Cancer is a singular cellular state, the emergence of which destabilises the homeostasis reached through the evolution to multicellularity. We present the idea that the onset of the cellular disobedience to the metazoan functional and structural architecture, known as the cancer phenotype, is triggered by changes in the cell's external environment that occur with ageing: what ensues is a breach of the social contract of multicellular life characteristic of metazoans. By integrating old ideas with new evidence, we propose that (...) with ageing the environmental information that maintains a multicellular organisation is eroded, rewiring internal processes of the cell, and resulting in an internal shift towards an ancestral condition resulting in the pseudo‐multicellular cancer phenotype. Once that phenotype emerges, a new local social contract is built, different from the homeostatic one, leading to tumour formation and the foundation of a novel local ecosystem. (shrink)

Singularity Hypotheses: A Scientific and Philosophical Assessment offers authoritative, jargon-free essays and critical commentaries on accelerating technological progress and the notion of technological singularity. It focuses on conjectures about the intelligence explosion, transhumanism, and whole brain emulation. Recent years have seen a plethora of forecasts about the profound, disruptive impact that is likely to result from further progress in these areas. Many commentators however doubt the scientific rigor of these forecasts, rejecting them as speculative and unfounded. We therefore invited prominent (...) computer scientists, physicists, philosophers, biologists, economists and other thinkers to assess the singularity hypotheses. Their contributions go beyond speculation, providing deep insights into the main issues and a balanced picture of the debate. (shrink)

When I first starting hearing and reading about Jacques Rancière a number of years ago, I was deeply skeptical. Wasn’t this yet another European man becoming the new political theory “It Girl”? Wasn’t the claim that Rancière had a singular, fresh approach to dissent and protest overblown, when other people—especially critical race scholars, postcolonial theorists, feminists, queer theorists, and so on—had already addressed these topics thoroughly but were rarely acknowledged in mainstream scholarship? Did we really need to deify and (...) create a cottage industry around yet one more white male Western theorist, especially one who so rarely deigns to cite his influences or the work of others? It took... (shrink)

This paper examines the responses to advanced and transformative technologies in military literature, attenuates the conclusions of earlier work suggesting that there is an “ignorance of transhumanism” in the military, and updates the current layout of transhuman concerns in military thought. The military is not ignorant of transhuman issues and implications, though there was evidence for this in the past; militaries and non-state actors increasingly use disruptive technologies with what we may call transhuman provenance.

Singularizing progressive time bounds pasts, presents, and futures to cause-effect chains overdetermining existence in education and social life more broadly. Indigenous Futures and Learnings Taking Place disrupts the common sense of "futures" in education or "knowledge for the future" by examining the multiplicity of possible destinies in coexistent experiences of living and learning. Taking place is the intention this book has to embody and word multiplicity across the landscapes that sustain life. The book contends that Indigenous perspectives open spaces for (...) new forms of sociality and relationships with knowledge, time, and landscapes. Through Goanna walking and caring for Country; conjuring encounters between forests, humans, and the more-than-human; dreams, dream literacies, and planes of existence; the spirit realm taking place; ancestral luchas; Musquem Land pedagogies; and resoluteness and gratitude for atunhetsla/the spirit within, the chapters in the collection become politicocultural and (hi)storical statements challenging the singular order of the future towards multiple encounters of all that is to come. In doing so, Indigenous Futures and Learnings Taking Place offers various points of departure to (hi)story educational futures more responsive to the multiplicities of lives in what has not yet become. The contributors in this volume are Indigenous women, women of Indigenous backgrounds, Black, Red, and Brown women, and women whose scholarship is committed to Indigenous matters across spaces and times. Their work in the chapters often defies prescriptions of academic conventions, and at times occupies them to enunciate ontologies of the not yet. As people historically fabricated "women," their scholarly production critically intervenes on time to break teleological education that births patriarchal-ized and master-ized forms of living. What emerges are presences that undiscipline education and educationalized social life breaking futures out of time. This book will be of great interest to students and scholars of Indigenous studies, future studies, post-colonial studies in education, settler colonialism and coloniality, diversity and multiculturalism in education, and international comparative education. (shrink)

Singularizing progressive time bounds pasts, presents, and futures to cause-effect chains overdetermining existence in education and social life more broadly. Indigenous Futures and Learnings Taking Place disrupts the common sense of "futures" in education or "knowledge for the future" by examining the multiplicity of possible destinies in coexistent experiences of living and learning. Taking place is the intention this book has to embody and word multiplicity across the landscapes that sustain life. The book contends that Indigenous perspectives open spaces for (...) new forms of sociality and relationships with knowledge, time, and landscapes. Through Goanna walking and caring for Country; conjuring encounters between forests, humans, and the more-than-human; dreams, dream literacies, and planes of existence; the spirit realm taking place; ancestral luchas; Musquem Land pedagogies; and resoluteness and gratitude for atunhetsla/the spirit within, the chapters in the collection become politicocultural and (hi)storical statements challenging the singular order of the future towards multiple encounters of all that is to come. In doing so, Indigenous Futures and Learnings Taking Place offers various points of departure to (hi)story educational futures more responsive to the multiplicities of lives in what has not yet become. The contributors in this volume are Indigenous women, women of Indigenous backgrounds, Black, Red, and Brown women, and women whose scholarship is committed to Indigenous matters across spaces and times. Their work in the chapters often defies prescriptions of academic conventions, and at times occupies them to enunciate ontologies of the not yet. As people historically fabricated "women," their scholarly production critically intervenes on time to break teleological education that births patriarchal-ized and master-ized forms of living. What emerges are presences that undiscipline education and educationalized social life breaking futures out of time. This book will be of great interest to students and scholars of Indigenous studies, future studies, post-colonial studies in education, settler colonialism and coloniality, diversity and multiculturalism in education, and international comparative education. (shrink)

My paper examines Derrida's attempts to resist, on the one hand, what he thought of as the increasing international hegemony of American English as the technolanguage of communication, and, on the other hand, forms of linguistic nationalism, when using the resources of the French language to deploy the syntagma: démocratie à venir. It does this by investigating what happens when claims about democracy are made in such a way as to be singularly idiomatic – made from a cosmopolitan point of (...) view that takes into account, rather than vitiates à la Kant, the singular poeticity of idioms. It contrasts Derrida's analysis of the relationship between the national, democracy and idiomaticity with Tocqueville's nationalistic claims; examining, in particular, the issue of how language supposedly binds people together, the role of singularity and generality in thinking about idioms, the divide between originary and techno-scientific idioms, and Derrida's practice of writing in plus d'une langue. It also outlines how, paradoxically, it is a form of idiomaticity and not linguistic instrumentality that disrupts the logic of appropriation, the logic inscribed in the neighbouring, though different, conceptual values of idion, proprius and le propre. (shrink)

Russellian Panpsychism or Panpsychist Russellian Monism (PRM) presents a new perspective on the ontological status of phenomenal consciousness, acknowledging its reality at the fundamental level of existence. Diverging from physicalism, PRM upholds the existence of phenomenal consciousness without disrupting the uniformity of nature, a departure from dualism. PRM posits a symbiotic relationship between mental and physical entities, asserting that the former provides intrinsic foundations for the latter, which are structural. This raises a pivotal inquiry: how does PRM reconcile these distinct (...) realms? Is it a form of property dualism, recognizing two fundamental entity categories, or does it propose the primacy of mental properties with physical reducibility? Examining prevalent interpretations of PRM as dualistic or idealistic, this paper contends that neither aligns with PRM’s criteria for ontological monism, where only one fundamental entity type exists. Instead, it advocates for a dual-aspect monism framework, portraying the mental and physical as two authentic facets of a singular entity or property. Through a thorough analysis, the paper demonstrates how this dual-aspect interpretation harmonizes with PRM’s foundational principles, providing a robust resolution to the mental-physical dichotomy while upholding ontological monism. The conclusion explores the implications and contributions of this framework to the metaphysical discourse on consciousness. (shrink)

