses’ and the Situationist criticism of art and politics worked out over the first five years of the group, I will argue that the break in 1962 should be conceived as one against politics as much as art (rather than just the latter, as it is more often represented). Additionally, I will outline how the SI, through the paradoxical reassertion of their artistic origins, attempted to synthesise their criticism of art with the recovery of the work of Marx beyond its mutilation as Marxism. Indeed, it was the synthesis of these critiques that enabled the considerable development of the concept of ‘spectacle’, opening the way to the unique influence the SI exerted in the re-emergence of a revolutionary movement at the end of the 1960s. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Our planet contains 194 independent states and much more nations. They share membership of the United Nations and in consequence they subscribed the Universal Declaration of Rights. These are rooted in the modern universal conception of states and human rights formulated by philosophers of the Enlighten Age like Locke, Kant., Montesquieu, Voltaire and Rousseau. Concepts like democracy are mirrored to the organization of the political life as it was developed in North America and Europe at the end of the 18th (...) and the 19th century. Universality was deeply rooted in the Western intellectual, moral and religious tradition of that part of the world. Even globalization of the economic and social life is governed by the same Western standards and worldwide consumed basic goods like prime matter,. food and energy is expressed in terms of Western currency like dollar, pound sterling or euro. Despite this economic globalization there were two contradictory political evolution to discern: At the one hand more than 70 new states where created and on the other hand 28 European states started to integrate to a political European Union. The latter trend was based on a deep economic integration and since the creation of the euro also a financial integration. Basic idea was the creation of a free economic market as bases for a political unified Europe. Euro criticism is not only identified with conservatism, nationalism, narrow mind and even racism, euro criticism is deprived from any intellectual significance. However other trends put some shadow on the European project. First the Soviet experience around Marxism, Leninism and Stalinism unified more different nations than the European Union but ended in a complete political and economic chaos. Secondly the financial euro crisis involves only the tacit undermining of the national political independence of the member states, but does not make room for a deep analysis what the fundamentals are of this crisis such as lack of confidence of the citizen in the created unified political and financial market and its main instruments like banks that we consider as the fundamental boundary conditions of the worldwide globalization of goods, power and all aspects of human life. Furthermore we claim that this market in al its aspects is the worst answer to the inconvenient yet unavoidable truth that Western way of life of consumption includes a ecological footprint that exceeds since many years the sustainability of our planet. -/- . (shrink)

Marx's concept of alienation has proven to be a subject of controversy for many social theorists. One of the more provocative treatments of this concept has been outlined by Jean-Paul Sartre. Drawing heavily on Marxism's Hegelian tradition, Sartre portrays alienation as being a crucial element in the formation of the individual's perception of social reality. An appreciation of Sartre's project and its relevance to Marxist theory necessitates the examination of the origins and development of the concept of alienation. (...) For this purpose, a brief account of Hegel's usage of the term is followed by a discussion of Feuerbach's efforts to counter Hegelian idealism with an explicitly materialist perspective. Alienation makes its first appearance in Marx's work with the publication of the Economic and Philosophical Manuscripts of 1844 and the concept was to be a topic of concern throughout Marx's life. In particular, his analysis of commodity fetishism in his later work shows an obvious connection with alienation. Georg Lukacs' presentation of the reification of consciousness is a valuable addition to the examination of the fetishism of commodities. Lukacs provides numerous insights concerning the relationship between alienation and commodity fetishism as well as offering a useful articulation of the role of consciousness in Marxist theory. Lukacs' contribution is especially helpful in clarifying the nature of Sartre's project. Both theorists seek to outline an exposition of consciousness which counters idealistic excesses with a materialistic perspective faithful to the basic tenents of Marxism. In addition, Sartre employs the notion of reification as well as that of alienation in his psychoanalytic approach. His technique is intended to illuminate the class biases inherent in the consciousness of each individual, a proposal which finds an immediate application in explaining the distorted awareness which petit bourgeois intellectuals such as Lukacs and Sartre himself bring to the study of Marx's method. (shrink)

The connection between Chinese sexism and Confucianism has been a subject of study on the condition of Chinese women in the West since the rise of feminist consciousness in the 1970s. However Confucianism in feminist scholarship is inescapably construed as a misogynous ideology that is incapable of self-rectification in regards to the issue of gender parity. Hence, conceptually the eradication of Confucianism becomes the necessary condition for the liberation of Chinese women, and the adoption of Western ideology let it be (...) Marxist-socialism, Liberalism, or Existentialism is then a logical next step for Chinese women. Yet, such a dichotomization of the West as a superior moral subject and the East as a passive object victimized by their "sexist" tradition is nevertheless an oversimplification of the condition and the liberation of women in the developing world. In the end, it is essentially a neo-colonial discourse in a feminist disguise. This dissertation sets itself up to accomplish two tasks: first, it is to obtain a conceptual clarity of what constitutes Confucianism and its connection with dominant sexist, social practices; second, it is to go beyond a mere critique of Confucianism and feminism as an ally of Chinese patriarchal family structure and Western imperialism respectively, and to lay a foundation for a future construction of a gender theory based on Confucianism as a theoretical ground to explain the cultural construct of Chinese women and to conceive an alternative ethical ground for women's liberation. Eventually, the whole project can be seen as an act of self-affirmation of my ethnic identity as a Chinese and an act of reconciliation with my feminist identity in the modern world. (shrink)

