Jean-François Lyotard

This was a draft written in a hurry for a submission somewhere. Like all submissions done in a hurry this is not the perfected work. This paper shows how modernist Yogic praxes are totalitarian in the sense in which Hannah Arendt discusses totalitarianism. Further it attacks structuralist critiques of Yoga and comments on the state of Hindu and even, Buddhist studies today. One has to be cautious in reading this paper since the author ranges through many references which have not (...) been brought out fully. (shrink)

El artículo expone la influencia de la teoría estética de Th. W. Adorno en la filosofía contemporánea o, más concretamente, en la obra del postestructuralista J. F. Lyotard. Se centra en una interpretación novedosa de cuatro conceptos fundamentales en ambos autores: el de crítica, la adhesión a una ética radical, la elección del panteón de los artistas preferidos por uno y otro y la defensa de ambos, frente a las estéticas sistemáticas y totales, de una estética micrológica. Palabras clave: Teoría (...) estética; Micrología; Crítica; Ética; Arte. (shrink)

In recent years, the post-truth phenomenon has dominated public and political discourse. This article offers a functional analysis of its mechanisms based on the category of narrative. After providing a brief definition of post-truth as a conceptual foundation, I trace the meaning of the term ‘narrative’ in the works of Jean-François Lyotard, focusing on the elusive category of small narrative. Utilizing terms and concepts of contemporary narrative theory, I propose a general definition of cultural narrative and reconceptualize Lyotard’s petit récit (...) as a particular case of this superordinate category. Drawing on Lyotard’s phrase linguistics as set out in The Differend, I develop the category of epistemic sphere to analyze Donald Trump’s MAGA movement as an example of post-truth politics, the rise of populism and the epistemic fragmentation of society. (shrink)

In recent years, democratic theorists have inquired into the aesthetic dimension of contemporary politics. Influenced by Hannah Arendt and Jacques Rancière, these scholars claim that there is an analogy between democratic politics and aesthetic experiences, since both involve the confrontation of an indeterminacy that cannot be overcome by means of rational argumentation. Contributing to this perspective, but challenging some of Rancière’s insights, this article shows the importance of Jean-François Lyotard’s writings on aesthetics for understanding what I call ‘democratic aesthetics’. This (...) aesthetics, I argue, consists in works of art that bring representation to its limits, thus arousing an experience of the unpresentable. Influenced by Immanuel Kant’s analysis of the sublime, Lyotard claims that avant-garde art, by disrupting the rules of representational art, put representation as such into question. This experience of the unpresentable contributes to cultivating a readiness to listening to voices that are not yet heard, because they lack a discourse by which to express themselves. Given that politics in postmodernity, following Lyotard, consists in shifting the dividing line between the sayable and the unsayable, avant-garde art is conductive to a postmodern politics – which, I argue, is analogous to democratic politics. (shrink)

Jean-François Lyotard in Discourse, Figure interprets the phenomenon of meaning-formation from the Lacanian standpoint of the unconscious, desire, and jouissance. There is, however, always the danger that the order of discourse be replaced by the order of jouissance, for such an order of interpretation comprehends meaning-formation as a discrete entity, that is, in non-relational terms. Similarly, in The Conflict of Interpretations, Paul Ricœur’s descriptive hermeneutics of negotiation falls short of fully considering the intrinsically relational nature of meaning-formation in so far (...) as his way of bringing different methods of interpretation into relation with each other (structural semiotics, Freudian psychoanalysis, and phenomenology) amounts to a comparison between discrete entities.This chapter unfolds a relational critique of Lyotard’s determinant mode of interpretation and Ricœur’s hermeneutic methodology to pave the way for a configuration whereby each element involved (such as interpreting minds, values, and physical objects) should be understood as “dependently co-arisen”, to use the established Buddhist phrasing. Each method of interpretation therefore contributes to a holistic configuration that makes up the stuff of “reality” through a dynamic of mutual balancing between complementary, differential entities. The issue is therefore not only reflexive and epistemological but also mesological and ethical. (shrink)

