Philosophy is traditionally understood as the search for universal truths, and philosophers are supposed to transmit those truths beyond the limits of their own culture. But, today, we have become skeptical about the ability of an individual philosopher to engage in "universal thinking," so philosophy seems to capitulate in the face of cultural relativism. In Introduction to Antiphilosophy, Boris Groys argues that modern "antiphilosophy" does not pursue the universality of thought as its goal but proposes in its place (...) the universality of life, material forces, social practices, passions, and experiences --angst, vitality, ecstasy, the gift, revolution, laughter or "profane illumination" --and he analyzes this shift from thought to life and action in the work of thinkers from Kierkegaard to Derrida, from Nietzsche to Benjamin. Ranging across the history of modern thought, Introduction to Antiphilosophy endeavors to liberate philosophy from the stereotypes that hinder its development. --Publisher. (shrink)

The leading art theorist takes on art in the age of the Internet In the early twentieth century, art and its institutions came under critique from a new democratic and egalitarian spirit. The notion of works of art as sacred objects was decried and subsequently they would be understood merely as things. This meant an attack on realism, as well as on the traditional preservative mission of the museum. Acclaimed art theorist Boris Groys argues this led to the (...) development of “direct realism”: an art that would not produce objects, but practices (from performance art to relational aesthetics) that would not survive. But for more than a century now, every advance in this direction has been quickly followed by new means of preserving art’s distinction. In this major new work, Groys charts the paradoxes produced by this tension, and explores art in the age of the thingless medium, the Internet. Groys claims that if the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present. (shrink)

Advancing the field of media studies in a truly innovative way, Boris Groys focuses on the media's affect of sincerity and its manufacture of trust to appease skeptics.

Name der Zeitschrift: Paragrana Jahrgang: 26 Heft: 1 Seiten: 17-27.

Résumé L’artiste Peter Weibel s’inscrit dans un prolongement paradoxal des avant-gardes du vingtième siècle. Les institutions de l’art sont mortes? Il propose le devenir-institution des artistes. Le regardeur s’est émancipé? Il s’efforce de le contrôler. Les techniques traditionnelles sont périmées? Il recourt à l’art numérique, seul à même de figurer les processus de pensée.

Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste va apprendre que le musée d’art (...) contemporain est encore en construction et qu’il sera ouvert l’année suivante. Quoi qu’il en soit, cette acceptation si facile de la notion de « musée d’art contemporain » par la culture d’aujourd’hui n’est pas sans importance. Traditionnellement, le musée d’art constituait un endroit dans lequel l’art du passé était collecté, conservé et montré au beau milieu de la vie contemporaine. Mais que signifie construire un musée d’art contemporain ? Que signifie « muséographier » la contemporanéité elle-même?Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under construction and will open the following year. Whatever the case, the ready acceptance of the “museum of contemporary art” in today’s culture is significant. Traditionally, an art museum was a place where the art of the past could be collected, curated and displayed right in the heart of the contemporary world. But what does creating a museum of contemporary art really mean? In other words, what does it mean “to make a museum exhibit” of contemporaneity itself? (shrink)

This chapter explores media-ontological suspicion as a specific manifestation of philosophical doubt. It begins by discussing how the suspicion that something is hidden behind the visible and experienceable surface of the world that cannot be observed or described by humans and that might be threatening to them has determined the entire history of Western philosophical discourse. At least since Plato, philosophy has tried again and again to recognize and name what is hidden so as to overcome the fear of it. (...) Yet the suspicion is a suspicion precisely because its object cannot be recognized but only presumed—and thus the suspicion can neither be confirmed nor refuted. This chapter examines how the transformation of ontological suspicion into philosophical, epistemological doubt eliminates the observer's anxiety with regard to his own fate. It also considers the degree to which one can administer his/her own doubt—a central question of every epistemological theory and media theory. Finally, it looks at the views of René Descartes, Karl Marx, Friedrich Nietzsche, Martin Heidegger, and Sigmund Freud concerning ontological suspicion. (shrink)