This article considers the notion of an event, of something happening to language, through a reading of Jacques Derrida's Monolingualism of the Other. In particular, the issues of language, translation and the untranslatable are linked to the three forms of madness that Derrida distinguishes. The paper, in turn, contends that there are only target languages, or again, that all languages are in fact target languages, languages-to-come, and that this experience of language is the only test worthy of the untranslatable. The (...) madness of language is thus associated with the singularity of not only every language and every speaker, but also with the non-programmable character of language. The literature of Kafka and Celan, among others, is henceforth invoked as exemplary, and examined as both an intra-lingual and inter-lingual event. The overall aim is to disrupt the Globish of global communication and the nationalism of linguistic proprietorship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 3-10 [Access article in PDF] Can Immanence Explain Social Struggles? Ernesto Laclau Michael Hardt and Antonio Negri. Empire. Cambridge, MA: Harvard UP, 2000. In a recent interview 1 Jacques Rancière opposes his notion of "people" (peuple) 2 to the category of "multitude" as presented by the authors of Empire. As is well known, Rancière differentiates between police and politics, the first being the logic of counting (...) and assigning the population to differential places, and the second the subversion of that differentiating logic through the constitution of an egalitarian discourse which puts into question established identities. "The people" is the specific subject of politics, and this term presupposes a sharp division in the social body which cannot be led back to any kind of immanent unity. Empire, on the contrary, makes immanence its central category and the ultimate ground of the multitude's unity.The main lines of Rancière's critique provide a good starting point for what we have to say about the book. The immanentism of Hardt and Negri would be linked, according to Rancière, to their Nietzschean/Deleuzian ethics of affirmation, which does away with any reactive or negative dimension. Empire would belong, in that respect, to the whole tradition of modern political philosophy, which is profoundly metapolitical: "the kernel of metapolitics is to lead back the precarious artifices of the political scene to the truth of an immanent power which organizes beings in a community and identifies the true community with the grasped and sensible operation of this truth" ["Peuple ou multitudes" 96]. From Hardt and Negri's rejection of any inherent negativity in political subjects, it follows that the power inherent in the multitude has to be a disruptive power, "lodged in all states of domination as its ultimate content, a content destined to destroy all barriers. 'Multitudes' have to be a content whose continent is Empire" ["Peuple ou multitudes" 97]. Disruptive forces operating through a purely immanent movement are what Marxist theory called "productive forces," and there would be, according to Rancière, a strict homology between the place of productive forces and that in which multitudes, as described in Empire, act. Rancière points out that productive forces should not necessarily be understood in any narrow productivist sense: there has been a constant widening of the concept from the strict economism of classical Marxism, to the recent attempts to introduce in it the ensemble of scientific and intellectual abilities, passing through the Leninist attempt to supplement via political intervention a role that productive forces refused to fulfill.I think that Rancière has rightly stressed what I see as the main source of several weaknesses of Empire, including a central one: that within its theoretical framework politics become unthinkable. So I will start from a discussion of its notion of immanence and move later to various other theoretical and political aspects of the book. [End Page 3]Let us start with the authors' discussion of the origins of European modernity. While the usual insistence is on the secularization process, that process would be, "in our view... only a symptom of the primary event of modernity: the affirmation of the powers of this world, the discovery of the plane of immanence. 'Omne ens habet aliquod esse proprium'—every entity has a singular essence. Duns Scotus' affirmation subverts the medieval conception of being as an object of analogical, and thus dualistic predication—a being with one foot in this world and one in a transcendent realm" [Empire 71]. Duns Scotus's insistence on the singularity of being would have initiated an assertion of immanence that the authors describe as a process whose representative names would have been Nicholas of Cusa, Pico della Mirandola, and Bovillus—other names quoted are Bacon and Occam—and whose point of arrival is Spinoza. "By the time we arrive at Spinoza, in fact, the horizon of immanence and the horizon of the democratic political order coincide completely. The plane of immanence is the one on which the powers of singularity are realized and the one on which the truth of the new... (shrink)

Intimacy and Alienation puts forward the author's unique paradigm for psychotherapy and counselling based on the assumption that each patient has suffered a disruption of the `self', and that the goal of the therapist is to identify and work with that disruption. Using many clinical illustrations, and drawing on self psychology, attachment therapy and theories of trauma, Russell Meares looks at the nature of self and how it develops, before going on to explore the form and feeling of experience when (...) self is disrupted in a traumatic way, and focusing on ways towards the restoration of the self. Written in an accessible style from the author's singular perspective, Intimacy and Alienation will appeal to professionals in the fields of psychotherapy, counseling, social work and psychiatry, as well as to students and the lay reader. (shrink)

This essay juxtaposes concepts created by Gilles Deleuze and Félix Guattari with worlds imagined by Ursula Le Guin in a performance of ‘rhizosemiotic play’ that explores some possible ways of generating and sustaining what William Pinar calls ‘complicated conversation’ within the regime of signs that constitutes an increasingly internationalized curriculum field. Deleuze and Guattari analyze thinking as flows or movements across space. They argue, for example, that every mode of intellectual inquiry needs to account for the plane of immanence upon (...) which it operates—the preconceptual field presupposed by the concepts that inquiry creates. Curriculum inquiry currently operates on numerous nationally distinctive planes of immanence. I argue that the internationalization of curriculum studies should not presume a singular transnational plane of immanence but, rather, envisage a process performed by curriculum scholars with the capacities and competencies to change planes—to move between one plane of immanence and another and/or to transform their own planes. My essay is a ‘narrative experiment’ that takes seriously Deleuze’s argument that a work of philosophy should be, in part, a kind of science fiction, and also takes inspiration from Le Guin’s science fictional stories of ‘changing planes’ to generate productive and disruptive transnational agendas in curriculum inquiry. (shrink)

In Being Posthuman, Zahi Zalloua interrogates the notion that "post-" does not necessarily mean 'after' or that what comes after is more advanced than what has gone before. He pursues this line of inquiry across four distinct, yet interrelated, figures: cyborgs, animals, objects, and racialized and excluded 'others'. These figures disrupt the narrative of the 'human' and its singularity and by reading them together, Zalloua determines that it is only when posthumanist discourse is combined with psychoanalysis that subjectivity can be (...) properly examined. (shrink)

The critique of tourism as being only a distanced, detached, and consumerist passing through of foreign landscapes and cultures isdisputed in this essay. The idea that tourism necessarily fits the paradigm of inauthenticity as the tranquilized and alienated hopping from spot to spot in prepackaged, superficial presentations is contrasted with another sense of tourism as drawing upon the potential power of the glance to disrupt the everyday, to focus on the particular, to be surprised by the new, and to bodily (...) join up with the rhythms of place being as shifting. Authenticity is seen in both Heidegger and Merleau-Ponty to be primarily about a greater bodily awareness of surround and transformation of the self as an ongoing process of “selving” that yields a more singular sense of who one is in relationship to places and their interconnectedness. To gain a better sense of oneself in one own being or uniqueness is to gain more meaning through emplacement within the surround. The glance at a new world can open up an “interplace” which expands anddeepens the sense of who we are in the interconnection and reverberations among places. (shrink)

A major programme of irrigated rice extension in the Middle Senegal River Valley has further limited the river’s natural flooding in the floodplain (Waalo), initially reduced by drought. We conducted a transdisciplinary (TD) and gendered study in the region to explore links between agricultural biodiversity and family diets using a social analysis of women’s practices. The results showed how rice expansion impacts local agrobiodiversity, diet quality and the cultural way of life. Disappearance of the singular agropastoral and fishing system (...) of the Senegal River Valley is profoundly modifying the landscape, limiting wooded riverine settings, and is undermining the traditional diversified flood-recession cropping system in the Waalo. This is causing an overconsumption of rice by reducing alternative food sources, such as sorghum, vegetables and animal products (fish, milk and meat). In particular, flood-recession sorghums are in danger of disappearing, yet they are more nutritious than rice and now sell for twice as much, or more. The way of life is being disrupted, notably sociabilities previously based on territorial complementarities, and women are disadvantaged in terms of recognition and added workload. Women’s groups have launched collective irrigated gardens, organic or not, only supported by the local NGO, but any surplus is hardly ever sold on the weekly markets in the neighbourhood. Moreover, this diet imbalance increases nutritional risk factors for health, such as vitamin and iron deficiencies, especially for women, hypertension and diabetes. We argue that, firstly, gendered TD experiences are relevant for documenting women’s activities in order for them to gain political support and, secondly, that targeting women’s care tasks gives more value and impact to TD research results. (shrink)

