Graham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, (...) or alieve, they are in contact with the withdrawn real. By looking at the examples in representational painting and sleight of hand magic, we see that ontographic art objects use at least four, carefully separated sensual objects to produce their aesthetic effect. The conclusion summarises allure as a sensual object process, speculates on art’s dialetheic confusion of sensual and real objects giving an enduring allure to idealism, and notes potential motifs of an infra-realist resistance. (shrink)

This article has two parts. The first one compares the ontological and epistemological implications of two main philosophical stances on how reality relates to appearance. I call the first group the “plane of superficiality,” where reality and appearance are the same; there is no gap between what a thing is and how it manifests itself. I call the second group “volume of representation,” in which reality is beyond appearances; there is an insurmountable gap between the thing and its phenomena. The (...) second part of the article focuses on Graham Harman’s Object-Oriented Ontology (OOO) as the second group’s contemporary position. Within the OOO epistemological model of “knowledge without truth,” Harman’s schema of the observer’s participation in the object’s knowledge production is questioned. Alternatively, based on the notion proposed here of “flat representativity” in which each appearance is equally valuable to represent different aspects of the object, I argue for the full spectrum of the sensual as the basis for “knowledge without truth.” In particular, the aesthetic method, excluded from Harman’s concerns about knowledge, is suggested as another contribution to the episteme. (shrink)

The aesthetic theory of Graham Harman’s Object-Oriented Ontology (OOO) revolves around the concept of allure, a nonliteral experience of an object’s displacement from its qualities that draws attention to a deeper reality. But applying allure to aesthetic interpretation is hampered in two ways. First, OOO necessarily moves between the constrained viewpoint of experience and a more global perspective. Yet mixing these “inside” and “outside” views can risk ambiguity. Second, the phenomenological difference between the parts and qualities of an object must (...) be clarified before Harman’s model of wholes and parts can be incorporated into OOO aesthetics. Addressing these two ambiguities will make it possible to further develop OOO’s resources for aesthetic commentary. For instance, one conclusion is that allure itself has two varieties: a tension between the object and its qualities (“allusion”) and a tension between the whole and its parts (“collusion”). These options parallel Harman’s twofold critique of reductionism. Another conclusion is that the literal needs an explanation within the framework of OOO insofar as it is a genuine feature of experience. (shrink)

This is a comment to Graham Harman’s 2019 response to an article by Þóra Pétursdóttir and Bjørnar Olsen (2018) in which they propose that a materially grounded, archaeological perspective might complement Harman’s historical approach in Immaterialism (2016). Harman responds that his book is indeed already more archaeological than historical, stipulating that history is the study of media with a high density of information, whereas archaeology studies media with a low density of information. History, Harman holds, ends up in too much (...) detail, while archaeology has the advantage of lending itself to the imagination. Hence, his reading of history had the aim of tempering the historical information overload, in effect making the book a work of archaeology. In this comment, I want to do three things: (1) critique the idea that archaeological and historical media are inherently different with regard to their densities of information, (2) discuss how archaeology and history approach their media, and (3) reflect on conceptualisations of “archaeology” outside the discipline itself. (shrink)

This article mounts a defense of my and Slavoj Žižek’s co-edited anthology, Subject Lessons: Hegel, Lacan, and the Future of Materialism, against the two main criticisms of it made throughout Graham Harman’s article “The Battle of Objects and Subjects”: (1) that we and our fellow contributors are guilty of gross overgeneralization when we classify thinkers from various schools of thought – among them New Materialism, object-oriented ontology, speculative realism, and actor–network theory – under the broad rubric of the “new materialisms”; (...) and (2) that despite our pretensions to the mantle of materialism, our Lacano-Hegelian position is actually a full-blown idealism. In responding to and attempting to refute these criticisms, I make the case that our Lacano-Hegelian model of dialectical materialism is an “extimate materialism.”. (shrink)

This article contends that the central principle of modern philosophy is obscured by a side-debate between two opposed camps that are united in accepting a deeper flawed premise. Consider the powerful critiques of Kantian philosophy offered by Quentin Meillassoux and Bruno Latour, respectively. These two thinkers criticize Kant for opposite reasons: Meillassoux because Kant collapses thought and world into a permanent “correlate” without isolated terms, and Latour because Kant tries to purify thought and world from each other rather than realizing (...) that they are always combined in “hybrid” form. What both critiques tacitly accept is the notion that “thought” and “world” are the two major poles of the universe. I claim that this stems from the post-Cartesian assumption that thought and world are the two basic kinds of things that exist. The name “onto-taxonomy” is introduced for this view. (shrink)

This article mounts a defense of Object-Oriented Ontology (OOO) from various criticisms made in Russell Sbriglia and Slavoj Žižek’s co-edited anthology Subject Lessons. Along with Sbriglia and Žižek’s own Introduction to the volume, the article responds to the chapters by Todd McGowan, Adrian Johnston, and Molly Anne Rothenberg, the three in which my own version of OOO is most frequently discussed.

A recent political critique of Speculative Realism by Catherine Malabou finds fault with this loosely arranged movement for its focus on reality in its own right, apart from the subject. Malabou responds with a radical ontological claim, holding effectively – if not always explicitly – that subject and object mutually generate one another amidst a primal void. After criticizing this idea, I point to some of the difficult political consequences of such a position, though Malabou defines it positively as an (...) anarchic awakening that generates new collectivities unconstrained by any thing-in-itself. By contrast, I contend that nonhuman constraints and collaborators are an intimate part of the human political sphere. More generally, it is shown that there are consequences for which sorts of relations are taken to be the primary political relations. (shrink)

ABSTRACT Graham Harman’s Object-Oriented Ontology prioritises aesthetics as first philosophy, and finds increasing interest from those working across art, architecture and the humanities in general. This article tests the application of Harman’s ideas by applying them to a thorny issue related to the domain of serial art, and serially developed drawing in particular. The issue concerns the productive role of the beholder in constituting the serial artwork as a unified thing, wherein it appears manifestly deeper than the sum of its (...) physical parts. Referring to an artwork produced by contemporary artist Stefana McClure, I build upon prior propositions on serial art put forward by Christy Mag Uidhir and Nicolas de Warren to make the case for seeing serially. This uses Harman’s understanding of aesthetics to claim that imagined iterations constitute an integral element to serial drawing, brought into play when the beholder reflects upon the loose relationship between the array of qualities the artwork palpably presents and its withdrawn reality as a unified object. (shrink)