A review of recent French and Latin-American work on Althusser suggests that the received interpretations of the latter’s work may profitably be re-examined. The notion that there exists an early, middle and late Althusser, each distinct from the others in important ways, is called radically into question by this body of scholarship. Various authors show the presence of an aleatory dimension, usually associated with the late Althusser, in even his most ‘structuralist’ concepts. These works help us read Althusser in a (...) new way. (shrink)

The phenomenon of life — yours, or mine always — is given to be seen or to be understood in its cohesion and in its proper identity through a narrative “montage”. This is the hypothesis which this article explores in trying to determine if the narrative montage refers to a “staged coup”, as Artaud suggests, or if instead it is not, following the very different analysis by Ricoeur, a plot in which the character, entangled in his or her (...) own experiences, fights against the scattering of the self, or again, as according to Schapp, if each person is not simply involved in his or her own stories as well as in those of others, with no other means of reaching himself or herself than through such tangles. (shrink)

Rav et Leitgeb défendent la thèse de l’autonomie des preuves informelles par rapport aux systèmes formels de preuve. Azzouni, au contraire développe une explication qui réduit les preuves informelles à un réseau de systèmes formels sous-jacents. L’objectif principal de cet article est de démontrer la possibilité d’une position tierce médiane mettant en avant une explication quasi formelle de la méthode de preuve dans les Éléments. L’explication est quasi formelle, plutôt que formelle, en ce qu’elle donne au contenu géométrique un rôle (...) irréductible dans les preuves d’Euclide en ce que ce rôle est sujet à des contraintes formelles. Les inférences qui sont basées sur concepts géométriques ont une occurrence à l’intérieur d’un cadre formel précisément défini.Rav and Leitgeb argue for the autonomy of informal proofs from formal systems of proof. In contrast, Azzouni develops an account which reduces informal proofs to a network of underlying formal systems. The general aim of this paper is to demonstrate the possibility of a third, middle position with a quasi-formal account of Euclid’s proof method in the Elements. The account is quasi-formal, rather than simply formal, in that it gives geometric content an irreducible role in Euclid’s proofs. It is quasi-formal, rather than simply informal, in that this role is subject to formal constraints. Inferences which are based on geometric concepts occur within a precisely defined formal framework. (shrink)

This article compares the poetics of Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire du cinéma in order to realign our understanding of metaphor, metonymy and montage with the inter-formal dialogues that new media artworks increasingly demand of audiences. An analysis of Godard's ‘quotation’ of Proust's words and ideas from Le Temps retrouvé sets out an explicit rivalry between text and image. However, drawing on formalist and structuralist approaches to both literature and cinema, including Roman (...) Jakobson and Gérard Genette, as well as more recent discussions developed by Gilles Deleuze and Lev Manovich, I will argue that the nature of the image manifested in both artworks corresponds to a shared aesthetic that exceeds distinctions between word and image, literature and video. (shrink)

Cet article réfléchit à ce que nous dit une photo prise durant les manifestations de rue qui ont secoué le Chili à l’automne 2019. Une voiture sur laquelle a été peint un graffiti Esto es montaje aide à analyser les différentes couches de machination, de montage, de résistance, de frustrations et d’espoirs qui se sont retrouvées pendant quelques mois dans les rue de Santiago – et qui nous parlent aussi peut-être de mobilisations et d’immobilisation comparables en d’autres points du (...) globe. (shrink)

Les diagrammes appartiennent à une classe d’objets graphiques située à l’intersection de la théorie des médias, de la sémiotique visuelle et du design. Nous montrons que leur analyse révèle un mode de fonctionnement permettant de caractériser le diagrammatique comme un nouveau régime de rationalité dans l’histoire de l’écriture. Cette étude vise ainsi à identifier les spécificités de ce régime pour commencer à caractériser sa différence avec les régimes d’écritures alphabétique et numérique. Elle ouvre sur un programme de recherche initiant (...) une nouvelle approche médiatique qui s’inscrit dans le sillage de travaux réalisés en anthropologie historique des pratiques d’écriture. (shrink)

Qu'est-ce qu'un phenomene? La pensee moderne emploie ce terme avec une forme d'evidence. On se dispute sur ce que sont les phenomenes, mais on ne doute pas qu'il y en ait ni qu'ils constituent un point de depart sur lequel on puisse construire. Ce livre, a travers une mise en perspective historique et conceptuelle globale, remet en question cette evidence. Non pas qu'il rejette la notion de phenomene, mais il essaie de comprendre d'abord de quel type de decision philosophique elle (...) est le produit et quel type de montage elle suppose. Sur cette base, il met en lumiere sous quelles conditions on peut effectivement parler de phenomenes et dissipe la mythologie liee a un emploi inconditionne de ce terme, frequent dans la philosophie contemporaine. Contre tout phenomenalisme, il fait valoir le lien metaphysique dans lequel le langage nous met immediatement avec les choses. (shrink)

