This paper returns to the question of how to think of justice through Teubner’s recent definition of what he calls juridical justice. Juridical justice is defined as distinct from political, moral, social and theological conceptions of justice. Teubner attempts to think of an imaginary space for a juridical justice ‘beyond the sites of natural and positive law’ and searches for a conception of justice as the ‘law’s self-subversive principle’. This article reviews Teubner’s conception of juridical justice and further proposes a (...) distinction between juridical and non-juridical understandings of justice. (shrink)

This paper presents a discussion, in honour of the late Ari Hirvonen, of the reality of theatre, the space of the tragic and the ethical condition. It engages critically with Hirvonen’s work, as he would demand it, and in doing so it considers the distinctive thinking about theatrical reality in the work of the great Polish artist and theatre director Tadeusz Kantor.

In this essay, I trace the motif of abandonment that runs through the ethics of Simone Weil. In doing so, as a conceptual lens, I make use of Giorgio Agamben’s concept of abandonment. Taking my cue from Weil’s hesitations concerning baptism, I examine her stance as a case of either sacrifice or exception, of ambiguity or indifference. Subsequently, I use Weil’s hesitations to examine an interconnected sequence of soteriology and metaphysics, following Church and potentiality, World and actuality, and The Kingdom (...) and contingency. This allows me to explore the themes of writing and life. A crucial role is reserved for the Parable of the Sower, and how it discriminates between the saved and the damned. (shrink)

Agamben’s overall method as detailed in The Signature of All Things is named by him as philosophical archaeology. Said archaeology addresses the large-scale concepts that organise discursive structures over time and place and reveals their common metaphysical basis. In particular an impossible to sustain economy between a founding common and a founded proper which constantly change place so that the clear distinction between that which founds and that which is founded becomes impossible to discern. It becomes, in his terminology, indifferent. (...) The signatures of Power, Life, Potentiality and Language are well known in Agamben’s work, as is his love for poetry. What has not yet been commented on is that for Agamben Poetry is a signature and so must be subject to the same method of suspensive indifference as the more nefarious discourses of power and domination. In this article the signature of Poetry is defined as the economy between the semantic, or prose as founding common, and the semiotic, or poetry as founded proper. That Agamben gives so much attention to the signature Poetry is because it is central to the suspension of the basis of all signatory constructs, Language as pure communicability as such. Yet more than this Agamben’s indifferentiation of poetry in terms of the perceived tension between semantic and semiotic, opens up complex and powerful forces at the heart of the poetic. (shrink)

The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as (...) a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museum-specific modes of engaging questions—across science, culture, and society—particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations. (shrink)

Those commentators who accept that Agamben offers an affirmative political project tend to hold that its realization depends upon pre-personal messianic or ontological alterations. I argue that there is another option based around the notion of individual agency that has received relatively little attention, but which clarifies whether or not Agamben holds that the transition is one that agents can participate in. By engaging with the texts “On Potentiality,” “Bartleby, or On Contingency,” and Opus Dei, I first show that he (...) develops a notion of potentiality that he claims not only underpins willing, but is also defined by an indeterminate contingency between action and non-action that undermines the binary opposition between willed action and non-action that sustains biopolitics. I then turn to the discussions of praxis, work, and poiesis in The Man without Content to determine whether Agamben thinks that other non-will-based forms of activity can contribute to the deactivation of biopolitics and, indeed,... (shrink)

David Roberts's The Total Work of Art in European Modernism extends and deepens the analysis of the counter-paradigm of redemptively inspired art to modernism's own pre-occupation with secularization. It addresses the imbalance in social and critical theory whereby progressive secular rationalization has been elevated to the sole logic of modernity, and the romantic redemptive tradition has been reduced to a marginal counter-enlightenment. The total work of art paradigm allows Roberts to demonstrate how the programme of modernity has been constituted by (...) internal tensions and antinomies from the very beginning. (shrink)