The dynamism between otherness and differences with identity and equivalence provides key ideas for analyzing the process of gender individuation by artistic works. In this article I discuss the problem of artistic and aesthetic reactions to homogeneous cultural patterns of masculinity, which is characterized by the concept of "toxic masculinity" in pop-cultural, sociological, psychological and gender studies discourses. One common theme is that "toxic masculinity" encompasses harmful standards that generate antagonisms and diminish multi-figure masculinity to a singular "socially acceptable" (...) level at the expense of children, women and men - and thus society as a whole. The artist's task is to reveal this noxiousness, and to highlight the value of the coexistence of a variety of forms of masculinity in terms of its diversity, thereby helping to mitigate the consequences of disruptive gender relations. (shrink)

BackgroundSome people with progressive neurological diseases find they need additional support with eating and drinking at mealtimes, and may require artificial nutrition and hydration. Decisions concerning artificial nutrition and hydration at the end of life are ethically complex, particularly if the individual lacks decision-making capacity. Decisions may concern issues of life and death: weighing the potential for increasing morbidity and prolonging suffering, with potentially shortening life. When individuals lack decision-making capacity, the standard processes of obtaining informed consent for medical interventions (...) are disrupted. Increasingly multi-professional groups are being utilised to make difficult ethical decisions within healthcare. This paper reports upon a service evaluation which examined decision-making within a UK hospital Feeding Issues Multi-Professional Team.MethodsA three month observation of a hospital-based multi-professional team concerning feeding issues, and a one year examination of their records. The key research questions are: a) How are decisions made concerning artificial nutrition for individuals at risk of lacking decision-making capacity? b) What are the key decision-making factors that are balanced? c) Who is involved in the decision-making process?ResultsDecision-making was not a singular decision, but rather involved many different steps. Discussions involving relatives and other clinicians, often took place outside of meetings. Topics of discussion varied but the outcome relied upon balancing the information along four interdependent axes: Risks, burdens and benefits; Treatment goals; Normative ethical values; Interested parties.ConclusionsDecision-making was a dynamic ongoing process with many people involved. The multiple points of decision-making, and the number of people involved with the decision-making process, mean the question of ‘who decides’ cannot be fully answered. There is a potential for anonymity of multiple decision-makers to arise. Decisions in real world clinical practice may not fit precisely into a model of decision-making. The findings from this service evaluation illustrate that within multi-professional team decision-making; decisions may contain elements of both substituted and supported decision-making, and may be better represented as existing upon a continuum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that while (...) listening to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

Oppositional constructions of peace and war and simplistic equations of peace with justice obscure the importance of activities primarily geared toward the limitation of harm. The medieval and patristic legacy of thinking with peace restricts peace to variants of a singular concept that dictates the diplomatic and domestic policy of modern states. At the same time, secular political theory has moved away from medieval clerical acknowledgment of compatibilities between turbulence and peace, producing temporally bounded categories of peace and war (...) that facilitate damage or at best allow harm to endure. In this discourse, social disruption must act as signifier for more general violence—but then is repressed on exactly the same terms, making it difficult to arrive at solutions for conflict on the ground without renouncing calls for justice and equity in the long term. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 71-98MuseSearchJournalsThis JournalContents[Access article in PDF]Hospitality after the Death of GodTracy McNultyPierre Klossowski's fiction has been only sporadically published in English, and largely dismissed as perverse erotica or soft-core porn. When his 1965 trilogy Les lois de l'hospitalité was partially translated in English (under the title Roberte, ce soir & The Revocation of the Edict of Nantes), its Library of Congress classification characterized it simply as "erotic (...) fiction—French." Even in France, Klossowski has become the very signifier of perversion. His artwork graces the cover of Serge André's L'imposture perverse and of numerous erotic novels, he has been "diagnosed" as a pervert by writers on both sides of the Atlantic, and unironic readers of his Sade mon prochain hail him as Sade's disciple and heir.1Admittedly, the larger stakes of Klossowski's work are easily obscured by its free adaptation of the stock themes of libertine literature. His fictional works, like his visual compositions (essentially representations of rape scenes, often on historical themes—Diana and Actaeon, the Rape of Lucretia), explore the conflict between a woman's chaste moral attitude and her gradual surrender to an assailant's advances. The Laws of Hospitality concerns the erotic awakening of "hospitality" in a woman, which exposes a contradiction within her moral character and reveals her symbolic identity to be without foundation. Its protagonist Octave, who bears more than a passing resemblance to his creator, is a collector of artworks that eroticize the moment of moral hesitation experienced by women submitting to the sexual advances of a chance stranger—or even a "spiritual" apparition. His "laws of hospitality" are the fruit of his desire to experience this operation firsthand; they name a practice wherein the master of the house "offers" his wife to fortuitous guests, in order to savor the moment of her surrender.However, the stakes of Klossowski's "perverse" meditations are very different from the Sadeian project of uprooting religious morality. Sade challenges the patriarchal and religious authorities of his day by demonstrating that the paternal signifier on which their laws are based is without foundation. In proving that the law cannot hold [End Page 71] up against the repeated assaults of libertinage, he mounts a systematic deconstruction of the symbolic order of language by the real of jouissance. But although Klossowski may share Sade's perverse drive to "humiliate the law with the object,"2 his target is not the signifier as such, but rather the imaginary consistency afforded by what he calls the "grammatical fiction of the 'I,'" the illusion of autonomous personhood. The "object" he confronts it with is not the natural "truth" of jouissance, but rather the feminine object who disrupts the identity of the "master" who offers her.Klossowski's reflections on the special status of femininity in Enlightenment culture—at once marginal and singularly "extimate"—have never been fully appreciated, despite their enormous interest for the study of culture. In a way unique among contemporary authors, Klossowski sheds light on Jacques Lacan's enigmatic insight that the cultural importance of the feminine object consists in its sublimated status as an "object raised to the dignity of the Thing" [Lacan 112]. His fiction underscores the close ties between the feminine and what Freud called das Ding, the Thing uncannily internal to subjectivity that Lacan later identified with the function of the Nebenmensch, as the apotheosis of the Christian idea of the prochain, or neighbor [Lacan 151–52].Although Klossowski's erotic scenario invites comparisons with Sade's and Fourier's utopian calls to dissolve the privative boundaries between subjects, what he understands by "hospitality" is not the abolition of personal identity, but rather the staging of its internal contradiction.Hospitality, at the Limits of the LawThe act of hospitality—whose theological and philosophical origins this former Dominican novice and Latin scholar was intimately acquainted with—concerns a very particular tension. Etymologically, the host is the "master," the one who "eminently personifies" identity: not only his own identity, but also that of the group in whose... (shrink)

In _Essential Vulnerabilities, _Deborah Achtenberg contests Emmanuel Levinas’s idea that Plato is a philosopher of freedom for whom thought is a return to the self. Instead, Plato, like Levinas, is a philosopher of the other. Nonetheless, Achtenberg argues, Plato and Levinas are different. Though they share the view that human beings are essentially vulnerable and essentially in relation to others, they conceive human vulnerability and responsiveness differently. For Plato, when we see beautiful others, we are overwhelmed by the beauty of (...) what is, by the vision of eternal form. For Levinas, we are disrupted by the newness, foreignness, or singularity of the other. The other, for him, is new or foreign, not eternal. The other is unknowable singularity. By showing these similarities and differences, Achtenberg resituates Plato in relation to Levinas and opens up two contrasting ways that self is essentially in relation to others. (shrink)

Understanding Hegel's account of particularity has proven to be anything but straightforward. Two main accounts of particularity have been advanced: the particular as an example or instance and the particular as a subjective perspective on a universal concept. The problem with these accounts is that they reduce particularity either to singularity or to universality. As Derrida's analyses make apparent, the ‘structure of exemplarity’ in Hegel is quite intricate. Hegel uses ‘example’ in three senses: it means (1) ‘instance’, ‘illustration’, or (2) (...) ‘model’, ‘exemplary individual’, ‘paradigm’, or (3) a by-play (a meaning derived from Hegel's neologismbeiherspielen, in whichBeispielis understood quasi-etymologically as a ‘by-play’ of accidental moments). ABeispielin the first sense can be replaced by another instance in a free play (by-play). This play of accidental moments, however, is not entirely free; it generates a series (of replacements) that ultimately leads to an example in the second sense, to an exemplary individual. I argue that particularity can be taken as exemplarity of this kind, oscillating between a singular example and a universal paradigm. Within this by-play, the universal concept, its law, is supposed to be mediated and determined. However, out of the differences between the examples the by-play induces another law, the law of non-mediation, which may, in Derrida's view, actually negate the dialectical movement towards universality. I argue, utilizing Malabou's concept of plasticity, that this disruption may be recovered. This implies that each individual example within a series is a particular determination of the universal. Hence, we can take literally Hegel's claim that the movement of the concept is play. (shrink)