In this article, I show how Bruschi’s Le matérialisme politique de Louis Althusser offers, against all attempts conjure up a self-generating general theory of history, a reconstruction of Althusser’s work that shows how its systematicity relies upon the unfinished, incomplete and provisional character of scientific research, always subject to constant rectification. I then claim that, from the conceptualisa-tion of the reproduction of the mode of production as dependent upon the singularity of the con-juncture, to the theorisation of the encounter as (...) the source of historical necessity, this constant re-working is crucial to Althusser’s ability to grasp the reality of class struggle. (shrink)

La réflexion s’appuie dans un premier temps sur une opposition entre deux attitudes de pianistes à l’égard du travail à l’instrument : Gould, qui revendique une séparation d’avec le clavier pour ne privilégier que la lecture; Arrau, dont la technique au contraire vise à « faire corps » avec son piano. L’étude de ces deux démarches d’interprètes conduit à une conclusion croisée : l’abstraction gouldienne n’est rien d’autre qu’un déplacement du jeu vers d’autres instruments (ceux qui servent à la prise (...) de son et au montage de ses enregistrements) ; le « faire-corps » hérité de la culture pianistique romantique est plus dialectique que fusionnel, et en cela implique une capacité de mise à distance. A partir de cette double conclusion, on tâche enfin de repenser la place du jeu à l’instrument dans la mise en œuvre d’une interprétation, en interrogeant le dialogue qui s’instaure entre la partition telle qu’elle s’écrit et le geste tel qu’il se joue. (shrink)

UNIVERSITÉ PARIS 8-SAINT-DENIS – ÉCOLE DOCTORALE PRATIQUES ET THÉORIES DU SENS Vidéo de la soutenance de la thèse présentée pour l'obtention du DOCTORAT EN PHILOSOPHIE, le 9 mai 2012, 10h à l'Institut des Amériques Espace Tocqueville 175, rue de Chevaleret, 75013 Paris RYTHME, GESTE, MONTAGE ESQUISSE POUR UNE TECHNOLOGICO-POLITIQUE PAR LE CINÉMA par ROMAN DOMINGUEZ JIMENEZ Sous la direction du Professeur émérite Alain Brossat Membres du jury : René SCHÉRER PR - Philosophie – Nouvel article.

Nous étudions un traité scientifique en langue arabe, achevé à Belgrade en 1779. Son titre est L’Offrande du converti pour ranimer la flamme éteinte. Il ne fut jamais imprimé, mais dix copies, d’aspect semblable à celui des manuscrits arabes traditionnels, attestent de sa circulation dans l’Empire ottoman. L’auteur, un converti à l’islam qu’on appelait Osman Efendi, y aborde la géométrie euclidienne, la géométrie d’arpentage, la dynamique galiléenne et leurs applications aux sciences militaires. Il affiche son ambition de « faire revivre (...) et renouveler » la géométrie, « science oubliée et délaissée », et révèle in fine avoir pour cela traduit des livres allemands et français. Après un essai de reconstruction de la biographie d’Osman Efendi, nous montrerons que son ouvrage est en réalité une production élaborée, dépassant largement la simple démarche de traduction. Montage soigneux de différentes sources européennes que nous identifierons, il incorpore aussi un grand nombre d’éléments directement empruntés au savoir islamique de la tradition vivante. Il est ainsi le témoin remarquable d’une tentative de constitution d’un savoir hybride euro-islamique. (shrink)

Nous étudions un traité scientifique en langue arabe, achevé à Belgrade en 1779. Son titre est L’Offrande du converti pour ranimer la flamme éteinte. Il ne fut jamais imprimé, mais dix copies, d’aspect semblable à celui des manuscrits arabes traditionnels, attestent de sa circulation dans l’Empire ottoman. L’auteur, un converti à l’islam qu’on appelait Osman Efendi, y aborde la géométrie euclidienne, la géométrie d’arpentage, la dynamique galiléenne et leurs applications aux sciences militaires. Il affiche son ambition de « faire revivre (...) et renouveler » la géométrie, « science oubliée et délaissée », et révèle in fine avoir pour cela traduit des livres allemands et français. Après un essai de reconstruction de la biographie d’Osman Efendi, nous montrerons que son ouvrage est en réalité une production élaborée, dépassant largement la simple démarche de traduction. Montage soigneux de différentes sources européennes que nous identifierons, il incorpore aussi un grand nombre d’éléments directement empruntés au savoir islamique de la tradition vivante. Il est ainsi le témoin remarquable d’une tentative de constitution d’un savoir hybride euro-islamique. (shrink)