In this essay, I argue that the work of Giorgio Agamben provides us with a theory of studious play which cuts across many of the categories that polarize educational thought. Rather than either ritualized testing or constructivist playfulness, Agamben provides a model of what he refers to as studious play—a practice which suspends the logic of both ritual and play. In order to explore this notion of studious play, I first articulate Agamben’s fleeting remarks on the topic with an important (...) problematic found in his early, literary work: transmission. If ritual transmits cultural traditions to ensure continuity with the past, and play as constructivist invention makes such transmission impossible, then studious play transmits transmissibility itself as a pure potentiality. Studious play accomplishes this peculiar educational task by suspending without destroying traditional things: laws, signs, and so on. I end the essay with a consideration of the ontological status of suspended things, arguing that they are transformed into toys via the action of study. Finally, I give a literary example of studious play found in Robert Walser’s novel Jakob von Gunten in which the school itself is imagined to be a kind of toy. (shrink)

This entry is about the concept of vitalism. The currency of vitalism has reemerged in the context of the changes in the sciences, with the rise of ideas of uncertainty and complexity, and the rise of the global information society. This is because the notion of life has always favoured an idea of becoming over one of being, of movement over stasis, of action over structure, of flow and flux. The global information order seems to be characterized by ‘flow’. There (...) are three important generations of modern vitalists. There is a generation of 1840–45 including Nietzsche and the sociologist Tarde; the generation of 1860 including the philosopher Bergson and the sociologist Simmel; and the generation of 1925–33 including Deleuze, Foucault and Negri. Vitalist or neo-vitalist themes are particularly useful in the analysis of life itself, but thinkers such as Donna Haraway and Katharine Hayles put things in reverse. They understand not the media in terms of life, but life in terms of media. Thus a mediatic principle or algorithmic principle also structures life. If classical vitalism conceives of life as flow and in opposition to the structures that would contain and stop it, then neo-vitalism would seem to have its roots in something like a media or information heuristic. Thus there is talk today that ‘information is alive’. (shrink)

This paper proposes that intuitive technologies play a vital role in cognition and cultural reception. The case of music is considered in particular. The perceived temporality of contemporary technology is shown to be an artificial barrier to the acknowledgement of longer-term dynamics. The increased role of explanatory metaphors from technology is traced across various fields of study. Processes of sense-making—conscious or otherwise—are seen as an informal, unreflected repertory of mechanisms ranging from predictive models to instrumental metaphors. It is suggested that (...) these derive by assimilation and induction from the technological milieu within which the subject develops and operates. The acquisition of these models and metaphors is itself an imaginative process, based on experience ranging from partial expertise to fantastical extrapolation. (shrink)

The question of the body spans across the work of Jean-Luc Nancy, from Noli me tangere, to Corpus and Jacques Derrida’s dialogue with Nancy in On Touching. In constant conversation with Christianit...

The article argues that the contentious and complex concept of ‘authenticity’, which Agamben develops from Heidegger, forms a central continuity between Agamben’s earlier work, which focuses more on language and art, and his later work, which focuses more on politics. Moreover, I suggest that although this concept is often unquestioned and elided in his work, it plays a crucial role in the deep structures of his thought. Moreover, the ‘unthought concept’ of ‘authenticity’ is of concern because, while authenticity might possibly (...) have a role to play in the sphere of how we come to understand and relate to artworks, there are reasons to be suspicious of this concept in the political realm if, indeed, these two ‘realms’ can be understood separately. If these two spheres cannot be clearly separated, as seems more likely, then it is even more important to explore and question the terms and cluster of concepts around ‘authenticity’. (shrink)

In contrast to functionalist explanations of themes of purity and impurity as an expression and affirmation of the social order (e.g. Emile Durkheim, Mary Douglas), Giorgio Agamben considers purity and impurity as comparisons of phenomena with their imputed essence. From the perspective offered by Agamben, judgements regarding purity and impurity can be seen as in part constructing the essence against which they supposedly simply measure phenomena. Agamben’s investigations suggest that on occasions when themes of purity or impurity are invoked within (...) Western discourses on subjectivity, the full human subject tends to be placed as relatively pure: neither too close nor too distant from human essence. FollowingWalter Benjamin, he suggests that such a classification gives the full human subject a certain social protection and inviolability, separating relatively pure and protected human life from impure subjectivities unprotected by social or legal conventions. (shrink)

This article seeks to lay out an analysis of Giorgio Agamben’s central claims with regard to the formation of a theory of citationality. By juxtaposing Walter Benjamin’s theory of citations alongside his more recent, critical engagements with the Western theological tradition, Agamben sets himself the goal of redefining ethics along Levinasian lines in order to arrive at a respect for the face of ‘whatever’ being before us, the true source towards which all citations point.