This article examines the ambivalence in the concept of libidinal economy, which we identify in the philosophies of Jean-François Lyotard and Samo Tomšič; they both offer radically different conceptions of libidinal economy. Although emerging from very contrasting perspectives, both theories consider the relationship between desire, the unconscious, and the capitalist economy. After defining these two approaches, we compare them, while marking differences, similarities, influences, and sociopolitical presumptions. Also, we propose a few indicative concepts, which should help to contextualize the identity (...) of the concept of libidinal economy. After critically discussing both theories, we suggest three paradoxes in Lyotard’s approach as well as some weaknesses in Tomšič’s project. It turns out that the concept of libidinal economy is a productive theoretical tool to explore the relationship between philosophy and psychoanalysis, as well as the split in the materialist tradition. Based on that, we claim that the ambivalence of the concept of libidinal economy is a part of much more complex philosophical-historical conflict. (shrink)

The article shows that Habermas’s modernism and Lyotard’s postmodernism are not as antithetical as they are often taken to be. First, we argue that Habermas is not a strong foundationalist concerned with identifying universal rules for language, as postmodern critiques have often interpreted him. Instead, he develops a social pragmatics in which the communicative use of language is the fundamental presupposition of any meaningful interaction. Second, we argue that Lyotard is not a relativist who denies any universal linguistic structure. Instead, (...) he claims that language involves a universal element of dissensus that cannot be subordinated to consensus. Third, we show that neither does Habermas defend a new version of the kind of philosophy of history characteristic of the Enlightenment, nor is Lyotard a historical relativist, but instead they both seek alternatives to these positions. The conclusion calls for more nuance in the interpretation of both perspectives. (shrink)

This paper interprets the influential colony management simulator ‘Dwarf Fortress’ existentially, in terms of finitude, absurdity, and narrative. It applies Aarseth/Möring’s proposed method of game interpretation, adopting their definition of ‘cybermedia’ as a generalized game ontology, then providing a specialized ontology of ‘Dwarf Fortress’ which describes its genre and salient gameplay features, incorporating Ian Bogost’s concept of ‘procedural rhetoric’. It then gives an existentialist interpretation of ‘Dwarf Fortress’ which centres on ‘finitude’, ‘absurdity’, and ‘narrative’, showing that ‘Dwarf Fortress’ is a (...) game about the existential tensions involved in being human. We live knowing our lives and civilizations are finite, that there are radical limits on what we can know and do. There is no meaning inherent in the world, or in history, so it is up to us to create our own, and one of our most powerful ways of doing this is narrative. (shrink)

Jean-François Lyotard's intellectual evolution in the late 1970s and 1980s is well known in continental philosophy. In 1979, with the publication of The Postmodern Condition, Lyotard became famous for his report on "the obsolescence of the metanarrative apparatus of legitimation". Later, in his magnum opus Le diférend he expanded on this, claiming that "a universal rule of judgment between heterogeneous genres is lacking in general". Yet, this creative moment in Lyotard's career, responsible for shaping the philosophical concept of the postmodern (...) condition, is rarely connected to his book La guerre des Algériens (1989). This work was supposed to implement his new postmodern concepts in relation to the war in Algeria. The present article looks at La guerre des Algériens, within its broader historical and philosophical context, as a unique opportunity to evaluate the validity of Lyotard's philosophical shift, especially his new concept of radical heterogeneity at work in history. (shrink)

Teodicea: la vindicación de Dios. Sería pretencioso decir que este ensayo es una vindicación de Dios. Más bien trata de describir cómo los hombres postmodernos afrontan, si es que lo hacen, la existencia de Dios. Nuestros tiempos son muy distintos de los precedentes, y esta novedad hace casi imposible recurrir a la tradición para hablar de un Dios que no sigue los parámetros del Postmodernismo, y que es un extraño para los hombres de la última década del siglo XX. Más (...) aún, ¿tiene sentido hablar de Dios en los tiempos de la Postmodernidad? ¿Es posible reivindicar a Dios científicamente? ¿Podemos hablar de Dios hoy? (shrink)

In diesem Beitrag wird in einer Betrachtung von Rortys Auseinandersetzung mit den Theorien von Michel Foucault, Jacques Derrida und Jean-François Lyotard das komplexe Verhältnis skizziert, das er zum poststrukturalistischen, dekonstruktiven und postmodernen Denken unterhält. Dabei werden die antifundamentalistischen und antirepräsentationalistischen Gemeinsamkeiten der Ansätze ebenso nachgezeichnet wie die Differenzen, die sich im Denken des Politischen und der Einschätzung der Differenzierung von ‚privat‘ und ‚öffentlich‘ zeigen.