Proceeding from Lessing’s distinction between poetry and visual art, Boris Groys argues that language is not external to, but resides behind, the image. The image constitutes the scene of a frustrated linguistic desire. Modern visual art sought to avoid the obscenity of staging this unfulfilled desire by conducting a systematic ascetic repression of the linguistic impulse. This negation of linguistic desire culminated in Judd’s ‘specific ob jects’. Y et the modern image, Groys emphasizes with reference to Greenberg (...) and McLuhan, still transmits a message, namely that of its medium bearer. Modern artists torture the image and put it into a state of emergency or exception in which it confesses its interior. In the image’s sub-medium space, in turn, resides language. Avantgarde artists and modern media theorists share the wish to achieve durability by becoming the media of the media. The border between the image and language, Groys closes, can neither be stabilized nor abolished. (shrink)

This chapter examines the case of exception and the truth of the medial. It begins with a discussion of different truth values that the signs on the surface of the media have: the truth of referentiality and the truth of submedial space. The truth of referentiality is scientific truth whereas medial truth concerns the truth of exception. The chapter proceeds by explaining how the truth of sincerity is lost through repetition and suggests that the truth of the submedial, of the (...) hidden subject, of media-ontological suspicion is the truth of the case of exception. It also considers how the avant-garde transports artwork into a state of exception, how the phenomenon of exception is related to the phenomenon of medial sincerity, and how new cases of exception are produced when claims of medial truth deduced from old cases of exception are critiqued. (shrink)

This chapter explores the imperceptible foundation of the play of signs that takes place on the medial surface. It begins by discussing submedial space as the space of suspicion as well as the space of subjectivity, suggesting that something invisible must be hidden behind the visible in the space beneath the medial surface. It then considers the poststructuralist philosophy of flux in relation to the problem of signification and how signification determines the relationship of the archive to the “reality” outside (...) the archive, a reality “signified” by means of archival signs. It argues that the philosophy of flux deconstructs the border between archive and profane space by emphasizing the materiality of signs, on the one hand, and by defining all ordinary things as signs, on the other. The philosophy of flux thus considers ordinary things and archival things to be interconnected via a play of differences. The media-ontological question does not concern if and how the signs on the medial surface are able to signify the submedial, hidden space. (shrink)

This chapter offers a philosophical reflection on the truth of the medial and the state of exception. It begins with the notion that every single media carrier—be it “natural” or produced by technical means—basically allows for only two operations with signs: to save and to transfer. The entire medial economy that operates with signs makes use of these two operations. All signs have a meaningless, nonsemantic, purely formal, and simultaneously material side beyond all signification. When we confront the media, we (...) are constantly aware of the hidden presence of submedial space. Yet we are structurally incapable of seeing through it as long as we are busy looking at the medial surface. This chapter argues that the media-ontological suspicion is “objective” in the phenomenological sense, because it necessarily appears during the act of observing the medial surface. It also examines the truth of media-ontology as well as the truth of the state of exception in relation to the media-ontological suspicion that defines our perception of the medial surface. (shrink)

Crucial texts, many available in English for the first time, written before and during the Bolshevik Revolution by the radical biopolitical utopianists of Russian Cosmism. Cosmism emerged in Russia before the October Revolution and developed through the 1920s and 1930s; like Marxism and the European avant-garde, two other movements that shared this intellectual moment, Russian Cosmism rejected the contemplative for the transformative, aiming to create not merely new art or philosophy but a new world. Cosmism went the furthest in its (...) visions of transformation, calling for the end of death, the resuscitation of the dead, and free movement in cosmic space. This volume collects crucial texts, many available in English for the first time, by the radical biopolitical utopianists of Russian Cosmism. Cosmism was developed by the Russian philosopher Nikolai Fedorov in the late nineteenth century; he believed that humans had an ethical obligation not only to care for the sick but to cure death using science and technology; outer space was the territory of both immortal life and infinite resources. After the revolution, a new generation pursued Fedorov's vision. Cosmist ideas inspired visual artists, poets, filmmakers, theater directors, novelists (Tolstoy and Dostoevsky read Fedorov's writings), architects, and composers, and influenced Soviet politics and technology. In the 1930s, Stalin quashed Cosmism, jailing or executing many members of the movement. Today, when the philosophical imagination has again become entangled with scientific and technological imagination, the works of the Russian Cosmists seem newly relevant. Contributors Alexander Bogdanov, Alexander Chizhevsky, Nikolai Fedorov, Boris Groys, Valerian Muravyev, Alexander Svyatogor, Konstantin Tsiolkovsky, Anton Vidokle, Brian Kuan Wood A copublication with e-flux, New York. (shrink)

