This paper poses a relationship between pragmatist understandings of intersubjective communication and long-term “dialogical art” practices promoting social change. Art historian Grant Kester contends that two dialogical art projects by Suzanne Lacy and Austrian Art collective WochenKlausur reflect Habermas’ theory of communicative action through which the “better argument” is universally validated. Kester simultaneously acknowledges such projects inculcate non-competitive modes of intersubjective exchange that appear contrary to Habermas. I look at the “philosophical narrative” debates between Richard Rorty and Habermas to suggest (...) that Rorty’s eschewal of Habermasian rationalization in favor of affective modes of contingent solidarity, taken with Nancy Fraser’s understanding of enmeshed public/private discourse in the context of feminist counterpublics, draws out the political-ethical orientation of activist dialogical art practices. (shrink)

Heidegger's writings on this subject remain important for us. First, because Americanism would refer to what we now call "globalization," and second, because it addresses the very possibility of "philosophical" thinking. This paper tries to push Heidegger's criticism to the very extreme in order to discover where its logic begins to strain, and thereby to generate new insights concerning the relationship between technology and thinking. (edited).