The article analyzes the main aspects of the interpretation of philosophical thinking by the Polish philosopher Leszek Kolakowskі (1927–2009). He is more known as a brilliant disputant on the history of Marxism and the prospects for the further development of Marxist theory, but his thoughts on the nature and functions of philosophical thinking in the broadest sense are of no less importance, since they address the painful issue of the autonomy of thinking. The purpose of the article is to (...) reconstruct the principles that, according to the philosopher, would allow thinking to maintain its autonomy under the pressure of ideas and ideologies. Utopia and nihilism in the interpretation of L. Kolakowskі appear as temptations of the modern world. It is in the quest for defending from these “monsters” (L. Kolakowskі) that the philosopher comes to the conclusion that the basis of utopia and nihilism are certain ideas about the truth. Through the prism of this theoretical discovery, he reveals the importance of consensus, tolerance, compromise, and non-consistency (inconsistency) as epistemological tools of support or undermining of ideologies. The basic epistemological model the philosopher used has been reproduced by means of theoretical reconstruction. This is the attitude of the subject to the truth, which is realized in two ways: to either master the truth on the basis of certain beliefs or neglect the truth on the basis of other beliefs. With the help of this model, the philosopher comes to understanding that dogmatism and unification are not only utopian diseases but also nihilists. The reason for this is loyalty to one’s own truth, that is, thinking without gaps based on unchanging principles and aimed at reproducing certain institutional and social constants. Instead, inconsistency as a principle forms a completely different setting, the advantage of which is that it extends to itself and frees a thinker from the need to be or not to be consistent, but does not relieve the search of truth and meaning, without which human existence is impossible, according to L. Kolakowskі. The reconstruction was carried out on the basis of analysis of articles and essays of various years, combined with the development of concepts of utopia and nihilism as alternative projects of human existence, rooted in the epistemological directions of the subject. (shrink)

One of the central strengths of Salem's analysis of Nasserism is that she recognizes both its world-historical significance as a progressive nationalist movement, and its severe limitations. In the first section of this paper, I discuss Salem's notion of the "afterlives" of the Nasserist project by drawing attention to one of the most debilitating legacies of that project, namely the transformation of Egyptian politics into petty bourgeois politics. In the second section, I argue that while Salem does not (...) explicitly draw on Hegel's understanding of tragedy in her account of Nasserism, her analysis of Nasserism essentially amounts to depicting it as a Hegelian tragedy. By placing Salem's book in conversation with Hegel (and his philosophy of action), we can make explicit what I take to be one of the central claims made by Salem, namely that when passing judgment on past and present national liberation movements we should remember that innocence is "only non-action, like the mere being of a stone" [nur das Nichttun wie das Sein eines Steines] (Hegel 1986, 346). In the third section of this paper, I raise some critical points about Salem's characterization of the nationalism that was associated with the Nasserist project, as well as about the deployment of the concept of modernity in her analysis. I argue that her account of modernity in the book does not distinguish between the concept of modernity as it refers to a certain kind of normative philosophical discourse, and modernization theory qua theory of development. Finally, I draw on Salem's use of the concept of hegemony in order to pose a question regarding the political significance of the contemporary cultural hegemony of Islamist movements in Egypt. (shrink)

This chapter investigates the precise ways in which Antonio Gramsci engaged with ancient philosophy. A brief examination of the longest discussion in the Prison Notebooks of any ancient philosopher or text, Plato’s Republic (Q8, §22), raises many questions about Gramsci’s approach to ancient philosophy. These questions motivate an investigation into Gramsci’s surprisingly minimal discussion of ancient philosophy and philosophers, which is best explained in the light of his theoretical commitments to his distinctive species of historical materialism. Rather than responding to (...) specific critical insights advanced about politics or human nature by ancient philosophers, such as Plato and Aristotle, Gramsci is shown to appropriate ancient philosophy into a broad-spectrum project of the history of philosophy, which interrogates the specific conditions under which historical epochs and the philosophical ideas that characterise them emerge. Tracking the conditions and characteristic ideas is revealed to be the project of the ‘specialist philosopher’, who must grasp both general methodological principles and particular historical examples. Gramsci’s treatment of ancient philosophy reveals more about his universal theories of history, and his engagement with the ideas of his contemporaries (including Benedetto Croce), than a special concern with ancient philosophy itself. (shrink)

