Mad Men, Death and the American Dream
Democratic Politics in the Age of Post-Fordism
The Market in Wonderland
The Production of Subjectivity
To begin our journey, we must first examine the question of art as beauty and of aesthetics as a branch of philosophy—not simply as a theory of perception, but first and foremost as a science of the ‘beautiful’ and the ‘sublime’.
To begin our journey, we must first examine the question of art as beauty and of aesthetics as a branch of philosophy—not simply as a theory of perception, but first and foremost as a science of the ‘beautiful’ and the ‘sublime’. In the early modern period, whenever the arts are mentioned, they are almost always referred to as the ‘fine’ or beautiful arts. As is well-known, aesthetics has two beginnings; in the eighteenth century and in the nineteenth century. Alexander Baumgarten first defined aesthetics as a scientia sensitiva or science of perception. In German Idealism, Georg Wilhelm Friedrich Hegel, Friedrich Wilhelm Joseph Schelling, and Friedrich Hölderlin revisited aesthetics, defining it as a theory of art. The relationship between the two is not immediately clear. The former was grounded mostly in aisthēsis, a form of cognition classified as belonging to the physical abilities of sensations, and was situated in the lower...
It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire already recognises as existent.
1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. On the contrary, it is the production of an infinite subjective series, through the finite means of a material subtraction.
2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.
3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible qua sensible. This means: the transformation of the sensible into an happening of the Idea.
4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalising this plurality.
5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of...
We cannot assume that all government/terrorist interactions will take the form of a two-person zero-sum game.
After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.