Drawing on the work of Walter Benjamin, this essay argues—largely against Carl Schmitt—that political theology as a critical analytic should examine the ‘afterlife’ of theological tropes with respect to the sense of time and history that they compel. Benjamin’s The Origin of German Tragic Drama argues that sovereignty as a political concept gains prominence as a response in the wake of the erosion of the concept of salvation history in the Baroque. The consequence of this rise of sovereignty as a (...) political key concept is a philosophy of history based on the permanently impending catastrophic end of the world. This continuously urgent situation is not only one that leaves little room for political critique and action, but also a perplexing one in its perpetuation, since the end of the world never actually arrives. To answer why political urgency can be perpetuated seemingly infinitely and why sovereigns can fail without eroding the ongoing desire for sovereignty, Benjamin’s work suggests that we must broaden our view of political theology to consider the survival of further theological concepts to include original sin as a master trope of philosophical anthropology. (shrink)

This paper is a reconstruction of Walter Benjamin's philosophy of language, especially as it expressed in 1916's “On Language as Such and the Language of Man”. I read Benjamin's theory as a contribution to what Charles Taylor has called the “expressivist” tradition that includes eighteenth century thinkers like J.G. Herder and J.G. Hamann. Hamann's work and his interpretation of the theological concept of condescension are of particular importance. Although Benjamin's views are often regarded as impenetrable or mystical, they are relevant (...) to and, in part, motivated by concerns of more mainstream twentieth century philosophy of language, in particular Russell's paradox. His “metaphysics of language” understands reference or designation, central to analytic theories of meaning, as derived from a more fundamental, aesthetic meaning. (shrink)

Why does Walter Benjamin claim “indirection” to be the proper method for philosophical contemplation and writing? Why is this method—embodied, according to Benjamin, in the convoluted form of scholastic treatises and in their use of citations—fundamental for understanding his Origin of German Trauerspiel as suggesting an alternative to most strands of modern philosophy? The explicit and well-studied function of this method is for the presentation of what cannot be represented in language, of what cannot be intended or approached in thinking. (...) Namely, of what Benjamin understands as “truth.” Indeed, as Adorno implied, providing a method for presenting an intentionless reality, rather than for re-presenting the world as corresponding to the mind, is revolutionary. However, I claim that beyond its presentational function, the method of indirection has a further, pedagogical function. Benjamin’s concept of truth requires thinking in a manner that does not impose any exterior form, any conceptual or intuitive intention on truth and the materials in which it might be exhibited. The methodological adoption of digressive and intermittent writing is supposed to transform the way we think, or more accurately, the position from which thinking occurs. By examining Benjamin’s use of pedagogical terms against the backdrop of scholastic history and the Urfigure of modern method, that of Descartes, I show that writing and reading in the form of the tractatus serves as exercise in receding from the subject-position—a position of a subject intending an object—and thus conditions the presentation of intentionless truth. (shrink)

In this article, I reconstruct Walter Benjamin's philosophy of language and refine the non-predicational view of meaning often attributed to him. By situating his 1916 essay ‘On Language as Such and on the Language of Man’ within the context of his struggle with Russell's paradox and its implications for phenomenology, I show how Benjamin arrives at his conception of non-conceptual content as an environmentally embedded affordance that is directly apprehended by appropriately situated and capable agents. This affordance-like character of meaning (...) explains Benjamin's account of communication, Adamic naming, and his famous distinction between linguistic and spiritual essences (sprachliche- and geistige Wesen). I conclude by showing why translation is central to his views on expression and communication and how it reinforces his account of language-use. (shrink)

This paper argues for the contemporary significance of the ‘Critique of Violence’ by proposing a Benjaminian reading of two important analyses of the relationship between history, politics and the Rights of Man: Hegel’s account of the French Revolution and the concept of dissensus proposed by Jacques Rancière. For both Hegel and Rancière, the gap between right and reality – between the ideal of equality, for example, and the existence of concrete inequality – does not warrant a rejection of the Rights (...) of Man. Rather, the gap is a constitutive condition of law and political rights. From the perspective of Benjamin’s ‘Critique of Violence’, however, these analyses serve to perpetuate a bourgeois legality, one that both Hegel and Rancière acknowledge can never be realized due to the constitutive discrepancy between right and reality. In preserving the promise of legal equality, these analyses preclude the possibility of a suspension or ‘absolution’ from law. This suspension of law is a task that Benjamin identified with the proletarian general strike, a strategy whose pure violence is supposed to secure what Benjamin described, enigmatically, as a ‘wholly transformed work’. Remarkably, however, the relationship between the suspension of law in a general strike and a total transformation of labour is never clearly defined in the ‘Critique’. This paper will develop an account of this relationship by pursuing the references to Marx’s critical theory of capitalism in Benjamin’s writings. (shrink)