This is a review of the book _Lyotard and Critical Practice, _edited by Kiff Bamford and Margret Grebowicz, Bloomsbury Academic, London, 2023, 238 pages, ISBN 978-1-350-19202-7.

Invoking Laozi and Mencius, Jullien offers an oblique take on efficacy, one of China’s most intriguing yet most influential notions formulated in Daoism, the practice of art, and military strategies. It circumvents the heavy philosophical apparatus of means versus ends and theory versus practice that jam the Western conception of efficacy.

Review of: Lyotard and Critical Practice, Kiff Bamford and Margaret Grebowicz (eds) (2023) London: Bloomsbury, 238 pp., ISBN 978-1-35019-202-7, h/bk, GBP 85.00.

This article examines the legitimization process of the public health preventive measures implemented in many Western countries following the SARS-CoV-2 outbreak. Through concepts such as governmentality, disciplinarization and security mechanisms proposed by Foucault, we trace some of the basic principles and implications of the relationship between biopower and medicine, as well as the media dissemination of an official narrative on scientific truth. These reflections are complemented by the contributions of Francois Lyotard and Jean Baudrillard. Lyotard reflects on the relationship between (...) science and a “performative game”, whose own staging is the core of its criteria of truth. Baudrillard shows the relevance of a “hyperreality” in which the signs presented by the media take precedence over the experience of the subjects. We argue that a mediatized version of science, defined through a strong disciplinarization of knowledge and the censorship of dissident voices, played a key role in the establishment of consensus and the legitimization of policies that granted extraordinary power to governments and transnational elites. Although the work of Foucault in this demonstration is essential, the contributions of Lyotard and Baudrillard provide additional elements to understand a fundamental problem: the public acceptance of “truth” as an instrument of governmentality on a global scale. (shrink)

Vilar, Gerard Jean-François Lyotard: Estética y políticaBarcelona: Gedisa, 160 p.ISBN 9788418525896.

This paper aims to desublimate the Kantian sublime starting with the mitigation of the enthusiasm with which some French philosophers have woven its praise. Contrary to what Lyotard and Deleuze argue in their works, in the _Analytics of the Sublime_ Kant does not go beyond himself, nor it is hard to set up a philosophy of the subject after reading these pages. Sublime, for these two clever readers of Kant, is any excessive use of the faculties. But Kant is less (...) interested in excess than in its regulation. Thus, while harmonising with other 80-90s French readings of the Kantian sublime, the faith placed by Lyotard and Deleuze in its potentialities seems unfounded. It is fuelled by a lack of consideration of what happens in the second stage of this complex feeling. Unlike the encounter with the moral law introduced as a ‘fact of reason’ in the _Critique of Practical Reason_, in the _Analytic of the Sublime_ reason makes itself heard not at the expense of the ego but in support of it. And the ego thus elevated is not only an ego ‘super’. It is a (Freudian) super-ego. (shrink)

This paper examines the philosophy of Jean-Francois Lyotard in relation to the analytic philosophy of deep disagreement. It argues not just that his work has relevance for this debate, but that it offers a challenge to the ‘epistemic paradigm’ present in its academic literature, represented by the two most prominent sets of theories within it – the ‘fundamental epistemic principle’ and ‘hinge epistemology’ views, arguably most strongly represented by Michael Lynch and Duncan Pritchard, respectively. Focussing on Lyotard’s text ‘The Differend’, (...) I show how its conceptual framework and philosophy of language locates the cause of deep disagreement not in the epistemic realm, but in things which do not fully submit to epistemic evaluation: the radically incomplete and open nature of language, and our increasingly politically pluralistic world full of incommensurable differences that do not always admit of rational resolution. Lyotard’s work calls for us to conceptualize deep disagreements as problems of politics, not epistemology, and to find new ways of dealing with disagreements that do not force a solution on them (which often comes at the cost of one party being wronged, or worse) and to create new ways of speaking so that our collective conceptual resources can be increased to better deal with specific cases of dispute. Lyotard’s relevance for the philosophy of deep disagreement is also further discussed with references to Miranda Fricker’s work on ‘epistemic injustice’, which Lyotard, in a different vocabulary, is also concerned with and analyses in ‘The Differend’. (shrink)