This paper seeks to elucidate Jean-Luc Nancy’s and Søren Kierkegaard’s shared understanding of faith by providing a phenomenology of faith. This is accomplished by applying Nancy’s conception of experience to Kierkegaard’s Fear and Trembling, of which this paper thus offers a phenomenological reading in order to analyse the experience of faith its pseudonymous author relates. In doing so, however, we will discover that faith belongs to a realm of experience that is more fundamental than, and thus takes priority over, the (...) lived-experience of classical phenomenology: it is an experience of life as a whole that as such forms the basis on which things are subsequently lived in experience. Faith is therefore held up as the prime example of the phenomenologically primary sense of “experience”: namely, the experience in which a life lived consists, the experience of undergoing life itself; the experience that, as Nancy puts it enigmatically, is existence. Since classical phenomenology fails to think this experience that makes its lived-experiences possible, the paper suggests that phenomenology should turn itself into poetics: namely, a discourse on the creative forms of life that constitute all lived-experiences. To that end, the paper proceeds in four steps: the first step consists in an exposition of the phenomenological framework used ; the second and third steps consist in applications of said framework to Kierkegaard’s understanding of faith; the fourth and final step draws on Nancy to spell out the consequences of the preceding analysis. (shrink)

Jean-Luc Nancy is a philosopher. He is not simply a “thinker” or a “theorist”. Of course, philosophers spend their time thinking, often in the most theoretical and abs...

The question of the body spans across the work of Jean-Luc Nancy, from Noli me tangere, to Corpus and Jacques Derrida’s dialogue with Nancy in On Touching. In constant conversation with Christianity (“This is my body” or Dis-Enclosure), corporeality in Nancy can be summarised using the figure of the “exposed body (corps ex-peausé)”: a demonstration of the surface of the skin (peau) and an exposition of the self to the other in the sense of a “staging” (Corpus). In my work, (...) the concept of the “spread body,” situated between Descartes’ “extended body” and Husserl’s “lived body,” is also one of a confrontation with the “This is my body” of Christianity (The Wedding Feast of the Lamb). In confronting one with the other, it is a matter of seeing how my expansion of the body, says something different than, or articulates differently, Jean-Luc Nancy’s exposition of the body, this time drawn from the biological side though nevertheless without ceasing to be intentional. It is certainly a matter of philosophy, but also of ethics, in the possibility of describing such a body, especially in the suffering situation of palliative care (Ethics of the Spread Body). (shrink)

This essay reconsiders Marx’ prehistory of capital through the lens of the work of Giorgio Agamben, who in the wake of Foucault has proposed a bio-political theory of sovereignty that breaks down the analytical separation between sovereignty and governmentality that Foucault in his work tries to maintain. Although Agamben mentions Marx only once in his study of sovereign power, I argue that his study nevertheless contributes to our understanding of the capitalist relation as not only a governmental but also a (...) sovereign power relation. In the first part of this essay, I show through a philological commentary on Marx’ use of the adjective ‘vogelfrei’—translated as free, rightless, without protection, outlawed—to characterise the proletariat, that the Marxian proletariat is a figure of what Agamben in his study of sovereign power calls bare life. In the second part of the essay, I show that this sovereign dimension of the capitalist relation is also substantiated by Marx’ analysis of the logic of the capitalist relation as that of the exception. After Carl Schmitt, who wrote that ‘sovereign is who decides on the state of exception’, Agamben has argued that the logic of the exception is the logic of sovereign power. Reconsidered through the lens of Agamben’s argument, Marx’ account of the prehistory of capital reveals that there is a sovereign logic of the exception at work in the capitalist relation. In the final part of the essay, I start from Agamben’s single reference to Marx in his study of sovereign power to discuss the importance of my conclusions for Agamben’s political message. (shrink)

Focusing on Giorgio Agamben’s early writings this paper investigates the peculiar status of aesthetics that is disclosed by these texts, highlighting particularly the shift that emerges therein from aesthetic to ethical concerns. Agamben’s idea of a ‘destruction of aesthetics’ will bring attention to the question of the destination of aesthetics. The claim that only ruins can outline the original structure of works of art, providing a possible basis for creative criticism, will also be examined in the conclusion.

