In response to climate change and collapse, this essay explores both the necessity of and impossibility to witness disasters that are unending and unrelenting. Such disaster is understood generally as the Anthropocene but, for the purpose of this project, includes a more particular inflection, Late Humanity. This inflection is an attempt to hone in on a confluence of critical discussions found in environmental, economic, cultural, and biological disciplines to better attend to dynamics wherein modes of existence are in flux. In (...) response to this era, the essay proposes that witnesses are positioned as both observer and creator and, as such, turns to aesthetics as a way to understand those dual practices. Building on the aesthetic philosophy of Étienne Souriau, the essay considers witnessing as a multi-modal and multi-temporal practice through what Souriau calls instauration (the process of rendering the work-to-be-made). To demonstrate this practice, the project pursues a sleuth of bears (spotlighting the bears of astral mythology, disaster tourism, animal-cam live streams, interactive documentary, monstrous fiction, and, finally, a fantastical take on micro-organisms) to craft an aesthetic for witnessing amidst climate collapse that establishes realities through a process characterized as both conditional and conditioning. (shrink)

Whether viewed as unduly complex or necessarily ornate, Étienne Souriau’s written style accents the importance of placing artistic form in conversation with intellectual content. In seeking to better understand Souriau’s advocacy for a philosophy of instauration – the process through which an existence gains in existential formality – this essay examines how aesthetic tropes and devices order ontological meaning. First, it links Barbara Cassin’s case for sophistical practice to Souriau’s advocation for ontological multiplicity. The essay then reads the 1956 essay (...) “Of the Mode of Existence of the Work To-Be-Made” and Souriau’s adjacent work as consciously rhetorical and profoundly aesthetic attempts to recruit others to his philosophical commitments. This account further discerns an array of rhetorical devices (e.g. chiasmus) in Souriau’s work that function not merely to adorn description but rather to order an experience of the work-to-be-made. Attending to turns of language as contributing to reality necessarily raises questions of responsibility, so the essay’s then reconsiders philosophy’s long-standing charge of sophistic irresponsibility alongside Souriau’s skewing of agency and choice through instauration. The essay concludes by considering the implications of Souriau’s central concepts as filtered through sophistical practice as not incidental to philosophical aesthetics but a charge to philosophy to be responsible for promoting lesser existences in and across multiple modes. (shrink)