This paper argues for the contemporary significance of the ‘Critique of Violence’ by proposing a Benjaminian reading of two important analyses of the relationship between history, politics and the Rights of Man: Hegel’s account of the French Revolution and the concept of dissensus proposed by Jacques Rancière. For both Hegel and Rancière, the gap between right and reality – between the ideal of equality, for example, and the existence of concrete inequality – does not warrant a rejection of the Rights (...) of Man. Rather, the gap is a constitutive condition of law and political rights. From the perspective of Benjamin’s ‘Critique of Violence’, however, these analyses serve to perpetuate a bourgeois legality, one that both Hegel and Rancière acknowledge can never be realized due to the constitutive discrepancy between right and reality. In preserving the promise of legal equality, these analyses preclude the possibility of a suspension or ‘absolution’ from law. This suspension of law is a task that Benjamin identified with the proletarian general strike, a strategy whose pure violence is supposed to secure what Benjamin described, enigmatically, as a ‘wholly transformed work’. Remarkably, however, the relationship between the suspension of law in a general strike and a total transformation of labour is never clearly defined in the ‘Critique’. This paper will develop an account of this relationship by pursuing the references to Marx’s critical theory of capitalism in Benjamin’s writings. (shrink)

"I have a tree, which grows here in my close, / That mine own use invites me to cut down, / And shortly I must fell it" (Shakespeare 2001, 168)—Timon's lament, which in Shakespeare's rendition occurs shortly before its utterer's demise "upon the beached verge of the salt flood" (2001, 168) beyond the perimeter of Athens, is an indictment of the nature that Timon finds unable to escape. Having given away his wealth in misguided generosity to a host of parasitic (...) sycophants, Timon turns misanthropic when his "friends" reject his requests for help in kind to repay his debts, eventually exiling himself from the city with the intent of sustaining himself on nothing but water and roots. Yet he soon finds that removing .. (shrink)

The following essay aims to analyze the problem of repetition in the reflection of Walter Benjamin. Showing first of all how this concept, singularly neglected by critics, is the unexpected centre towards which the philosopher’s entire reflection converges, thus offering a new reading of his entire production. All the vast domains of Benjamin’s speculation are thoroughly rethought starting from this idea, revealing how what is at stake is a more articulated movement of the eternal recurrence of the same, which characterizes (...) mythical temporality. A movement that has to do with the constitution of the human and which indeed exhibits an intimate link between repetition and innovation, repetition and the constructive principle. Another intention of this text is therefore to carry out an in depth analysis of this connection, to question the nature of such a gesture, both repetitive and differential, and its relationship with the recurrence of the ever self-same, therefore with the possible way out of the myth. (shrink)

The relation between “presence” and “representation” is an age-old topic in the arts, but it is further complicated in our time of advanced media conditions. Pierre Huyghe is one artist who has consistently addressed questions of presence and representation throughout his artistic oeuvre, including the role of the witness within it. Considering the sophistication of Huyghe’s work with regard to the riddle of presence in the realm of contemporary means of representation, the artist’s work is taken as a case study (...) for a broad range of artists exploring related topics within the arts and the media. This paper argues that art that interrogates the question of presence within the context of contemporary media culture—from Marina Abramović to Stelarc, Jeffrey Shaw to Julia Scher—asks for being interpreted through presence theories developed within the field of media studies in addition to methods of art theory and criticism. Accordingly, Huyghe’s work is productively related to one such theory, namely the YUTPA model by Caroline Nevejan, which theorizes the interrelated concepts of natural, mediated, and witnessed presence. (shrink)

Agamben’s notion of the ‘paradigm’ has far-reaching implications for educational thinking, curriculum design and pedagogical conduct. In his approach, examples—or paradigms—deeply engage our powers of analogy, enabling us to discern previously unseen affinities among singular objects by stepping outside established systems of classification. In this way we come to envision novel groupings, new patterns of connection—that nonetheless do not simply reassemble those singular objects into yet another rigidly fixed set or class. Agamben sees this sort of ‘paradigmatic understanding’ as our (...) richest source of intelligibility. For Agamben the paradigm is ultimately about learning to see again, starting not with already perfectly known and categorized objects (or ideas), but rather with a fresh experience of one individual object and the analogical relations it may have to others, and to novel groupings that may arise. The paradigm is a method, a way in which educators might respond to a wide range of educational challenges. For a paradigmatic relation suspends while exposing, deactivates while revealing, complicates while clarifying. But articulating the enigmatic paradigmatic relation between example and class is far more than a method. It is epistemological (a way of knowing and conception of knowledge), ethical (a fostering of freedom from presupposed categories and reified principles) and ontological (a type of being that exposes the potential of knowing and communicating—their intelligibility and communicability). In these qualities, paradigms exhibit to educators a free, a new use of singularities. (shrink)