"On se prend à rêver la situation de Nietzsche faisant retour sur sa vie pour écrire lui-même l'origine de sa pensée dans un livre qui montre qu'il se crée lui-même en tant que dieu-philosophe de l'écriture dionysiaque." (Sarah Kofman) Jugnon le sait de longue date qui s'en est fait tôt une méthode, ou un moyen, ou une liberté supplémentaires, dont chacun des livres tient à la fois de l'installation, du montage, du collage. Il en a l'art. l'Ivre Nietzsche n'y (...) déroge pas. Installation, montage, collage, pas pour que joue ensemble ce qui n'aurait rien à voir, mais pour que fasse "ensemble" ce qu'on n'a jamais fait jouer. Nul mieux que lui ne lit sans doute ; nul mieux que lui ne lie, surtout, lisant, écrivant, qui lit pour lier, c'est-à-dire qui lit doublement, amenant au jour, montrant des formes (d'écriture, de pensée) inaperçues jusqu'alors, qu'il mélange dans un shaker, qu'il agite ensuite. Agitation iconoclaste : le cocktail est raide, fait pour l'ivresse, fait pour danser & penser, comme on danse & pense (denser/panser) sous un volcan, comme danse & pense l'ivre vice-consul d'Au-dessous du volcan — lui aussi pris dans l'effroi de son éternel retour propre. Michel Surya. (shrink)

L'art du fragment s'entend comme l'art de vivre. Non seulement l'effet d'une intention d'art, mais une façon particulière d'oeuvrer. Si le fragment dans l'art évoque l'étude historique ou théorique des formes du fragment, l'art du fragment désigne plutôt un enjeu de l'éthique artistique. Fragment évoque les petites formes (tel l'haïku), fragmentation, le montage des morceaux, fragmentaire, une révolte contre la totalité, et fragmentai, une sorte de suspens, un assemblage ouvert. Dans toutes ces modalités, qu'on considère ici en littérature, musique (...) et cinéma, s'instaure la variation d'un jeu entre frontières apparentes et frontières souterraines, entre limites de surface et déterminations sous-jacentes. (shrink)

L’articolo ragiona intorno al film-saggio Histoire(s) du cinéma (1988-1998) di Jean-Luc Godard e si sofferma in particolare su un controverso montaggio in cui il regista francese accosta estratti da un film pornografico, Freaks di Tod Browning e riprese dai campi di concentramento. In questa sequenza Godard sottopone a una verifica estrema la sua teoria del montaggio, l’idea della riconciliazione, destinata a produrre scintille di pensiero, tra realtà contrapposte. Questa forzatura delle immagini richiama un’analoga forzatura del testimone mostrata in una scena (...) del documentario Shoah di Claude Lanzmann. Interpretando lo shock prodotto dal montaggio delle Histoire(s), l’articolo approfondisce il tema della degradazione dello statuto indessicale della pellicola, dei limiti della rappresentazione, dell’etica dello sguardo. (shrink)

_Althusser and His Contemporaries_ alters and expands understanding of Louis Althusser and French philosophy of the 1960s and 1970s. Thousands of pages of previously unpublished work from different periods of Althusser's career have been made available in French since his death in 1990. Based on meticulous study of the philosopher's posthumous publications, as well as his unpublished manuscripts, lecture notes, letters, and marginalia, Warren Montag provides a thoroughgoing reevaluation of Althusser's philosophical project. Montag shows that the theorist was intensely engaged (...) with the work of his contemporaries, particularly Foucault, Derrida, Deleuze, and Lacan. Examining Althusser's philosophy as a series of encounters with his peers' thought, Montag contends that Althusser's major philosophical confrontations revolved around three themes: structure, subject, and beginnings and endings. Reading Althusser reading his contemporaries, Montag sheds new light on structuralism, poststructuralism, and the extraordinary moment of French thought in the 1960s and 1970s. (shrink)

= = Scripture and nature: the materiality of the letter The authority of Plato, Aristotle or Socrates carries little weight with me. ...

