Citation: Christodoulou, Marina. “‘To be dead is an unthinkable anomaly’ Reversed Necropolitics and the Death Imaginary.” Lo Sguardo - rivista di filosofia N. 23, 2017 (I) - Reinventare il reale. Jean Baudrillard (2007-2017) a cura di Eleonora de Conciliis, Enrico Schirò, Daniela Angelucci, pp. 127-137. Articolo sottoposto a peer review. Ricevuto il 14/10/2016. Accettato il 12/01/2017. ISSN: 2036-6558 -/- --------- -/- The concept or the theory of Death in the thought of Jean Baudrillard is not given the particular attention (...) it needs. When one speaks of the thought of Baudrillard, one rarely will mention ‘death’ as one of the keywords of his corpus. I think, though, that it deserves such a key place, for three reasons. Firstly, because the theme of Death is a gargantuan concept in the history of Philosophy and it even emerges with the definition of Philosophy itself, since, at least, Plato. Every philosopher, more or less is preoccupied with it, as an archetypical necessity of both human culture and of philosophy in particular. It is always interesting to see how each philosopher or each person thinks on it, as their thoughts on Death are a departure point and an indication of their whole philosophical system or, for non-philosophers, of their whole way of life. Secondly, it is important to examine this theme in Baudrillard because it inseparably interconnects, explains, and is explained by all the other, key, and the less prominent themes in his philosophy. Baudrillard’s thinking might take new dimensions when viewed through his thoughts on Death. Finally, Baudrillard is considered a difficult thinker, because, unlike other philosophers, he grasps themes which people are used to seeing as the pre-occupation or within the realm of fiction, even science-fiction. I would like to show, using simple language, that his philosophy, especially surrounding the subject of Death, is completely naked of any metaphysical, romanticised, fantastic, or fiction-like properties; it is realistic and political. (shrink)

Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...) de-intensification and divestment— not, as in Edelman or the Pistols, as a form of negation . I will show that ATR’s musical recontextualization of the Pistols’s riff mirrors the political recontextualization of queerness and queer death from negation to disinvestment. Pushing this misprision or sticky interface between cyberpunk, queer, and Afro-diasporic musical aesthetics, I use ATR’s music to consider how queer death might work as a political response to neoliberal demands to invest in “normal” life. I first discuss the traditional concept of death as negation in both the Sex Pistols song "God Save the Queen," and in Lee Edelman and Jack Halberstam’s formulations. I then argue that Atari Teenage Riot's song “Delete Yourself” describes a neoliberal, biopolitical concept of death, death as carefully administered divestment. Finally, I use Deleuze and Guattari’s discussion of drugs, and Ronald Bogue’s Deleuzian reading of death metal to identify and explain how “MIDIjunkies” and “Into the Death” complicate the biopolitical/neoliberal management of death by reworking traditional black/queer critical aesthet- ics. In these songs, ATR undermine biopolitical neoliberalism’s demand to invest in and intensify regular “normal” life: rather than treating death as a nadir of intensity, they intensify it–that is, they go into the death. This strategy of going “into the death” is one possible queer necropolitical response to neoliberalism. (shrink)

This project retraces activations of Kierkegaard in the development of polit­ical theology. It suggests alternative modes of states of exception than those attributed to him by Schmitt, Taubes and Agamben. Several Kierkegaardian themes open themselves to 'something like pure potential' in Agamben, namely: living death, animality, criminality, auto-constitution, modification, liturgy, love and certain articulations of improbabilities. Attention is drawn to a modal ontology and auto-constitution at work in Kierkegaard's writings, as well as a complicated and indissociable operation between killing and (...) letting-live in legalist exceptionalism, comparable to similar functions found in Foucault regarding the biopowers and necropolitics of territorial and governmental apparatuses. It closes in consideration of Kierkegaard's critique of enumeration, large numbers, and statistical probability alongside contemporary tele-technoscientific social controls via the online datafication of people by surveillance or platform capitalisms. After Kierkegaard, such apparatuses are perhaps suspect as calculated to tranquilize humanity into more docile subhumans as it fools folk into becoming part of its numbers. (*Accompanying file includes only front matter, abstract, and endnotes*). (shrink)

Queer Death Studies (QDS) refers to an emerging transdisciplinary field of research that critically and (self) reflexively investigates and challenges conventional normativities, assumptions, expectations, and regimes of truths that are brought to life and made evident by death, dying, and mourning. Since its establishment as a research field in the 1970s, Death Studies has drawn attention to the questions of death, dying, and mourning as complex and multifaceted phenomena that require inter- or multi-disciplinary approaches and perspectives. Yet, the engagements with (...) death, dying and mourning, constitutive of conventional Death Studies’ investigations, tend to remain insufficient and reductive. They are often governed by the normative notions of: the subject; bonds between humans, as well as between humans and (their) animals; family relations and communities; rituals; and finally, experiences of grief, mourning, and bereavement. Moreover, these engagements are frequently embedded in constraining beliefs in life/death divides, constructed along the lines of conventional religious and/or scientific mind/body dualisms, characteristic of the Western cultural imaginaries. Against this background, QDS offers a site for ‘queering’ traditional ways of approaching death both as a subject of study and philosophical reflection, and as a phenomenon to articulate in artistic work or practices of mourning. Here, the notion of ‘queer’ conveys many meanings. It refers to researching and narrating death, dying, and mourning in the context of queer bonds and communities, where the subjects involved/studied/interviewed and the relations they are involved in are recognised as ‘queer’. Simultaneously, the term ‘queer’ can also function as an adverb and a verb, referring thus to the processes of going beyond and unsettling (subverting, exceeding) binaries and given norms, normativities, and constraining conventions. In other words, ‘queer’ becomes both a process and a methodology that is applicable and exceeds the focus on gender and sexuality as its exclusive concerns. (shrink)