In his 1934 essay, “Reflections on the Philosophy of Hitlerism,” Levinas raises important questions about the subject’s relation to nature and to history. His account of the ethical significance of paternity, maternity, and fraternity in texts such as Totality and Infinity and Otherwise Than Being suggest powerful new ways to understand the meaning of kinship, beyond the abstractions of Western liberalism. How does this analysis of race and kinship translate into the context of the Transatlantic slave trade, which not only (...) stole Africans from their families and communities, but also imposed upon them a single “fictive” kinship relation to the master? What if the problem of racialization is not only a matter of being “chained” to one’s identity through (presumed) blood ties, but also being violently separated from one’s kin? What does it mean for the concepts of ethical and political fraternity if the only father recognized by law and society as legitimate is the slave master? Or if the bodies of slave women are exploited, not only for productive labor, but also for the reproductive labor that makes more slaves for the master? If kinship is a way of making sense of the relation between past, present and future generations, then what does a radical disruption of existing kinship relations, and the imposition of one fictive, absolute and unilateral kinship relation, do to the social meaning of time and of history in a particular community? In this paper, I reflect on the significance of fecundity and kinship in the context of US slavery, both in order in order to situate my analysis in the particular history of my own present community, and as a way of demonstrating the significance of a more determinate social analysis for Levinas’ ethics of singularity and politics of universal justice. (shrink)

Animal camouflage is said to be a mode of being negative, implying a setback visibility. On the contrary, we try here to restore all its aesthetic positivity considering the singularity of extremely varied forms it produces. It soon becomes apparent that the camouflage forces us to question the privilege of individuality and traditional drawdown on singularity. The disruptive camouflage, especially, that crushes the individual formal unity provides the argument in favor of an individuation with the environment, and more with the (...) world: the animal camoufleur disappears under only an individual visibility; it appears on the contrary in all its pre-individual splendor when it involves with environment components to make them the most expressive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that while (...) listening to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

This essay draws on Adam Smith’s moral sentimentalism to critique primatologist Frans de Waal’s gradualist theory of human morality. De Waal has spent his career arguing for continuity between primate behavior and human morality, proposing that empathy is a primary moral building block evident in primate behavior. Smith’s moral sentimentalism—with its emphasis on the role of sympathy in moral virtue—provides the philosophical framework for de Waal’s understanding of morality. Smith’s notion of sympathy and the imagination involved in sympathy is qualitatively (...) different from animal sympathy. I argue that Smithian sympathy includes the ability to represent propositional attitudes and take into account multiple perspectives which are then synthesized into a singular impartial perspective. Furthermore, Smithian moral judgment requires the capacity for emotion regulation and moral self-cultivation, or the ability to shape and control one’s reactive attitudes. Taken together, these capacities far outstrip the capacities of animals, disrupting de Waal’s gradualism. (shrink)

Since the first successful attempt to clone a dog in 2005, dogs have been cloned by Somatic Cell Nuclear Transfer for a variety of purposes. One of these is to clone dogs as companion animals. In this paper we discuss some of the ethical implications that cloning companion dogs through SCNT encompasses, specifically in relation to human–dog relationships, but also regarding animal welfare and animal integrity. We argue that insofar as we understand the relationship with our companion dogs as one (...) of friendship, the meaningfulness of cloning a companion dog is seriously questionable. Cloning may both disrupt the uniqueness of the relationship, as the shared history underlying the relationship can neither be repeated nor copied, and it may violate the meaning we attribute to friendship, as the notion of singularity inherent in our understanding of friendship is incompatible with the replaceability embedded in the practice of cloning. We further argue that the application of cloning technology to companion dogs can be interpreted as a violation of the integrity of dogs on at least two accounts: negative welfare implications associated with the cloning process, and the instrumentalisation of the dog inherent in cloning. (shrink)

Referring to a past that never was, dij vu shares a structure not only with fiction, but also with the ever more sophisticated effects of media technology. Tracing the term from the end of the nineteenth century, when it was first popularized in the pages of the Revue philosophique, Peter Krapp examines the genealogy and history of the singular and unrepeatable experience of dij vu. This provocative book offers a refreshing counterpoint to the clichid celebrations of cultural memory and (...) forces us do a double take on the sanctimonious warnings against forgetting so common in our time. Disturbances of cultural memory-screen memories, false recognitions, premonitions-disrupt the comfort zone of memorial culture: strictly speaking, dij vu is neither a failure of memory nor a form of forgetting. Krapp's analysis of such disturbances in literature, art, and mass media introduces, historicizes, and theorizes what it means to speak of an economy of attention or distraction. Reaching from the early psychoanalytic texts of Sigmund Freud to the plays of Heiner M]ller, this exploration of the effects of dij vu pivots around the work of Walter Benjamin and includes readings of kitsch and aura in Andy Warhol's work, of cinematic violence and certain exaggerated claims about shooting and cutting, of the memorial character of architecture, and of the high expectations raised by the Internet. Peter Krapp, lecturer in the Department of Cultural Studies and Comparative Literature at the University of Minnesota, coedited "Medium Cool," a special issue of the South Atlantic Quarterly on contemporary media theory. He has published in the fields of German studies, media studies, and literary theoryand, since 1995, has acted as editor of the Hydra Web site for theories of literature and media. (shrink)

This article considers how institutions of higher education participated in the national “racial reckoning” that followed the murder of George Floyd in May 2020. Using the work of Pan-Africanist jurist Motsoko Pheko, memoirist Sisonke Msimang, poet Audre Lorde, and Black queer feminist critics Tiffany Willoughby-Herard and M. Jacqui Alexander, the authors reflect on the principled research practices and ethos that catalyze sustainable repair. Durable forms of repair include reconnecting the feeling body with the knowing self, stillness, and tarrying. The authors (...) (two doctoral students and a professor colleague) also consider repair through attention to the material conditions of knowledge production (collaborative writing, reclaiming the sacred, and questioning what it means to make something whole without reproducing a singular dominating episteme) to disrupt academic hierarchies. Arguing that repairing society, the planet, or the ways that questions are asked and answered requires ongoing wrestling with our current climate of racial terror in higher education, this article embodies the authors’ reparative principles and envisions paths towards educational justice. (shrink)

Eoin Carney | : Continuing on from recent discussions on the overlap between Paul Ricoeur’s philosophy and care ethics, this article will aim to clarify the status of practice in Ricoeur’s work. I will argue that even though Ricoeur’s philosophy is indeed marked by its “desire for a foundation,” as care ethicist Joan Tronto has pointed out, this aim is more of a fragile wager than a principle, and is always at risk of being overturned by practices and other worldviews. (...) I will demonstrate this point by arguing that Ricoeur’s hermeneutic approach to practice leads to the view that objective methods of knowledge and explanation are always grounded by the broader hermeneutic task of practical understanding and care for the self; in moral reasoning, Ricoeur’s analysis of the conflict between respect for the rule and respect for persons results in his prioritizing of respect for the singular other rather than the universal rule, meaning that the other can always disrupt and reorient universal or foundational modes of reasoning; and finally within healthcare relations Ricoeur aims to develop an alternative understanding of respect that places it in a dialectical relation with care. These practice-oriented readings of hermeneutics, morality, and respect aim to open up a dialogue between care ethics and philosophical approaches that have often been placed outside of care ethics. | : Poursuivant les récentes discussions concernant les recoupements entre la philosophie de Paul Ricoeur et les éthiques du care, cet article a pour objectif de clarifier le statut de la pratique dans l’oeuvre de Ricoeur. Je soutiendrai que même si la philosophie ricoeurienne est bien marquée par un « désir d’un fondement », ainsi que l’éthicienne du care Joan C. Tronto le souligne, cet objectif repose plus sur un pari que sur un véritable principe, et risque toujours d’être renversé par les pratiques ou d’autres visions du monde. Je démontrerai cela en soutenant trois arguments. 1) L’approche herméneutique de Ricoeur concernant la pratique mène à penser que les méthodes objectives de connaissance et d’explication sont toujours soutenues par une tâche herméneutique plus large de la compréhension pratique et du souci de soi. 2) En ce qui a trait au raisonnement moral, l’analyse de Ricoeur sur le conflit entre le respect de la règle et le respect de la personne accorde la priorité au respect de l’autre singulier plutôt que de la règle universelle. Ainsi, l’autre peut toujours perturber et réorienter l’universel ou les modes fondateurs du raisonnement. 3) Réfléchissant aux relations thérapeutiques, Ricoeur tend à suggérer une nouvelle compréhension du respect qui se place dans une relation dialectique avec le souci. Ces lectures – de l’herméneutique, de la moralité et du respect – orientées vers la pratique ouvrent la voie à un dialogue entre les éthiques du care et des approches philosophiques que l’on considère souvent éloignées de celles-ci. (shrink)