If Lyotard is correct to acknowledge the role of commentary in guarding the kernel of misunderstanding at the heart of the ethical phrase when he exclaims, “but isn’t this exactly what commentary does with ethics! It comments upon it as though it were a misunderstanding, and it thereby conserves in itself its own requirement that there be something ununderstood,” he does not account for that which a trans-generic or transmedial “commentary” might permit, what troubling, unanswerable questions it might raise, what (...) ekphrastic or synesthetic call it might echo. This essay considers several artistic reworkings, interpretations, and distortions of the biblical scene of near sacrifice upon which Lyotard comments, arguing that the exposure of the ethical to the explicitly aesthetic would bring to the surface something that might be latent, that which is always already there, albeit spectrally. (shrink)

The present article examines the contemporary stakes and “application” of The Differend with particular attention to neo-fascist denialism, trolling, and alt-right “free speech” discourse. This entails investigating the text’s own rhetorical performance as well as the shifting attitudes towards the sophistic tradition in The Differend and its precursor text, “On the Force of the Weak.” The article thus also takes up in detail three examples of the characteristic sophistic form of the dilemma or double-bind, two of which are drawn from (...) Lyotard: the Holocaust denialist Robert Faurisson’s infamous dilemma of “the witness to the gas-chambers”; the canonical ancient dilemma through which Protagoras wins his fee from his student Euathlus despite seemingly never having helped him win a dispute; and “if you can speak, you can breathe,” the contemporary denialist’s rejoinder to “I can’t breathe.” Lyotard’s arguments are briefly compared to those of other thinkers. (shrink)

A pesar de la relevancia que ganó el pensamiento de Jean-François Lyotard con la publicación de La Condition postmoderne (1979), solo un pequeño número de publicaciones académicas han abordado sus primeras propuestas en el campo de la estética. Este artículo pretende contribuir a la tarea de enmendar semejante error. Para ello se propone una aproximación general y sistemática a sus primeros usos del concepto de figura, comenzando por sus precedentes e influencias y concluyendo con la afirmación de que la estética (...) de Lyotard no expone una mera filosofía de las artes o una filosofía de la percepción, sino una auténtica ontología. Para facilitar la comprensión de esta cuestión, se abordarán algunos de sus conceptos más complejos, como el de figura-matriz, y se harán pequeñas aproximaciones a la producción de artistas como Joan Fontcuberta y Peter Tscherkassky, cuya obra explicita el tema central de este artículo: la poética, la política y la ontología de la figura. (shrink)

This chapter explores the tripartite relationship between transgender identities, political activism, and sonic practice. In particular, this chapter employs theorizations of noise to explore a rupture in the prevalent binarisms of sound and gender in the American punk scene and its aesthetics. Drawing upon theoretical frameworks such as Herbert Marcuse’s one-dimensional society and Jean-François Lyotard’s conception of a libidinal economy, the sonic practices of trans-feminist artists such as GLOSS (Girls Living Outside Society’s Shit) and the HIRS Collective are re-examined to (...) interrogate their capacities to initiate acts of intentional antagonism to construct new spaces for the invisible and/or overlooked. Through such a trajectory, the intended goal is to reveal not only such trans-feminist artists’ collective actions of political resistance towards the modern neoliberal state, but perhaps most importantly, the typically less examined yet far-reaching ramifications of their inherent situatedness outside of such socio-political structures and machinery. While such artistic practice pits itself against the increasingly one-dimensional state of commodification in the punk genre, it also probes deeper to illuminate the related homonormative currents which have exerted considerable effort to flatten notions of diversity and difference within contemporary LGBTQ2S communities. It is ultimately through this complex matrix of identity, affective flows, and a political (dis)engagement with the dynamics of the American punk genre that we can begin to bear witness upon a modern form of sonic anarchism; one which fragments itself off from previous constructions yet reveals a possibility for new formations to those previously rendered silenced, both figuratively and literally. (shrink)