In Kritik der Macht, Axel Honneth analyzes the basic postulates of Max Horkheimer’s Critical Theory. This an-alysis is part of a broader examination of what he considers to be the main critical theories of the twentieth cen-tury. This work focuses on the analysis that Honneth carries out, and on the evaluation of the judgments that he makes of Horkheimer’s political-critic-al program. We propose to review the aporias that Honneth points out as deficiencies in Horkheimer’s theory, and then to evaluate them (...) in the light of the Critical Theory of the Frankfurt School founder. From the critical pos-itions that were developed, we will try to show that both projects conglomer-ate diverse disciplines such as Marx-ist theory, Freudian psychology and sociology. These theoretical incorpor-ations make important readjustments to the classical Marxist model and reconfigure the horizon of political action during the 20th century, offer-ing theoretical analyses that continue to be valuable in the spectrum of the political theory in the 21st century. (shrink)

By utilizing words, photographs, and motion pictures, this multimodal and multisited project traces a rhizomatic genealogy of Russian Cosmism—a nineteenth century political theology promoting a universal human program for overcoming death, resurrecting ancestors, and traveling through the cosmos—throughout post-Soviet techno-utopian projects and imaginaries. I illustrate how Cosmist techno-utopian, futurist, and other-than-human discourse exist as Weberian “elective affinities” within diverse ecologies of the imagination, transmitting a variety of philosophies and political programs throughout trans-temporal, yet philosophically bounded, communities. With a particular (...) focus on the United States and Ukraine, and taking an apophatic analytical position, I dissect how different groups of philosophers, technologists, and publics interact(ed) with Cosmism, as well as how seemingly disparate communities (re)shape and deterritorialize Cosmist political theology in an attempt to legitimize their constructed political imaginaries. (shrink)

In his lucid and helpful reply, Chris Drain (2021) clarifies some of his views and aims and offers pertinent criticisms of my own. Drain refocuses my forays into Pittsburgh Hegelianism onto Vygotsky’s own thought. He rightly notes that Brandom’s account of deontic scorekeeping tells us nothing about phylogenesis. Sellars too has little to say about the origins of language and social practice and I would endorse the projects of those who turn to Tomasello to fill such gaps (Koons 2018). However, (...) I still do not think Drain has got Vygotsky’s Hegel right. I do not think one can substitute “Hegelian” for “Janetian”, and I hope to show why this matters. -/- Drain also objects to my characterization of Tomasello as Cartesian. There is of course a long line of philosophers from Deleuze to Dennett charging all those who fall across their path with covert Cartesianism. I will not besmirch this venerable custom here. In my reply I contrast the Hegelian-Marxist approach to language of Vygotsky with the Cartesian approach of Tomasello. I conclude by suggesting some active research programmes which overcome this Cartesiansim while following the trajectories of Vygotsky’s own project. (shrink)

Though Althusser often spoke of his commitment to philosophical materialism—a position organically linked to his ongoing elaboration of the specific philosophical effects of Marxism—this paper argues that Althusser’s materialism must also include a commitment to realism and naturalism. Though Althusser does not use these terms himself, he nonetheless remains a realist to the extent that he argues for the capacity of conceptual thought to know a mind-independent reality and a naturalist to the extent that he is a consequent Darwinian (like (...) Engels and Lenin before him) who conceives of cognition as a contingent and evolved phenomenon. It is only on the basis of these considerations that Althusser’s polemic against empiricism can be properly understood and the stakes of his philosophical project properly evaluated. (shrink)

This chapter reviews the history of the major ideas of successful ageing, their current state, and criticism. The original concept of successful ageing understood as life satisfaction continuing into later maturity, was developed by Havighurst in the early 1960s. Afterward, it was associated with active, healthy, positive, or productive ageing. For contemporary gerontology, successful ageing was rediscovered in the late 1980s by Rowe and Kahn who regarded it as good physical and mental health as well as social engagement. Today, one (...) can speak of three major trends in the development of ideas of successful ageing. On the one hand, considerable numbers of scientists and specialists around the world in an uncritical way elaborate projects and programs of successful ageing as a useful research and practice framework. On the other hand, over the past two decades, ideas of successful ageing have tended to embrace more than implied in the classical Rowe-Kahn model. For quite a large group of researchers, successful ageing is an umbrella term for a positive world outlook and a respective lifestyle in old age, not limited to one theory and potentially encompassing all older people who are relatively content with themselves and their life, which can be facilitated through altruistic behavior and spiritual growth. Finally, quite influential is the trend that denies the importance of successful ageing and regards it as a reflection of current neoliberal values. This approach is typical of critical gerontological branches, post-Marxist, feminist, postmodern gerontology among them. Authors sharing this view believe that concepts of successful ageing individualize and psychologize ageing and ignore power relations and structural inequalities in society. (shrink)