This article explores the ethical imperative to dramatise in the work of Georges Bataille and Gilles Deleuze, two of the most radical thinkers in twentieth-century philosophy, as a peculiar kind of askesis. Whereas askesis is often associated with asceticism or self-denial, in the sense of self-regulation and abstention, Bataille and Deleuze advocate training the self towards intensification of the liminal and extreme, which can rather be understood as a denial of self – its dissolution or laceration. Few attempts have been (...) made to compare their work, even though both share a commitment to resisting the closures that bind our desires and inhibit our full participation in and confrontation with the ebbs and flows of an impersonal, immanent life. Through careful consideration and comparison of their work, I argue that both offer important methods for engendering modalities of ecstatic being characterised by sensitivity to immanence, which have important ramifications for our ability to address phenomena of ethical indifference and resist the constrictions of social control mechanisms that decimate our political imaginations and inhibit our resolve to invent a different future. In the final sections, I interrogate the differences in their invocation of affect and art. (shrink)

This essay examines the French reception of the Carl Schmitt's thought, specifically its Hegelian strand. Beginning with the early readings of Schmitt's thought by Alexandre Kojève and Georges Bataille during the mid-1930s, it attends to the partial adoption of Schmitt's friend/enemy distinction and his theories of sovereignty and neutralization in Kojève and Bataille's Hegelian writings, as well as to their critical responses. The essay then turns to examine the reading of Kojève by the Jesuit Hegelian résistant Gaston Fessard during the (...) war, a reading specifically intended to delegitimate Vichy as a “slave-prince,” resistance to whom would be legitimate. The final section returns to Bataille and his 1948 book The Accursed Share in order to propose that his Maussian understanding of the Marshall Plan suggested an overcoming of the friend/enemy distinction, a suggestion that was later made explicit in a 1957 talk by Kojève at Düsseldorf before Schmitt and a group of his supporters. At stake throughout are both the thoroughly critical reception of Schmitt, the particular political inflection of Hegel carried out by and in Kojève's reading, and certain methodological links between conceptual history and the reception history. (shrink)

Reviewed: The Obsessions of Georges Bataille: Community and Communication, edited by Andrew J. Mitchell and Jason Kemp Winfree, State University of New York Press, 2009, 232pp., pb. $24.95. ISBN-13: 9781438428246. This review analyzes the extent to which The Obsessions of Georges Bataille: Community and Communication, edited by Andrew J. Mitchell and Jason Kemp Winfree, may contribute to recent treatments of sensibility and affect in critical thought. After first posing the question of why community appeared to recede from the critical attention (...) it received in the 1990s, my discussion then assesses the ways the volume’s essays argue collectively for a renewed engagement with community via the work of Bataille. I attempt to show how Mitchell’s and Winfree’s volume provides an important provocation to recover the exigency of community at a time when popular appeals to community remain no less spectacular, inflated, and cynical than they were at the height of its engagement by critical thought. The essay concludes with a suggestion of how Bataille’s work can intervene in what Fredric Jameson has called the post-09/11 manufacturing of affect. (shrink)

Georges Bataille agrees with numerous Christian mystics that there is ethical and religious value in meditating upon, and having ecstatic episodes in response to, imagery of violent death. For Christians, the crucified Christ is the focus of contemplative efforts. Bataille employs photographic imagery of a more-recent victim of torture and execution. In this essay, while engaging with Amy Hollywood's interpretation of Bataille in Sensible Ecstasy, I show that, unlike the Christian mystics who influence him, Bataille strives to divorce himself from (...) any moral authority external to the ecstatic episode itself. I argue that in his attempt to remove external authority he abandons the only resources that could possibly protect his mystical contemplation from engendering sadistic attitudes. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)