In this study of Giorgio Agamben's pre-Homo Sacer work, I assess his idea of the ethical subject. Over the course of these early writings, he adopts a Walter Benjamin-inspired redemptive aim as he endeavours to uncover the circumstances of alienated subjectivity and possibility of authentic experience. However, while Agamben borrows from Benjamin to elaborate on the ethical potential of the nihilist pose, a more Kantian conception of idealist autonomy becomes increasingly pronounced. This Kantianism is at odds with the Benjaminian nihilism (...) that guides his redemptive prescription, leaving Agamben's ethical subject mired in a realm of meaningless authenticity. (shrink)

In Giorgio Agamben’s eyes, Immanuel Kant’s work is the modern philosophical harbinger of the catastrophic ‘state of exception’. By focusing on the latter’s ‘author/subject corrective’, I make the connection between Agamben and Kant’s Critique of Pure Reason more apparent. In doing so, I show how Kant’s corrective instrumentalises autonomy in such a way that it compromises the validity it seeks to rationalise; it does so by separating the individual from actuality, by ostracising law from political challenge, and by conflating individual (...) and state interests. Taken together, these three undercurrents are defining features of Agamben’s ‘Homo Sacer’ series. (shrink)

In a tribute to the intellectual legacy of Peter Fitzpatrick, this article explores the poiesis of modern law, as a constitutive ambivalence distilled in the affinity between law and literature. Reading with Fitzpatrick, the resolution of the contradictions of this law in myth depends, paradoxically, upon its fundamental irresolution. Reflecting upon the profound significance of his revelation of the mythology of modern law and its scholarly reverberations, I consider the constitutive tensions of this law as exemplified in the relation between (...) praxis and poiesis, the operative function of the former dependent upon the creative unfolding of the latter. The alchemy of autopoiesis, by which law boldly proclaims itself law, is made explicit in the eschatology of its archive and the formation of its sovereign subject in negation. Revealing the literary dimensions of this law, the conceit of autonomy is nonetheless subject to the subversive substitutions of the supplement. Pressing yet further, the autopoiesis of law is found to be enfolded within a generative sympoiesis, constituted by the movement between its apposite dimensions. Ultimately, extending Fitzpatrick’s rendering of the irresolution of modern law as decolonial, I explore the possibilities afforded by a reading of the fundamental mutuality of myths, and the decolonial conviviality of poiesis. (shrink)

In this article, I place management theory in conversation with Giorgio Agamben’s political theology with the dual scope of offering (a) a critical examination of the Agambenian interpretation of management, and (b) an application of such interpretation to illuminate and eventually explain the nature of some decisive and persistent limitations of the discipline. The main argument is that Agamben’s theological genealogy of economy transforms the discourse on management from a matter of value to one of control. In the first section, (...) I introduce Agamben’s political theological project and a couple of fundamental elements of Agamben’s interpretation of management. In the second, I discuss three fundamental shortcomings of management as a discipline that an Agambenian interpretation of management can make intelligible. (shrink)

This PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the (...) orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in Broadmoor Psychiatric Hospital. This PhD seeks to identify if there are similar ‘tenets of approach’ held within the methodology of ‘The Aeolian Mode’, that would be useful or are identifiable in artistic studio practice. This thesis draws on the work of the philosopher, Professor Richard Kearney, specifically Kearney’s ideas on the necessity of ‘the other’ for ‘radical possibility’ to occur. It maps a context of both Freudian and Jungian interpretations of art practice, identifying how these ideas have shaped the way art is seen today. Furthermore, it challenges the Freudian idea of ‘pathography’ and favours a Jungian approach of ‘individuation’ in the understanding of creative processes. It develops a ‘methodology of the conversation’, interviewing students, established artists, tutors about their approaches to obstruction/poiesis in art practice. Additionally, it examines my own obstruction to painting and identifies the methodology that released me from this obstruction. Conducting these interviews on art practice has enabled me to confirm my initial concerns about Freudian ‘pathography’ whilst validating the possibility of the Jungian concept of ‘individuation’ being of use to art practice. Finally, this PhD discusses the implications for further study and research, which have emerged during the ‘methodology of the conversation’ and the task of dissolving my obstruction to painting. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