At the dawn of the twentieth century, Henri Bergson (1859-1941) became the most famous philosopher on earth. Where prior thinkers sketched out a deterministic, predictable universe, he asserted the transformative power of individual consciousness and creativity. An international celebrity, he made headlines around the world debating luminaries like Bertrand Russell and Albert Einstein about free will and time. The vision of creative evolution and freedom he presented was so disruptive that the New York Times branded him "the most dangerous man (...) in the world." In Herald of a Restless World, Emily Herring recovers how Bergson captivated a society in flux. She shows how his celebration of the time-bending uniqueness of individual experience struck a chord with those shaken by modern technological and social change. Long after he faded from public view, his insights into memory, time, laughter, and the creative continue to shape how we see the world around us. Herald of a Restless World is an electrifying portrait of a singular intellect. Bergson's extraordinary insight into life's fundamental questions remains urgent and relevant to this day. (shrink)

I discuss a criterion for successful communication between a speaker and a hearer put forward by Buchanan according to which there is communicative success only if the hearer entertains, as a result of interpreting the speaker's utterance, a thought that has the same truth conditions as the thought asserted by the speaker and, furthermore, does so in virtue of recognizing the speaker's communicative intentions. I argue, against Buchanan, that the data on which it is based are compatible with a view (...) involving Fregean modes of presentation. In the second part of the article I critically discuss Unnsteinsson's claim that communicative success depends on the absence of contextually salient false distinctness beliefs about the subject matter of the conversation. I argue that this thesis leads to clearly counterintuitive consequences and that no fundamental role must be given to the presence or absence of false distinctness beliefs in one's account of successful communication. The upshot is that we should stick with Buchanan's criterion. I conclude by employing Strawson and Recanati's concepts of linking and merging to show how the criterion I favour is compatible with the fact that, when subjects hold no relevant false distinctness beliefs, communicative success does not seem to be disrupted by the hearer seemingly failing to recognize the speaker's intentions. (shrink)

"Poetry does not impose, it exposes itself," wrote Paul Celan. Werner Hamacher's investigations into crucial texts of philosophical and literary modernity show that Celan's apothegm is also valid for the structure of understanding and for language in general. In _Premises_ Hamacher demonstrates that the promise of a subject position is not only unavoidable—and thus operates as a structural imperative—but is also unattainable and therefore by necessity open to possibilities other than that defined as "position," to redefinitions and unexpected transformations of (...) the merely thetical act. Proceeding along the lines of both philosophical argument and critical reading, Hamacher presents the fullest account of the vast disruption in the theories and ethics of positional and propositional acts—a disruption first exposed by Kant's analysis of the minimal requirements for linguistic and practical action. Focusing on the double trait of every premise—that it is promised but never attained—Hamacher analyzes nine decisive themes, topics, and texts of modernity: the hermeneutic circle in Schleiermacher and Heidegger, the structure of ethical commands in Kant, Nietzsche's genealogy of moral terms and his exploration of the aporias of singularity, the irony of reading in de Man, the parabasis of positing acts in Fichte and Schlegel, Kleist's disruption of narrative representation, the gesture of naming in Benjamin and Kafka, and the incisive caesura that Paul Celan inserts into temporal and linguistic reversals. There is no book that so fully brings the issues of both critical philosophy and critical literature into reach. _Reviews_ "Werner Hamacher's _Premises_ is the heir and successor to the most important theoretical and critical work done in American departments of comparative literature from the 1960s through the 1980s. Yet, _Premises_ is no more a work of literary scholarship than one of philosophical submission to philosophy. With the gesture that is genuinely called post-structural, which is the suspicion and suspension of every code, the book's act of freedom is freedom to read and write language _tout court_." —Timothy Bahti, University of Michigan "Hamacher's project can be described as the retracing of the epistemological ground upon which the modern conception of the literary was erected. It is quite clear to me that there is nothing presently available to rival this book." —Wlad Godzich, University of Geneva. (shrink)

A Filosofia francesa foi fortemente influenciada por Heidegger, o que não haveria de acontecer sem algumas polémicas. Uma obra recente de D. Janicaud, Heidegger en France, traça algumas das suas peripécias. O presente artigo debruça-se sobre um ponto particular desta influência. O pensamento está desde há bastante tempo associado em França com o sentido do existir das singularidades, sobretudo pessoais; disso o existencialismo é um sinal evidente. É sem dúvida esta mesma preocupação pela existência que deu lugar a investigações fenomenológicas (...) sobre a essência do evento, palavra que traduz mais ou menos fielmente a expressão heideggeriana Ereignis. O artigo expõe, pois, o modo como o tema do Ereignis evolui na obra de Emmanuel Levinas (o evento cria uma temporalidade irredutível às sistematizações da história; a palavra trocada, dita e escutada, traz consigo uma nova temporalidade), Jean-Luc Marion (o evento não se repete, excede todo o presente e abre possibilidades ao ser humano), e Claude Romano (o evento rompe o tempo linear e instaura um mundo em que o princípio é um começo sempre novo). O artigo apresenta-se, deste modo, como uma reflexão sobre a própria essência da fenomenologia, tal qual ela actualmente se desenvolve em França. O artigo propõe ainda uma crítica de uma visão demasiado estética sobre o evento e convida o pensamento a prosseguir a sua reflexão na direcção da história concreta das liberdades. /// French philosophy has been greatly influenced by Heidegger, but not without polemics. A recent book by Janicaud, Heidegger in France, has traced its itinerary. The present article focuses on a single aspect of its influence: the attention given especially to the sense of existence in terms of personal singularities. Existentialism is a case in point. Such a concern produced phenomenological researches on the essence of the event, a word that more or less translates Ereignis. The article demonstrates how the theme of Ereignis has developed in the work of Levinas as that which creates a temporality that is irreducible to systematized history: the exchanged word carries with it a new temporality. In J.-L. Marion's work, the event does not repeat itself and exceeds the present, opening up new possibilities for humankind. For Cl. Romano, the event disrupts linear time and inaugurates a new world. Thus, the article constitutes a reflection on the very essence of phenomenology as manifested currently in France. It also proposes a critique of the overly aesthetic perspective concerning the theme of event and invites thought to pursue its reflection in the direction of the concrete history of freedoms. (shrink)