The words in children's language learning environments are strongly predictive of cognitive development and school achievement. But how do we measure language environments and do so at the scale of the many words that children hear day in, day out? The quantity and quality of words in a child's input are typically measured in terms of total amount of talk and the lexical diversity in that talk. There are disagreements in the literature whether amount or diversity is the more critical (...) measure of the input. Here we analyze the properties of a large corpus of speech to children and simulate learning environments that differ in amount of talk per unit time, lexical diversity, and the contexts of talk. The central conclusion is that what researchers need to theoretically understand, measure, and change is not the total amount of words, or the diversity of words, but the function that relates total words to the diversity of words, and how that function changes across different contexts of talk. (shrink)

Modeled on THE NEW NIETZSCHE, this collection revitalizes the thought of Spinoza. These essays establish Spinoza's rightful role in the development and direction of contemporary continental philosophy. The volume should interest not only the growing group of scholars attracted to Spinoza's ideas on ethics, politics, and subjectivity, but also theorists in a variety of fields.

Artificial intelligence represents a key technology being inbuilt into evermore products. Research investigating attitudes towards artificial intelligence surprisingly is still scarce, although it becomes apparent that artificial intelligence will shape societies around the globe. To better understand individual differences in attitudes towards artificial intelligence, the present study investigated in n = 351 participants associations between the Affective Neuroscience Personality Scales (ANPS) and the Attitudes towards Artificial Intelligence framework (ATAI). It could be observed that in particular higher levels of SADNESS were (...) associated with higher negative attitudes towards AI (fearing AI). The findings are discussed in this work from an evolutionary perspective because primary emotional systems—according to Affective Neuroscience Theory—represent tools for survival, which have been homologously conserved across mammalian species including homo sapiens. (shrink)

The Other Adam Smith represents the next wave of critical thinking about the still under-examined work of this paradigmatic Enlightenment thinker. Not simply another book about Adam Smith, it allows and even necessitates his inclusion in the realm of theory in the broadest sense. Moving beyond his usual economic and moral philosophical texts, Mike Hill and Warren Montag take seriously Smith's entire corpus, his writing on knowledge, affect, sociability and government, and political economy, as constituting a comprehensive—though highly contestable—system of (...) thought. We meet not just Smith the economist, but Smith the philosopher, Smith the literary critic, Smith the historian, and Smith the anthropologist. Placed in relation to key thinkers such as Hume, Lord Kames, Fielding, Hayek, Von Mises, and Agamben, this other Adam Smith, far from being localized in the history of eighteenth-century economic thought or ideas, stands at the center of the most vibrant and contentious debates of the twentieth and twenty-first centuries. (shrink)

Explores the core of Balibars work since 1980This collection explores Balibars rethinking of the connections between subjection and subjectivity by tracing the genealogies of these concepts in their discursive history. The 12 essays provide an overview of Balibars work after his collaboration with Althusser. They explain and expand his framework; in particular, by restoring Arabic and Islamic thought to the conversation on the citizen subject. The collection includes two previously untranslated essays by Balibar himself on Carl Schmitt and Thomas Hobbes. (...) Key FeaturesThe first English-language edited collection to focus on BalibarPresents and explains Balibars key contributions to political theory and the history of political philosophyIncludes two essays by Balibar himself on Carl Schmitt and Thomas Hobbes: 'Schmitts Hobbes, Hobbess Schmitt' and 'The Mortal God and his Faithful Subjects: Hobbes, Schmitt and the Antinomies of Secularism'Contributors include Atienne Balibar, Nancy Armstrong, Giorgos Fourtounis, Mohamed Moulfi. (shrink)

