This article proposes that the prime ideals of the university - those of truth, knowledge, justice, and emancipation - are also those that currently produce unjust practices "outside" and "within". Using the work of Jacques Derrida and Paul Virilio, the article argues that the central problem of the university today consists not so much of a neo-liberalisation, but of the speeding-up of these ideals through their enmeshment with techniques of calculation, vision, and prediction. The current university therefore suffers from what (...) it with Derrida identifies as an "auto-immune disease," in which the acceleration of its foundational aspirations have led to a near-total subjugation of all and everything to an oppressive quest for transparency. However, the article proposes via Virilio that this totalising transparency paradoxically also produces more blindness, accidents, and unknowability. It hopes to illustrate this with some examples in the teaching scene as well by working through some of its own conceptual tensions. The other logic of the university today, the article finally proposes, consists of a "dark" or stealth functionality, opening up the promise of a radically different future and unanticipated resistance despite itself. (shrink)

Jean-Francois Lyotard's essay `Adorno as the Devil' had argued that Theodor Adorno's Philosophy of Modern Music was a `diabolic' work of `negative theology' which attributed to Schoenberg's music a secret redemptive power. However, in his later writings, such as the essays in The Inhuman, Lyotard has himself moved close to a `negative theological' position with respect to modernity, time, aesthetics and music. The paper uses the occasion of Lyotard's own theologically inspired essays on music, `God and Puppet' and `Obedience', to (...) re-evaluate the following: Adorno's claims that music transcends mere language and `reaches' for the theological; and more general claims within modern western culture on behalf of music's ability to express the inexpressible. The argument is that the music as negative theology position is not inherently metaphysical but rather that it reflects the importance of the `unsayable' to modern conceptions of reason. In resisting the `closure' of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present within modern forms of time. In other words, negative theology is not the discourse of the devil; it is the impossible discourse of western reason and its internal fracturing. (shrink)

I read Kant or Adorno or Aristotle not in order to detect the request they themselves tried to answer by writing, but in order to hear what they are requesting from me while I write or so that I write. J.-F. Lyotard.

The purpose of this essay is to make the case for a heterodox reading of Leibniz’s The Monadology (published 1720) through the lens of Professor John Wheeler’s hypothesis of the one-electron universe (proposed in 1940). My conjecture is this: That there exists in the knowable universe only one monad; that this monad traverses time in both directions, eventually criss-crossing the entire past and future history of the universe; and that this singular monad interacts with itself countless times, thereby filling the (...) universe with simultaneous appearances of itself. In the course of this article I will consider the possibility that our solitary monad is synonymous with Leibniz’s God, or if the monad in question is rather a created substance that is alone with God, a notion that gains some traction thanks to Leibniz’s admiration for the solipsism of Saint Teresa of Avila. I will also consider whether the one-monad hypothesis is consistent with Leibniz’s own views on harmony, simplicity and perfection. (shrink)