This paper considers how the presentation of movement practices in performance contexts blurs the distinction between making and performance, raising questions about the nature of dance ‘works’. I examine the way that practice is foregrounded in the work of UK dance artists Katye Coe and Charlie Morrissey, and American choreographer Deborah Hay, troubling distinctions between the internal and external aspects of performance. In response to this, I examine the applicability of the work–concept, to current dance practices, suggesting that the concept (...) is an open one and refers not solely to stable art objects, but also indicates open-ended entities, which are formed through a confluence of practice and performance. (shrink)

This article is based on one fact about the author’s biography and one retold memory of the author’s mother. Each relates to the conception of the author. It takes the form of a performative autoethnography employing photofiction.1 The article specifically interrogates the grounded nature of subject identity in bodily experience, as matter, and chronology through speculative inquiry and the intersubjective relation, as themselves “photographic,” mediated through language. However, notions of subject and experience, photograph and academic language are pushed to an (...) extreme position until highly reflexive and to a point beyond literary metafiction. The article thus elaborates and enacts photofiction as autoethnography, replacing “meta” thinking and representational thinking about events and memories, with the nonrepresentational, to write the real [self] as nondualistic: experiential data as nonphotography. The onto-epistemological position of the researcher, author, Subject, in relation to his or her own status is in fact a photofiction. (shrink)

This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben's discussion, first, of Nietzsche and the active nihilist's relation-ship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben's notion - (...) Philosophie – Nouvel article. (shrink)

This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben’s discussion, first, of Nietzsche and the active nihilist’s relationship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben’s notion of the “rhythmic” and “poietic” encounter is one which situates the experience of rhythm as the experience of the originary dimension of temporality and of the (...) human’s relationship to the world. Turning to Nietzsche, this paper seeks to complicate Agamben’s picture by discussing Nietzsche’s under-discussed explorations of rhythm and its connection to art. Three distinct rhythms will be identified: Apollonian, Dionysian, and the tragic or joyful rhythms of the Apollo-Dionysus relation. Reading Agamben through Nietzsche, it will be discussed how Agamben’s notion of rhythm blends Apollonian and Dionysian elements; does not through this blending however offer a tragic or joyful notion of rhythm, which, for Nietzsche, follows from their double affirmative rhythmisation. Instead of a rhythmic-poietic encounter opening an originary and authentic experience of temporality and dwelling, Nietzsche offers an account of tragic and joyful rhythms which continually create new worlds. (shrink)

This text has already been published in La Deleuziana – Online Journal of Philosophy – ISSN 2421-3098 N. 10 / 2019 – RHYTHM, CHAOS AND NONPULSED MAN.: We all know by now why a kid starts whistling in the middle of a territory unknown. Refrain builds up a milieu, deterritorialising all the forces of the unknown with the ear of an other. However, have we as yet considered how the ear gets into resonance with the transformation of the unknown into (...) the known? In other words, - Philosophie – Nouvel article. (shrink)

We all know by now why a kid starts whistling in the middle of a territory unknown. Refrain builds up a milieu, deterritorialising all the forces of the unknown with the ear of an other. However, have we as yet considered how the ear gets into resonance with the transformation of the unknown into the known? In other words, are we capable of knowing the unknown as such? Are we capable of translating the rhythms of the unknown into the known? (...) And if yes, what are those issues that we put at risk in such a move? Without doubt, Heidegger and Agamben would be of great help for us to discover the aletheia of rhythm, as if it is possible to know what rhythm is. However, our intention here is to talk about ears, rhythms, deterritorialisation of the ears without falling into the trap of phenomenological circle. Dear rhuthmos, is all our knowledge of rhythm circumscribed by a division that cannot be maintained by an ear? (shrink)