Often associated with themes in political philosophy and aesthetics, the work of Jean-François Lyotard is most known for his infamous definition of the postmodern in his best-known book, La condition postmoderne, as incredulity towards metanarratives. The claim of this article is that this famous claim of Lyotard is actually embedded in a philosophy of technology, one that is, moreover, still relevant for understanding present technoscience. The first part of the article therefore sketches Lyotard’s philosophy of technology, mainly by correcting three (...) common misconceptions: that La condition postmoderne would only be about metanarratives, whereas in fact, it is mainly about what replaces them, namely performativity; that performativity would be shorthand for capitalism, whereas in reality, capitalism is the latest instance of a longer history of performativity; and that Lyotard’s reflections on science and technology would be restricted to this book alone, whereas in reality, a well-articulated philosophy of technology, centered around the concept of technoscience, is found in his later work. The second part of the article then aims to highlight the contemporary relevance of this philosophy of technoscience through a brief examination of two contemporary technosciences: synthetic biology and data science. (shrink)

The French scholar Jan-Francoisa Lyotard (1925-98) deconstructs from categories such as speech and language and places the image and play against it. He places a postmodernist visual sensibility against the modernist speech sensitivity. He comes up with figural logic. Lyotard has the critical thinking and offers new ways to critique contemporary intellectual and cultural status in various political, social, and artistic fields. These new practices are facing with many challenges, but at the same time are the motivating and inspiring. The (...) general criteria of truth and falsehood, right and wrong, good and evil are highly problematic within the theoretical framework of Lyotard's thinking and cannot be taken for granted. But in the absence of such rules, it seeks responsible thought and action. Lyotard presents a complex picture of art and culture. An image in which realism, modernism, postmodernism coexist together in all periods of art work. So, contrary to the postmodern situation, in which the postmodern phenomenon of the late twentieth century is considered in response to the question: what is postmodern? The postmodern issue is related to a matter of aesthetics style rather than historical period. (shrink)

This article compares two philosophers who have a different theoretical origin: respectively, Arthur C. Danto and Jean-François Lyotard. Both of them are interested in the revolutionary character of Andy Warhol’s art. Danto as well as Lyotard argues that Warhol conceives the work of art as a machine: according to the former, it is a philosophical machine; according to the latter, it is a consumerist machine. Nonetheless, the two hypotheses converge on judging Warhol’s art as a turn in the history of (...) art and its relationship to the world. According to Danto, who follows Hegel here, Warhol at the same time interprets and transcends the 1960s and their Zeitgeist. But paradoxically, Warhol’s historical gesture, epitomized by his work Brillo Box, initiates the age of the “end of art”. According to Lyotard, on the contrary, Warhol represents the end of the critical power of modern art, to which the sublime alone can remediate. The two perspectives converge in the idea that the investigation of repetition is the very center of Warhol’s art. Art has now become the pivot of the Western capitalism and consumerist society. Warhol actually explores the different forms and modes of repetition (commodities, icons, symbols) and, in this way, anticipates the confrontation of contemporary art with the “finite infinite” represented by the media world. (shrink)

The article focuses on the possibility of reconsidering the relationship existing between monstrosity and sublime in the light of Jean-François Lyotard’s interpretation of the Kantian sublime. Sublime and monstrosity unveil a system of analogies and differences, which can depict the aesthetic experience mediated by mass media, rather than by art. The lack of form and the sometimes obscene drift, which are typical of media experience, configure indeed a sensibility that oscillates between the ascension to sublime heights and the emergence of (...) monsters. (shrink)

In the first monograph on Lyotard and education, Derek R. Ford approaches Lyotard's thought as pedagogical in itself. The result is a novel, soft, and accessible study of Lyotard organized around two inhuman educations: that of "the system" and that of "the human." The former enforces an interminable process of development, dialogue and exchange, while the latter finds its force in the mute, secret, opaque, and inarticulable. Threading together a range of Lyotard's work through four pedagogical processes-reading, writing, voicing, and (...) listening-the author insists on the distinct educational logics that can uphold or interrupt different ways of being-together in the world, touching on a range of topics from literacy and aesthetics to time and political-economy. While Inhuman Educations can serve as an introduction to Lyotard's philosophy, it also constitutes a singular, provocative, and fresh take on his thought. (shrink)