The Hiatus of Sense. Framing and Cinematic Montage according to Eisenstein and Merleau-Ponty“Cinema portrays movement, but how? Is it, as we are inclined to believe, by copying more closely the changes of place? We may presume not, since slow motion shows a body floating between objects like seaweed, but not moving itself.” This interrogation constitutes the only allusion to the cinema in Eye and Mind, and, by reading the argumentation developed in this work, one cannot help thinking that the (...) role which it reserves for cinema is, finally, to be the simple revelation of the illusions of naïve consciousness in relation to movement. Nothing is said about the expressive movement of cinema itself. Nothing is said about the logic of cinematic sense and therefore of cinematic language. Does this mean that Merleau-Ponty, up to the end of his life, had a relationship to cinema that was merely supplementary, that he always privileged the analysis of pictorial, musical, or literary aesthetic experiences?In contrast, we propose to establish that his philosophical position cannot be characterized by the idea that he held the cinema in an ancillary role and status because, in other texts, Merleau-Ponty knew how to decipher in cinema, to a large degree, the enigma of movement as the form of expressivity. But we will argue here that he knew it only up to a certain point. This is what a discussion with the theoretical writings of Sergei Einstein will have to establish. We shall seek to rediscover the philosophical – and even ontological – reasons for this state of things which, if one wants to preserve for cinema the characteristic that allows it to be stimulating for thought, must not under any circumstances be interpreted as the simple result of Merleau-Ponty not having enough interest in the cinema.Lo scarto del senso. Inquadratura e montaggio cinematografico secondo Eisenstein e Merleau-Ponty«Il cinema ci dà il movimento, ma come? Forse, come generalmente si crede, riproducendo il più ravvicinatamente possibile il cambiamento di luogo ? Pare proprio di no: infatti il rallentatore ci mostra un corpo che fluttua tra gli oggetti come un’alga, ma che non si muove»Questa interrogazione costituisce la sola allusione al cinema ne L’occhio e lo spirito e, leggendo l’argomentazione sviluppata in quest’opera, non si può evitare di pensare che il ruolo che essa riserva al cinema sia, in fin dei conti, quello di essere un semplice rivelatore di illusioni della coscienza ingenua di fronte al movimento. Nulla viene detto a proposito del movimento espressivo del cinema in se stesso. Nulla viene detto della logica del senso cinematografico e dunque del linguaggio cinematografico. Questo significa forse che Merleau-Ponty ha avuto, fino alla fine della sua vita, solo un rapporto accessorio con il cinema, e che ha sempre privilegiato l’analisi delle esperienze estetiche pittoriche, musicali o letterarie?Ci proponiamo, al contrario, di stabilire che la sua posizione filosofica non può essere caratterizzata dal mantenimento del cinema in un ruolo ed in uno statuto ancillare, poiché, in altri testi, Merleau-Ponty ha saputo in gran parte decifrare l’enigma del movimento come forma d’espressività al cinema. Questo è quanto un confronto con gli scritti teorici di Sergei Eisenstein ci dovrà permettere di stabilire. Cercheremo di reperire le ragioni filosofiche – ed ontologiche – di questo stato di cose, che non deve essere in nessun caso interpretato, se si vuole conservare il suo carattere stimolante per il pensiero, come il semplice risultato di uno scarso interesse di Merleau-Ponty per il cinema. (shrink)

The Hiatus of Sense. Framing and Cinematic Montage according to Eisenstein and Merleau-Ponty“Cinema portrays movement, but how? Is it, as we are inclined to believe, by copying more closely the changes of place? We may presume not, since slow motion shows a body floating between objects like seaweed, but not moving itself.” This interrogation constitutes the only allusion to the cinema in Eye and Mind, and, by reading the argumentation developed in this work, one cannot help thinking that the (...) role which it reserves for cinema is, finally, to be the simple revelation of the illusions of naïve consciousness in relation to movement. Nothing is said about the expressive movement of cinema itself. Nothing is said about the logic of cinematic sense and therefore of cinematic language. Does this mean that Merleau-Ponty, up to the end of his life, had a relationship to cinema that was merely supplementary, that he always privileged the analysis of pictorial, musical, or literary aesthetic experiences?In contrast, we propose to establish that his philosophical position cannot be characterized by the idea that he held the cinema in an ancillary role and status because, in other texts, Merleau-Ponty knew how to decipher in cinema, to a large degree, the enigma of movement as the form of expressivity. But we will argue here that he knew it only up to a certain point. This is what a discussion with the theoretical writings of Sergei Einstein will have to establish. We shall seek to rediscover the philosophical – and even ontological – reasons for this state of things which, if one wants to preserve for cinema the characteristic that allows it to be stimulating for thought, must not under any circumstances be interpreted as the simple result of Merleau-Ponty not having enough interest in the cinema.Lo scarto del senso. Inquadratura e montaggio cinematografico secondo Eisenstein e Merleau-Ponty«Il cinema ci dà il movimento, ma come? Forse, come generalmente si crede, riproducendo il più ravvicinatamente possibile il cambiamento di luogo? Pare proprio di no: infatti il rallentatore ci mostra un corpo che fluttua tra gli oggetti come un’alga, ma che non si muove»Questa interrogazione costituisce la sola allusione al cinema ne L’occhio e lo spirito e, leggendo l’argomentazione sviluppata in quest’opera, non si può evitare di pensare che il ruolo che essa riserva al cinema sia, in fin dei conti, quello di essere un semplice rivelatore di illusioni della coscienza ingenua di fronte al movimento. Nulla viene detto a proposito del movimento espressivo del cinema in se stesso. Nulla viene detto della logica del senso cinematografico e dunque del linguaggio cinematografico. Questo significa forse che Merleau-Ponty ha avuto, fino alla fine della sua vita, solo un rapporto accessorio con il cinema, e che ha sempre privilegiato l’analisi delle esperienze estetiche pittoriche, musicali o letterarie?Ci proponiamo, al contrario, di stabilire che la sua posizione filosofica non può essere caratterizzata dal mantenimento del cinema in un ruolo ed in uno statuto ancillare, poiché, in altri testi, Merleau-Ponty ha saputo in gran parte decifrare l’enigma del movimento come forma d’espressività al cinema. Questo è quanto un confronto con gli scritti teorici di Sergei Eisenstein ci dovrà permettere di stabilire. Cercheremo di reperire le ragioni filosofiche – ed ontologiche – di questo stato di cose, che non deve essere in nessun caso interpretato, se si vuole conservare il suo carattere stimolante per il pensiero, come il semplice risultato di uno scarso interesse di Merleau-Ponty per il cinema. (shrink)