This paper’s core concern is Boris Groys’ theory of the total art of Stalinism, which is devoted to rewriting Soviet art history and reinterpreting Socialist Realism from the perspective of the equal rights between political and artistic Art Power. The aim of this article is to decode Groys and the total art of Stalinism, based on answering the following three questions: 1) why did Groys want to rewrite Soviet art history? 2) How did Groys re-narrate (...) Soviet art history? 3) What are the pros and cons of his reordering of the total art of Stalinism? Groys offers an effective paradigm that could rethink two theoretical genres: a) other Socialist Realisms inside or outside the Soviet bloc, during or after the Soviet era; b) the aesthetical rights of political artworks before, during and after the Cold War, and the historical debates about art, especially about art for art’s sake, or art for political propaganda. However, Groys’ total art of Stalinism and its core theory of the Socialist Realism frame hides some dangers of aestheticizing Stalin and Stalinism. (shrink)

In Philosophy of Care, Boris Groys undertakes a reading of key philosophical texts in terms of the relationship between self-care and care, as a way of trying to reinvigorate the question of health beyond its current instantiation in biopolitical life and algorithmic life. He passes through Socrates, Hegel, Nietzsche, Kojève, Bataille, Heidegger and others, culminating in Bogdanov’s distinction between egressive and degressive organization and his cosmist-immortalist dreams. The philosophy outlined by Groys is questioned here through the prism (...) of the work of Bernard Stiegler, in particular via the distinction between labour and work, a re-reading of Hegel on the master-slave dialectic, an interpretation of the meaning of defunctionalization, and an account of the necessity of reorienting ourselves in thought so as to make possible a new economy of care, which depends on the possibility of fostering new processes of sublimation. (shrink)

In this paper I compare and contrast the reproduction of elite strata in Randall Collins’s path-breaking book, The Credential Society, with Pierre Bourdieu’s important discussion found in The State Nobility. Although both approaches draw on Weber and Durkheim, focus on the interaction between material and cultural processes, subscribe to a relational form of analysis, and share a similar political world-view – social democrat and radical republican respectively – they also differ. These differences relate to their respective philosophical anthropology, the nature (...) of their long-term analysis, the different contexts within which their work emerged – Algeria and the post-war constellation and early Cold War period – and the divergent nature of the broader substantive sociological problems they are engaged with. In terms of their dissimilarities, not only is each approach useful for criticizing the other, but it will be argued that these divergences need to be synthesized into a broader, more powerful explanatory theory. (shrink)

Russian cosmism is a highly speculative concept couched in vague terminology. The term itself appeared only in the 1970s, based on a belief in progress, but also reflecting the increasing awareness...

This collection of translations is interesting, useful, and enjoyable. It introduces a philosophy little known in either English or the Western world. Russian Cosmism was a progressive movement in late nineteenth-century and early twentieth-century Russia. It was an intellectual counter to the rational Futurism that would eventually take hold as the guiding functionalist art and scientific ideology of the Soviet Union. Cosmism sought to understand the totality of human civilization with the universe as the basic unit of analysis. Sunspots, cosmic (...) rays, and interstellar interactions with planet Earth could and did have an impact on human societies and political, economic, social, and artistic structures. It may seem... (shrink)