Cet article revient, à partir de la pensée de Jean-François Lyotard, sur la façon dont la première Théorie critique a mobilisé la psychanalyse à des fins de critique de la raison moderne. Dans ses textes des années 1970, Lyotard a proposé de croiser psychanalyse et économie politique en dialoguant de façon critique avec le croisement proposé par Adorno dans les années 40. L’article vise, par une lecture croisée d’Adorno et de Lyotard à propos du rapport entre psychanalyse et économie politique, (...) à mettre en relief les enjeux et les difficultés soulevés par cette approche critique opérant avec des concepts psychanalytiques. (shrink)

In this paper, I address the relationship between Lyotard’s account of the sublime in art and Kant’s own attempt at considering sublime art as a possible counterpart to fine art. Lyotard recognises the roots of modern art - and avant-garde particularly -in Kant’s account of the sublime. This is interesting, forit is generally assumed that Kant didn’t devise the notion to be applied to art as such. In the lack of any explicit consideration of artistic sublime in Kant’s text, what (...) could be the background for Lyotard’s analysis? My contention is that this reading of the Third Critique is only partially correct. Unlike what is commonly believed, much room is left in Kant’s text for consideration of the sublime in art. Kant himself envisages the possibility that the sublime be found in art and considers artistic representations of the sublime possible for art-forms. How can twentieth-century art be sublime in a Kantian way? And what role does Kant’s notion of aesthetic ideas play in Lyotard’s own account? (shrink)

Bien plus qu’une position relativiste ou nihiliste, on reproche parfois aujourd’hui à Lyotard d’avoir fait le lit de la « post-vérité » par la promotion de la multiplicité de jeux de langage sans au-delà et sans principes généraux de validation. Par un raccourci stupéfiant, on y lit l’affirmation que les discours sont tous également légitimes et ne doivent posséder comme autre principe de validation que le fait d’avoir été proférés. Si l’accusation d’un Lyotard inspirateur d’une forme de « post-vérité » (...) nous semble infondée, c’est que la pensée et la parole s’attachent toujours pour lui à « quelque chose » dont il faut avoir le souci ou qu’il faut chercher à entendre. Lyotard nous semble moins soucieux de relativiser ou, comme on l’en accuse aujourd’hui, d’abandonner l’exigence de vérité que de montrer, d’une part, que celle-ci peut se dire en plusieurs sens, et, d’autre part, qu’on ne vient pas à bout de cette dernière aux moyens de ce qu’il nomme « le discours ». Que ce soit par la pensée, la parole, la création ou l’action, on s’attache toujours à « quelque chose » dont on a souci, et la promotion de la multiplicité dans le champ de la vérité vise non à s’affranchir du vrai mais à se montrer à sa hauteur par un élargissement des perspectives qui ne le cantonne pas à un seul genre de lieu. (shrink)

This article explores the seemingly exaggerated emphasis of Lyotard on the importance of hearing the ethical commandment in Levinas, instead of seeing or perceiving it in sensibility. Lyotard wants to read Levinas as a “Jewish thinker,” and his ethics as deeply connected to “Hebraic ethics.” Such a reading contrasts with phenomenological and Christian interpretations of Levinas, like Jean-Luc Marion’s, that focus on incarnation, the face, love, and the concrete relation to the other. Yet Lyotard outbids the rigor of commandment in (...) Levinas, insisting on the radical heterogeneity of hearing and any phenomenological seeing. Ethics is completely outside phenomenology. This article argues that, instead of reading Lyotard as misreading Levinas, his approach can be one of the names for the skeptical phase that suspends or interrupts the Levinasian Said itself, especially when it tends to become excessively Christian. (shrink)