This essay is an interpretation of the work of Jean-Luc Godard: Histoire du cinéma. There are two main objectives of the text. First, to analyze audio-visual mediations on the political construction of memory. Therefore, I will study the way Jean-Luc Godard´s films articulate the cinematographic history of the Twentieth century, inspired by a central motif: the idea of failure and mourning. Secondly, I´d like to establish a dialogue between the ‘pathologies of memory’ – as reported by Godard in critical connection (...) with the mass-media comsuption regime – and the ‘policies’ of the images and montage, proposed by Walter Benjamin an his ‘dialectics of seeing’. (shrink)

t. 1. Compendia et logica -- t. 2. Moralis -- t. 3. Metaphysica -- t. 4. Physica generalis -- t. 5. Physica particularis.

In July 1976, Althusser delivered a lecture in Spain on the topic of the dictatorship of the proletariat. At the moment that many Western European Communist parties sought formally or informally to distance themselves from the dictatorships of both West and East, Althusser proposed to examine the emergence of the concept of the proletarian dictatorship in a specificity. The debates of the mid-seventies, he argued, obscured or repressed the concept’s corollary: the dictatorship of the bourgeoisie, a notion that made visible (...) the forms of coercion and control characteristic of ‘bourgeois democracy’. To ignore the latter was to risk squandering the opportunities the conjuncture offered and suffer both political and theoretical regression. (shrink)

Reading of Folie et déraison. In 1963, Althusser gave a lecture on Foucault’s Folie et deraison to his seminar on structuralism. His notes, the only written record of his impassioned encounter with this text, suggest that he was particularly interested in the way Foucault defined culture not on the basis of the values it proclaimed, but through that which it rejected and refused. Althusser distinguished Foucault’s analysis from those of Husserl and Nietzsche, both of whom also theorized the necessary acts (...) of repression by which a culture constitues itself. While Husserl demonstrated the forgetting and concealment of origins, and Nietzsche their destruction, Foucault’s work, according to Althusser, opens the possibility of thinking history without the category of origin, even if Foucault did not entirely escape the transendental temptation. (shrink)

Over a decade ago, a number of philosophers declared that the time of what they called “the linguistic turn,” that is, a philosophical orientation to language as the sole medium through which reality could be apprehended, had come to an end, having foundered on its own contradictions. In its place, they proposed a turn to objects or things, that is, that to which we were previously told we could gain access only through language or consciousness, insofar as they reflected or (...) represented reality from a position outside of it. Thus, they established the materiality of objects, but at the expense of a dematerialization of language. One of the principal targets of the new materialism was the concept of ideology, to them a realm of ideas, not things. In his famous essay, “Ideology and Ideological State Apparatuses,” published in 1970, Althusser preempted the arguments of the new materialism by asserting that ideology does not consist of ideas but exists in the materiality of apparatuses, practices and rituals. Just as importantly, discourse too possessed a materiality and a reality which was the necessary condition of its functions, including the production of meaning. (shrink)

“What does ‘interpellation’ actually mean?” asks Warren Montag. Returning to the foundational concept of Althusser’s writings, Montag highlights its difficulty and importance. Examining what appears to be a settled matter, Montag argues for a renewed interest in the violence underpinning the concept: “there is nothing illusory about the means of subjection,” he writes.