This article focuses on urban space and heritage. Our aim is to understand how ordinary streets in Perth respond to urban change and how much these urban streets represent Western Australia’s heritage. The intention is to eschew the dominant branding of WA as Australia’s mining state and shift the spotlight so that in addition to the economic and material, light is also shed on the socio-cultural in the everyday and the vernacular. This project uses Henri Lefebvre’s rhythmanalysis approach to explore (...) a contrapuntal reading of heritage that disrupts the deserving, dominant and fixed histories of High Road in Willetton and High Street in Fremantle. Amid the tides of migration, commerce, and cultures, heritage facades on High Street Fremantle appear singular and fixed, whereas multiple cultures have been extracted for sale on High Road. Superficially High Road seems diverse, but the overarching impulse across both sites is commerce – ‘Business as usual’ reigns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 456-470 [Access article in PDF] Ethics without Exit:Levinas and Murdoch Bob Plant Hearts open very easily to the working class, wallets with more difficulty. What opens with the most difficulty of all are the doors of our own homes. —Emmanuel Levinas, Nine Talmudic Readings... there is no debt to acquit. From the outset, I am not exonerated. I am originally in default. —Emmanuel Levinas, (...) God, Death, and TimeIN HIS RECENT ARTICLE "Emmanuel Levinas and Iris Murdoch: Ethics as Exit?," C. Fred Alford highlights a number of insightful comparisons—and many important contrasts—between the respective conceptions of ethics proffered by Levinas and Murdoch. Alford's avowed objective is to "criticize Levinas sympathetically," or to "disrupt" what has come to be known as "the Levinas Effect" and the tendency of many commentators to make Levinas "become everything to everyone." 1 Given what one commentator calls "the facile 'postmodern' temptation to lump together all differences under the general rubric of the 'Other,'" 2 Alford's objective is, I believe, wholly commendable. (As Arthur Schopenhauer pithily remarks: "the man who is everyone's friend is no one's friend." 3) Nevertheless, in the following discussion I want to "disrupt" Alford's own reading of Levinas; not, I hope, to make the latter simply a conduit for saying "whatever.... [I] wanted to say in the first place" (p. 24), but to present a fuller picture of Levinas's singularly difficult, evocative and often puzzling philosophy. I shall do this by critically responding to and developing a number of points [End Page 456] Alford explicitly raises. To what extent my reading of Levinas aligns him with Murdoch, I leave for others far better qualified to assess.Let us be clear from the start, Levinas is—as Hilary Putnam rightly notes—a "moral perfectionist." 4 But this is not to say that Levinas's work is "otherworldly." Although Alford does not use this latter term, it is clearly implied in his analysis. Thus, contrasting Levinas and Murdoch, he remarks that, "like Levinas, Murdoch's goal is to go beyond the limits of the self. Unlike Levinas, Murdoch is content to remain within a world of beings" (p. 37), and likewise, that Murdoch wants us to "climb the ladder of love only high enough to be free of their vanity and egoism, but never so high as to leave the world behind" (p. 38). According to Alford, "the other is an abstraction for Levinas.... Only at a distance is the other abstract enough to remind us of infinity" (p. 25)—indeed, a "barely contained passion for otherness, exit, and transcendence runs through Levinas" (p. 40). In a similar vein we are told that, for Levinas, "the self is remarkably real, a tangible fleshy thing.... and a barrier to infinity," and it is "for this reason,... a shattering experience is necessary, like that of Saul on the road to Damascus, an experience that does not bring me closer to my deliverer.... Only this can open me up—not to reality, but to infinity" (p. 38). More pointedly still, Alford asserts: "Levinas was never interested in the concrete reality of the other person, whose fleshy reality can only get in the way of transcendence" (p. 37). Thus, although he acknowledges that Levinas "often writes about ethical relationships as though they were real relationships with real people" ("what is not true is that Levinas is talking about some Other more august and transcendent than real other people.... we know the infinite only through other people"), Alford nevertheless defends his own "turning to Murdoch" on the grounds that she is "a theorist who remains strictly within the realm of everyday life, finding there subtleties of knowing, caring, and being that Levinas believes come only by way of the infinite" (p. 34).While Levinas's attitude toward the "everyday" or "ordinary" is hardly transparent (after all, the imperative of the other's face is said to come "from most high outside the world" 5 ), Alford overstates the "otherworldly" aspect of the former's ethics. Against the allegation that Levinas... (shrink)

Critical reception of Marcel Duchamp since the 1970s has tended to elevate him into the very figure of the Artist he sought to attack. One aspect of this domestication has involved neglecting Duchamp’s fin de siècle ‘eroticism’ with its sexual innuendos and double-entendres. Yet this very readymade vulgarity allows us to recover a Duchamp still capable of disrupting the genres of Art and the gendered Artist, by revealing a theory embedded in his work which continually reverses and displaces phallocentrism in (...) a game consisting of the confusion of genders and genres. We argue that Duchamp’s disruption of the discursive typologies of the genre of art can be profitably read through this apparently trivial sexualized wordplay, particularly in the transgender passage into Rrose Sélavy. Reading this aspect of Duchamp after, i.e. within and against, Lacan demonstrates how Duchamp’s singular regime of signs governed by equivocity and indetermination subverts the ‘phallic function’ of the signifier. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

I develop and argue for a novel theory of the mental state of identity confusion. I also argue that this mental state can corrupt the proper function of singular terms in linguistic communication. Finally, I propose a theory according to which identity confusion should be treated as a the source of a new sort of linguistic performance error, similar to malapropism, slips of the tongue, and so-called intentional obfuscation (inducing false belief by manipulating language in specific ways). -/- Going (...) into a bit more detail, I start by arguing that contemporary analytic philosophy, and philosophy of language in particular, has been dominated by a ‘puzzle-driven’ methodology. This tradition, I claim, seeks to provide a coherent system for describing semantic features of all conceivable cases where a speaker is confused about the identity or distinctness of an object. On my view, identity confusion is a mental state of an agent who either believes falsely that a is identical to b or believes falsely that a is not identical to b. I show how many influential arguments in philosophy – e.g., Kripke on semantic reference and speaker’s reference – are invalidated because of false assumptions about the state of identity confusion. -/- More positively, I assume an ‘explanation-driven’ approach, combining strands in Gricean intentionalism and Ruth Millikan’s teleosemantics. On this view, confused speakers are ‘sub-optimal’: their mental state disrupts the proper function of the relevant singular terms in their idiolects. Furthermore, I flesh out a theoretically fruitful notion of ‘edenic reference,’ which idealizes away from confusion in defining the optimal or stabilizing function of singular terms. I argue that speakers must satisfy certain broadly cognitive constraints if their utterances are to play a role in explaining the maintenance of a practice of using a singular term in a linguistic community. (shrink)

This article focuses on two aspects of contemporary political philosophy. The first one is political philosophy as a philosophy strategy. The second one is political philosophy as an activity that considers the politicity of philosophy and what is political. Our basic claim is the impossibility of separating these two meanings of political philosophy. Rather than maintaining the distinction between the empirical and the speculative in terms of political philosophy, the basic attitude is to look at what is happening within the (...) polis, whether the police remain without polites or whether the polis allow the political community to recognize it. The discovery of the politicity of philosophy is undoubtedly not something new, however, it has become a more evident focus of philosophy after World War II. Many different trends in contemporary philosophy have brought new ideas within this perspective: from Carl Schmitt to Leo Strauss, from Frankfurt School thinkers to many important figures of contemporary French philosophy, such as Claude Lefort and Cornelius Castoriadis; they all have developed critical, contemporary and radical philosophical thoughts. It can be easily claimed that this movement in political philosophy comes with a conjuncture in which the crisis has become more evident in the context of political praxis and concept. In the first phase, the fading of ideologies forced the return from 'theory' to philosophy. Secondly, the hopelessness and failures created by the actual communisms forced them to consider different praxis. Thirdly, structural crises and transformations in the world political order have also prepared the crisis of liberal political philosophies seeking answers to the existing crisis with their own concepts. It was no coincidence that after the pursuit of pure philosophy in the Belle Époque period, it was recollected as philosophy's politics. A singular, constituent praxis, and an orientation that desires emancipation, is the sole possibility of the idea of the universal. In this context, political philosophy is not only an abstraction practice on political things, but on the contrary, an activity on the establishment or disruption of the logic of political things. The togetherness of the necessity of understanding political things and research faithful to the idea of truth; reveals the vitality of plurality of political organizations against violence. (shrink)

Plato’s overarching and seemingly unabashedly explicit purpose of his entire Socrates-featured — not to say -dominated — dialogue-form corpus is to put forth Socrates’ side of any argument in a singularly positive light. While, granted, this asymmetry is at times disrupted by the rather strong appearances of such then-leading erudite and social lights as Parmenides, Thrasymachus, and Glaucon, Plato inclines toward portraying Socrates’ interlocutors as virtually reflexively assenting to what the latter maintains, or proposing toothless, undeveloped, in a word, (...) pro forma differing opinions. Conversely, Socrates is (literally) unfailingly rendered as more composed and amiable than, and as intellectually superior to, everyone else; it is he who normally determines the direction of, leads, and wins nearly every debate; and he either adroitly converts his counterparts to his side or even reduces them to silence. Not surprisingly, therefore, after perusing any of Plato’s dialogues wherein the participants arrive at no clear understanding of the subject under discussion, the reader is left with the distinct sense that this is, fundamentally, Socrates’ personal, but nevertheless sublime, failure. As Plato quotes Socrates intimating about as much in the concluding paragraphs of the Charmides: “I have been utterly defeated, and have failed to discover what that is to which the lawgiver gave this name of temperance or wisdom” (175b) (italics mine). (shrink)