A chronicler who recites events without distinguishing between major and minor ones acts in accordance with the following truth: nothing that has ever happened should be regarded as lost for history."Few areas of American public life have received as much attention with as little actual on-the-ground study as citizen deliberation," Lawrence R. Jacobs, Fay Lomax Cook, and Michael X. Delli Carpini argue. "Whether and how real citizens engage in discursive participation; the nature, settings, and impact of this public talk; and (...) when and if 'talk' ever rises to the level of 'democratic deliberation'—each of these is ignored or, at best, occasionally introduced by way of illustration or anecdote" (2009, 20-21).This is .. (shrink)

While some argue that the only way to make a place for Philosophy for Children in today's strict, standardised classroom is to measure its efficacy in promoting reasoning, we believe that this must be avoided in order to safeguard what is truly unique in P4C dialogue. When P4C acquiesces to the very same quantitative measures that define the rest of learning, then the philosophical dimension drops out and P4C becomes yet another progressive curriculum and pedagogy for enhancing argumentation skills that (...) can easily be appropriated by any content area. What we want to offer in this article is a reevaluation of P4C that remains faithful to a radical kernel that we find when we do philosophy with children and young adults. To theorise the potential for P4C, we draw heavily on Agamben's work, and in particular his reflections on speech and infancy. We propose that the redemption of P4C necessitates a shift from a community of inquiry to a community of infancy. Such a community is not a community that operates according to predefined rules or standardised assessment protocols but rather is an inoperative community that is defined by letting ends idle. On our account, a community of infancy is an example of dialogic studious play that is neither ritual nor just play, thus avoiding the extreme polarities of the ritualised classrooms of high-stakes testing and the ‘ludic’ postmodern classroom of free play. What is at stake here is to preserve the last vestige of freedom within the school. (shrink)

This article seeks to deepen Giorgio Agamben’s brief investigation of the Foucauldian technical term dispositif, by locating it (and the triple structure which articulates it) in the larger context of his own contribution to the genealogy of “governmentality.” Following Agamben’s reconstruction of the Christian paradigm for the divine government of the world, it explores the singular relation between governmental dispositifs and concurrent modes of subjectivation. It argues that the contingency of human action must first be secured for the governmental machine (...) to be able to operate. (shrink)

Bien se sabe que el alemán Carl Schmitt interpretó la posición del soberano en términos teológico-políticos: como el príncipe medieval cristiano cuya función consistía en prevenir y deferir el fin. Apuntalando las cercanías entre Schmitt y su mentor intelectual Thomas Hobbes, puede verse que en últimas la posición del decisor soberano es aquí la de quien intenta administrar o controlar el riesgo de la ocurrencia de eventos catastróficos en el futuro. Se argumenta en este ensayo que dicha forma de relacionarse (...) con la temporalidad y el infinito —apocalíptica, autoritativa, y catastrofista— caracteriza tanto a la estética como a la economía y la política de autoridad que predominan en nuestra época. Se trata de un inesperado retorno de lo religioso en el corazón mismo de la modernidad, que anima la radicalización decisionista de los discursos político y económico, y sus presentaciones en la cultura popular tras la introducción de la guerra en el centro de la promesa moderna del progreso. (shrink)

Where Benjamin attempts an account of social and attention practices surrounding the artwork, Adorno accuses him of not being dialectical enough and of inadequately theorizing the artwork's autonomy.2 Adorno makes the same accusation in those places where Benjamin attempts to disrupt historicism with the "dialectical image." Although Adorno appears to offer the same criticism in both instances, I maintain that Adorno's blanket prescription for more dialectics covers over a chiastic relationship between his reactions in each case. That is, the worries (...) that inform Adorno's reaction to Benjamin's portrayal of the artwork are quite the opposite of the worries that inform his reaction to Benjamin's portrayal of the .. (shrink)