Le projet lyotardien de « réécrire la modernité » se construit à partir de la division kantienne entre le jugement déterminant et le jugement réfléchissant esthétique. La seule voie, pour l’œuvre d’art, de ne pas retomber dans une représentation, serait de devenir le témoin du « désastre » sublime, ou, autrement, d’une incompatibilité principielle entre le mode logique et le mode esthétique. Cependant cette projection du caractère tautégorique du jugement réfléchissant sur une œuvre d’art s’avère, d’une part, problématique car il (...) s’agit d’un concept extra-artistique et, d’autre part, potentiellement contradictoire car elle semble reproduire – sur un niveau diffèrent, certes – la logique de la représentation (dans le sens où il s’agit de représenter le « désastre » sublime par le moyen de la peinture par exemple). (shrink)

French philosopher Jean-François Lyotard’s changing concepts of the sublime are traced here. Overriding normative responses to Lyotard’s Artforum texts on the sublime of the later 1980s, I argue for a fulcrum moment shared with painter Jacques Monory in California in the later 1970s, and the collision of astronomy, the digitalisation of data, the microprocessor and neuroscience. Lyotard’s exhibition Les Immatériaux exemplified interdisciplinarity at the parameters of knowledge, shunning postmodern irony. Lessons on the Analytic of the Sublime: Kant’s Critique of Judgement, (...) §§ 23–29,, a resumé of Lyotard’s courses, stands in perpetual tension with his art world engagement. The genre of the vanitas in art and its long time-axis challenges classical philosophy — likewise a genre and set of procedures. Might not philosophy also confront its own ‘death’ or epistemological obsolesence? A coda takes Lyotard’s ‘techno-sublime’ into the era of bitcoin. (shrink)

This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a (...) non-absolute, sensibly perceivable object – that can be understood to drive avant-garde artistic experimentation. (shrink)

Bernard McGinn was a great historian of Christianity. But in this book under review he fails to do justice to the history of the Summa. He fails to understand the ontologies of the economic theories of Bernard Lonergan and the theology of Karl Rahner, for examples. The book is patchy and seems under-researched. McGinn does not do justice to the influence of the Summa as a text which forms a bridge between St. Augustine of Hippo and Hannah Arendt and Jean (...) Lyotard. The review is marred by a typos which the proofreader(s) of Prabuddha Bharata overlooked. Of course, the onus of the error lies with the reviewer. (shrink)

This article rediscovers a short film directed by Jean-François Lyotard, entitled L’Autre Scène. The work underlines the originality of a philosopher who refused to separate theory from practice. First analysing the influence of Freudian theory on the production of the film, I shall then see how the work elaborates the concept of “acinema”. Finally, I will give an interpretation of Lyotard’s enigmatic silence about his first film work. -/- .

Stuart Sim explores how Lyotard's brand of pragmatism can provide a focus for political theory and action in our cultural climate, especially in light of the dramatic resurgence of right-wing extremism.

La 4e de couverture indique : "La Condition postmoderne, que Jean-François Lyotard publie en 1979, est très prémonitoire des mutations actuelles qui affectent l'éducation. La fin des " grands récits " qui légitimaient auparavant la production et la transmission du savoir invite à chercher ce qui reste désormais pour donner sens à l'éducation. C'est aussi à ceci que répond l'œuvre lyotardienne : l'état d'enfance, la faiblesse de celui qui ne sait pas encore et qui n'a pour seul recours que la (...) propre faiblesse des langages. Cette double faiblesse articule " l'in-humain ", résistance à une inhumanité productiviste qui dénie l'enfance et réduit les langages à une efficience communicationnelle du plus bas niveau. Rappeler cet état d'enfance, condition de la pensée et de l'apprentissage : tel est ce dont témoignent les arts, l'écriture littéraire ou philosophique, et tel pourrait être ce que toute éducation ne saurait oublier.". (shrink)

This paper aims to analyze and to compare the conception of science that Richard Rorty and Jean-François Lyotard contend in some of their main writings. First, I will point out some similarities and agreements in their philosophical perspectives, particularly, I will emphasize their epistemological coincidences. Then, I will highlight some important differences in his philosophical interpretation of scientific development and its social role. As a result, it will be possible to clarify and accurately qualify these two postmodern conceptions of science (...) that in several writings appear as indistinguishable or that, at least, are characterized with the same features. I will argue that these differences provide two essentially different viewpoints of science and culture. Finally, I will try to show that the Rortian perspective is more suitable facing contemporaneous problems in science, and to give a proper account of its historical development. (shrink)