Lars von Trier’s Antichrist (2009) has often been described as a ‘gothic’, if not straightforwardly ‘horror’ movie. While this claim could easily be challenged with regard to strict genre definitions, it is doubtless the case that the film deals very explicitly with fear, first and foremost the female protagonist’s fear of herself, which is placed at the top of the so-called ‘pyramid of fear’ drawn by her therapist/wanna-be-Saviour partner. My opinion is that Antichrist perfectly displays the horrific effects of the (...) direct embodiment, following a true love encounter, of the symbolic positions which Lacan associated with male and female sexuation. If human sexuality relies on the logic for which there is only one mythical man who is truly whole while every real woman is not wholly whole, what happens when He and She (the nameless protagonists of the movie) fully identify with such irreducible asymmetry between the sexes, its fundamental derailment from nature? They short-circuit the material singularity of a specific human animal with the abstract universality of gender. With the same move, they cannot overcome (or sublimate) the realisation that, in the female protagonist’s own words, woman is ‘evil’ – as long as she feels guilty of what man accuses her – and man is a ‘bastard’ – haunted by the phantasm of unifying purity which woman disrupts. Gynocide as male totalizing extermination of universal difference and genital self-mutilation as female reflexive hatred for the supposedly exceptional man mark the sadomasochistic extremes of the scene of the not-two, the frightening ob-scenity ( o-skené ), or off-representation, of human sexuality. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

How comes that two organisms can interact with each other or that we can comprehend what the other experiences? The theories of embodiment, intersubjectivity or empathy have repeatedly taken as their starting point an individualistic assumption (the comprehension of the other comes after the self-comprehension) or a cognitivist one (the affective dimension follows the cognitive process). The thesis of this book is that there are no two isolated entities at the origin which successively interact with each other. There is, rather, (...) an impersonal stratum – the original affectivity (Gefühlsdrang) – which lets the living organisms be constitutively attuned with the expressive dimension of the life from the very beginning. The book aims to rethink the issue of corporality on the basis of a biosemiotics of the interaction between lived body (Leib) and environment (Umwelt). The human emotions reveals themselves as devices that experiment further attunement levels and expose the human being – because of her ex-centricity – to the alienation in various forms of the psychopathological existence. This is an unprecedented perspective that turns to psychopathology to reread against the light the watermark weaving the structure of personal singularity. What emerges is an intermediate territory confining both with philosophy and psychiatry: the psychopathology of ordo amoris. The author advances the project of a new psychopathology of ordo amoris, not only tackling with the 19th-century tradition of psychiatry and phenomenological psychopathology, but also with the contemporary disputes on intersubjectivity in phenomenology and with those on schizophrenia as disruption of aida or as disembodiment process in psychiatry. What results from his project is the first systematic study on the international level showing the relevance of Schelerian concepts of body schema (Leibschema) and order of feeling (ordo amoris) to understand the disruptions of emotional regulation on the psychopathological dimension as well as on the formation process of the singularity. (shrink)

This is a phenomenological description of what is happening when we experience the death of another that interprets surviving or living on after such death by employing the term event. This term of art from phenomenology and hermeneutics is used to describe a disruptive and transformative experience of singularity. I maintain that the death of the other is an experience of an event because such death is unpredictable or without a horizon of expectation, excessive or without any principle of sufficient (...) reason, and transformative or a death of the world itself. (shrink)

This article argues that Jacques Derrida’s Politics of Friendship presents an implicit but significant critique of Maurice Blanchot’s The Unavowable Community. In Blanchot’s text, the Other disrupts any sense of fusional or essentialist community. But Derrida criticises Blanchot for neglecting the need to negotiate my responsibility to infinite others. Derrida proposes a logic of the plus un, playing on this double meaning in French, where a need to count singularities (‘plus one’) disrupts the unity of community (‘no longer one’). For (...) Derrida, this offers a greater emphasis on those outside the boundaries of constituted communities, something he finds lacking in Blanchot. I demonstrate that Derrida’s position is a challenge to an emerging xenophobic discourse in 1980s French politics. I propose, therefore, that Derrida’s difference with Blanchot is motivated as much by a political difference as a philosophical one, with Derrida judging Blanchot’s account inadequate for contemporary political concerns. (shrink)