The lost opportunity is overwhelming, an exigence in the full sense—a recollection of that which can only remain forgotten. In the midst of the storm, what to do now? If this is the question with which Walter Benjamin began, in a poem published in 1910 under the pseudonym "Ardor," it is one over which he kept a solemn vigil, rarely letting it slip from view, even as the border closed in the months not long after he rendered Klee's 1920 painting, (...) Angelus Novus, into the emblem of a critique that seeks the "shard of weak messianic power" that comes to recognizability only in a history "filled full by now-time [Jetztzeit]" (2011, 22-23; 2003, 395). A hope then, a feeling that even as the storm from paradise blows .. (shrink)

The absolute relation of name to knowledge-recognition [Erkenntnis] exists only in God; only there is name, because it is inwardly identical with the creative word, the pure medium of knowledge-recognition [Erkenntnis]. This means that God made things knowable-recognizable [erkennbar] in their names. Man, however, names them according to knowledge-recognition [Erkenntnis]. An act is—in connection with the perfected state of the world—not what happens now or “soon”: a demand cannot demand, or command anything now. They enter disjointedly, in symbolic concepts, into (...) the now of knowability-recognizability [das Jetzt der Erkennbarkeit], for this now is filled and governed exclusively by.. (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.

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)

This essay explores a series of sovereign ‘machines’ – slaves, puppets, automata – in political theory from Benjamin to Agamben. It is now well-documented that the philosophical question of ‘the machine’ – of whether a complex system requires a human operator or whether it can function autonomously – is also a crucial political question that haunts every discussion of sovereignty from Hobbes onwards. However, my wager in what follows is that this machine is not just a metaphor for a metaphysical (...) situation – whether it be rationality, bureaucratization, neutralization, historicism or governmentality – but a material phenomenon that carries transformative political promise and threat. To summarize the argument of this essay, I contend that ‘sovereign machines’ like slavery, puppets, automata or clockwork, lens, optics and mirrors (Hobbes, Kantorowicz, Benjamin, Lacan,... (shrink)

Esej ten kreśli nową strategię uniwersalizacji historii, która wyłania się z analizy żydowskiejpraktyki filozofowania w erze nowożytnej. Nazywam ją „strategią marańską”, budując analogięmiędzy sytuacją conversos, którzy zostali zmuszeni do przyjęcia chrześcijaństwa, przechowującprzy tym judaizm „utajony”, a filozoficzną interwencją nowoczesnych myślicieli żydowskich,którzy wkroczyli w idiom zachodniej filozofii, jednocześnie nasycając go motywami wywiedzionymiz ich „partykularnego” kontekstu: nie po to jednak, by podważyć perspektywęuniwersalistyczną, lecz po to, by ją przekształcić. Dla Waltera Benjamina i Jacques’a Derridywłaściwy uniwersalizm okazuje się równoznaczny z „zadaniem tłumacza”: projektem (...) sklejaniarozbitej całości od środka, horyzontalnie, przez wysiłek wielojęzyczności, czyli bez przyjmowaniawyniosłej pozycji ogólnego metajęzyka, który mógłby uzurpować pozycję hegemona. (shrink)

Critique as a philosophical concept needs to be recast once it is linked to the possibility of a productive opening. In such a context critique has an important affinity to destruction and forms of inauguration. Working through writings of Marx and Walter Benjamin, specifically Benjamin's 'The Meaning of Time in the Moral World', destruction and inauguration are repositioned in terns of othering and the caesura of allowing.

Vilém Flusser's Vampyroteuthis Infernalis reenacts and actualizes the time-honored tradition of a mental experiment that purports to efface the boundaries between man and animal. This ancient conceptual device, known in Baroque times as physica naturalis, seeks to illuminate the world of culture by means of its approximation with the world of nature. Instead of opposing poles, nature and culture become reflecting mirrors where man can acknowledge his ties to nature and the animal kingdom. More than just a rhetorical trope, the (...) so-called allegory of natural history comprises what could be defined as a "philosophy of animality," espoused by thinkers such as Walter Benjamin, Gilbert Simondon and Jacques Derrida. In Vampyroteuthis, Flusser resorts to a strange marine creature in order to elaborate a sophisticated meditation on human existence and our relationship with the technological apparatuses we incessantly devise. The goal of this paper is to examine the recent history of the allegory, tracing its developments in the works of contemporary scholars, such as Siegfried Zielinski, Manuel de Landa and Vilém Flusser himself. Moreover, it investigates the applicability of the "philosophy of animality" within the field of film theory, suggesting an approach to filmic experience that focuses on the "material" aspects of cinema and regards the spectator's body as a site for the translation of images into affect and sensation. (shrink)