This article shows that Merleau-Ponty’s philosophy is traversed by a tension between an interpretation of history and existence in terms of crisis and the recognition of an insurmountable vertigo, the Heraclitean model of an eternal return of the singular and the partial, without possible synthesis. Our thesis is that the model of the crisis is marked by a classical positivism which makes it the secret ally of a conservative and anti-democratic politics. It is also an impasse in Merleau-Ponty’s philosophy (...) since it supposes a reference to an overlooking point of view that the whole of Merleau-Pontian reflection has shown to be impossible. The phenomenology of perception and ontology of the perceived world show that we have access only to a mystified consciousness and that even the world itself is undecided. The Heraclitean path must win against the interpretation in terms of crisis, but the persistence of the second path in Merleau-Ponty’swork is also explained by the extremely difficult character of the first path. The theory of chronic vertigo takes us closer to nihilism, and this is an aspect of Merleau-Pontian philosophy whose radical and highly problematic – perhaps even aporetic – character must not be underestimated. How to decide on practice and politics without absolute reference, without being able to guarantee anything? The use Merleau-Ponty makes of crucial references to Machiavelli and Marx at the heart of his political philosophy is very revealing this regard: in the first movement, this is a matter of “disarming” these philosophies, making them instruments for the disruption of action. But Merleau-Ponty’s final goal is not to return to the philosophy of contemplation, abstract ontology, but to build a new practical model: that of symbolic action, which integrates vertigo rather than surpassing it and constitutes a praxis inseparable from the enterprise of knowledge and artistic creation. We could say that it is saved by its openness to sense, but this means that it cannot rely on any positive established meaning and must find its wellspring in a ‘wild’ ability to be unceasingly decentered, to take nothing for granted, to approach our values and beliefs as foreign. This raises the question of the possibilityof the incarnation of such a model in an effective political institution. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * Australia, Summer, 2012. …. essential humanity exists, and runs its course, within a system whose first principle is the preservation of balance. And arching over it all, is the logos of The Dreaming. How shall we state this when we fully understand it I do not know, but I should think we are more likely to ennoble it than not. Equilibrium ennobled is abidingness.” 1 On return to birthplace I write. Caught between jetlag and surprise, a relentless sun cracks my skin. Upright words fall under cockatoo roars. The attempt to settle, to be attentive, is shaken. Some kind of Dreaming surrounds and elements intrude without consent. Homeless at home. Exhausted, I fight sleep’s hard currents. Their victory would confuse the body clock, so the in-between wins. Half-there — half-awake — here in this place — I am driftwood. Driftwood: wood floating in or washed ashore by a body of water. A severed limb set adrift from the birthing body. Tossed from home it’s cast into processes of wind, water, sand, bacteria, decay and movement. Driftwood is orphaned members at the mercy and agency of weather, currents, submersion, and being thrown into dry world. Driftwood — singular plural. White man got no dreaming. Him go ‘nother way. White man, him go different Him got road belong himself. 2 photo: Bronwyn Lay The old man comes from the northern rivers. A while ago, he could no longer pay attention to wage slavery, so retreated north to be with dead redgum that lay abandoned in dry riverbeds. Derived from driftwood peoples tossed here by the sea, he followed the fragile river veins of his birth. He walked along water bodies and through country’s lungs. Some kind of displaced ancestral song compelled his leathered hands to pick up centuries old driftwood from flood plains. It emerged from under muddy creeks, was flung up by salt soaked coves, pushed underground by cracks in the claypan and lay embedded in mud and salinized soil. Smoothed and grooved in equal measure, the branches were marked by an organic alphabet that preceded him. As he held the wood, he touched decomposing circles that started with a blast and never ceased writing into abandoned flesh. When the ute was full the old man returned home having been away with the stuff that ‘growed him up’. His shed filled with red sawdust and the sound of tools at labour. His hands sculptured driftwood. History carved into itinerant skin. I sit opposite the old man. His body no longer holds the repetition of carpentry. He can no longer gift driftwood its detail. Outside redgum bits lie scattered around the fence line and beside the dam. He crouches over an unreliable computer researching the massacres of indigenous peoples that occurred along the same river veins that ‘growed him up’ long ago. Staring into the remnants of frontier resistance that he and I inherit, his eyes nurture fire. He discovers severed limbs and the slicing of tribes. In the ashes of sentences he sifts the lies that smoulder into our histories. In the 30’s the anthropologist Stanner said that due to certain factors — lack of change and isolation — the ideal and real come very close together in indigenous Dreaming. They are a people who were able to defeat history. 3 “If the Ideal and the Real drift too far away from one another (as they did at the end of the middle ages and seem increasingly to do this century) men face some difficult options. They have to change their way of life, or their philosophy, or both, or live unhappily somewhere in-between.” 4 Stanner says Indigenous Dreaming is blackfella thinking. 5 Dreamtime is not ethereal, not utopic, or otherworldly. It’s fused with the real and it’s not mine. I might never understand, but it’s the substance of my home. This here place ‘growed me up’. Is driftwood the unhappy in-between? Is it a radical itinerant written upon by currents? Where are we? The settler restless? photo: Alison Pouliot I return to the bush late one night, tired from high talk in city cafes, to find the old man at his computer. He’s either researching his white farming ancestors, or tracing unrecorded massacres of blackfellas. I laugh, “You know Dad, if you were indigenous you might go out by the dam and sing up your ancestors rather than try find them on a screen.” He peers over his glasses. His stare delivers an ancestral scold. He’s white man. Of course he archives. This is our way. One may see that, like all men, he is a metaphysician in being able to transcend himself. With the metaphysician goes a mood and spirit, which I can only call a mood or spirit of assent, neither despair nor resignation, optimism not pessimism, quietism nor indifference. The mood, and the outlook beneath it, make him hopelessly out of place in a world in which the renaissance has triumphed only to be perverted, and in which the products of secular humanism, rationalism and science challenge their own hopes, indeed their beginnings.” 6 The clinamen sometimes comes abstract — the rarefied swerve of possibility. But in the place we gather &mdash where this text has landed — in the heart of settler colony denial — the clinamen reminds of familiar violence and goes maximum. The earth’s swerve. Topography’s tip. Physics gone violent. Here, drift is initiated by the tear of flesh, scurvy voyages, frontier blood and the deracination from belonging. Here, war precedes drift. We all got tossed. Here. Pay attention. The country has its own gaze. ‘Lest we forget’. The seasonal turn on aborescent substances starts with a fall, an upwards rupture, a drop, a cut, a storm, a violence, a loss, forced migration, refugees, agricultural imperialism, settler wheat and poisoned rations. Pay attention to aftermath debris. Don’t drift too far from the real. History hasn’t settled into the water. It still tosses limbs back and forth. Surrounded by the backdrop of Dreaming country the old man archives and dreams. Both ways of settling into the real. But lest we forget, time, in this place, has no textual tick — tock. Our bodies know this, even though we persist with shipwreck illusions. It’s difficult being here. Here. Pay inattention. I walk through eucalyptus, over dried out clay pans and under kookaburras. It’s been two years in-between. This time country speaks strong underfoot. Forget books, forget texts, forget other lands and times, beginning and end. Be here. All falls raw. Leaves drop and refuse to compost. Bark untethers quick. Light denudes worlds. The heated horizon melts monoliths. It’s enough to make Cartesians shiver. Awake. Refuse the temptation to run. Have enough courage to drift into here. Love with a gum tree. Stand with her whole and dissolving. She moves light between our limbs, tossing them to wind. She — the original romance — is the dream that dares touch flesh and reaches over nightmares with elemental desire. I gaze and lose me. There’s no distance. The land that ‘growed me up’ speaks with symbiotic breath. There’s no division, no separation, no other. The gum is plastic arborescence. You be my body for me, always were. …..but I wake to driftwood histories and recall slaughters. Drifted, wicked fellow citizen — the other is someone else’s blind sleep. Betrayal maintains the other as mine. Archives reveal this place doesn’t belong to me. Body articulates that it became here. Gumtree cares not………her arms take me in anyway. “Like all men he is a philosopher in being able to use his power of abstract reason. His genius, his metier, and in some sense — his fate is that because of endowment and circumstance this power has channelled itself mainly into one activity, making sense out of social relations among men living together.” 7 The old man excavates seven generations of settler ancestors. They’re an ordinary lot with written-upon skin. He records genocides that occurred alongside his peoples fertility. Bodies rise from riverbeds like sovereign sacrifices. It hurts. It disrupts. He labours at the past with gestures that might go unnoticed in a country suffocated by rich amnesia. Inside walls, he seems attentive to historical details. Outside he seems inattentive to time, lost to us and embedded in a family of active matter — the bush. His driftwood skin appears around my eyes - grooves of experience, the rush of cruel sun, the push of blind winds, and the love of everything. The sovereign’s reluctant children are thrown here by, with and through blood, but country gets in and sculpts us here. photo: Chris Corrigan “But his abstractions do not put him at war with himself.” 8 The kangaroo family appears at dusk. When the sun is soft I follow the old man into the back paddock. Children skip behind us. In-between generations, I step into the old man’s driftwood leanings. My feet find traces of his understanding – the archivist that reads trees. Here, on home dirt, inattention and attention collapse as we wander into where we are. The roo family gaze at us. Through the grass the old man’s wooden finger articulates kin’s details. He points to the head male, the mother holding a joey in pouch and the young warriors side by side. My children, quieter than ever, meet the laser - eyed silence of another family. In half-light Dad, me, and the kids mirror the kangaroo constellation and stand gentle together. At the bushblock’s limit we encounter ancestral desires. White peoples are subject to driftwood histories. We’re severed limbs attempting to fuse here now, with what was, only to discover our skin becomes racked and embedded with the weather. Into the shelter and fissures of this difficult and ambiguous inheritance, I fall into dream light until balance saturates. Light breaks when the kangaroos move. They bounce someplace else without effort or impact. We turn and tread through the dark towards home. It’s time to sleep. Driftwood skin covers the country. Dreaming is still. photo: Bronwyn Lay NOTES W.E.H. Stanner, The Dreaming and Other Essays , (Melbourne: Black Inc. Agenda, 2009), 72. Ibid., 56. Stanner is recalling one intelligent old man who said to him, “with a cadence almost as though he had been speaking in verse.” Ibid., 60. Ibid., 69. Ibid., 58. Ibid., 67. Ibid., 68. Ibid., 59.  . (shrink)

ABSTRACT This article draws on utopian and posthumanist theory in order to critically assess the contemporary resurgence of green utopianism in the form of contemporary radical environmental activists mobilizing against the socioecological perturbations of the Anthropocene. Featuring empirical data in the form of twenty-six semi-structured interviews with REAs from groups such as Earth First! and Sea Shepherd, the article critically examines the singular modality of ecotopianism exhibited by REAs, and explores the degree to which their post-anthropocentric worldviews—and crucially the (...) widespread annihilation of cherished Earth kin amidst the Anthropocene era of climate and ecological breakdown—influences their imaginative reconstitutions of human–animal–nature relations. REAs exhibit a distinctively earthbound or terrestrial ecotopianism that disavows future-oriented modalities of hope and closure around particular notions of the “good” in light of the intrusion of ecological decline into the present, instead emphasizing the need to disrupt the present and live better alternatives in the here and now. The article concludes with reflections on the value of some closure for necessary socioecological transformations, and on what REA ecotopianism suggests about the potential for posthuman utopian modalities that decenter the human in their projections of more livable worlds. (shrink)

Medical interventions that cure or prevent medical conditions are central to medicine; and thus, understanding them is central to our understanding of medicine. My purpose in this paper is to explore the conceptual foundations of medicine by providing a singular analysis of the concept of a ‘preventive or curative medical intervention’. Borrowing a general account of prevention from Phil Dowe, I provide an analysis of prevention, cure, risk reduction, and a preventive or curative intervention, before turning to preventive and (...) curative medical interventions. The resulting counterfactual-mechanistic account holds that preventive and curative medical interventions reduce the probability of a medical condition in an actual population compared to their counterfactual omission, commonly by disrupting an etiological or constitutive mechanism for the condition. (shrink)