In recent years attention to the philosophical and literary production of P. A. Florenskii has become commonplace. The thinker's intellectual legacy is very great. In September 1919, Florenskii wrote a prospectus for a collection of his own writings, which would have amounted to nineteen volumes. The collection was not published, for a number of reasons; nonetheless, many of the philosopher's works did come out during his lifetime. Florenskii's writing, published in small editions and scattered among various journals, are still quite (...) inaccessible to readers. (shrink)

Russian Romanticism, which first acquired recognizable contours in the 1820s, was a substantively significant phenomenon in Russian culture. Russian Romanticism assumed the unique forms of a sociophilosophical and literaryesthetic current that did not take shape within the confines of a purely literary movement. Romanticism was an important element in the culturalhistorical development of mankind; it was a special type of philosophicalhistorical interpretation of the world and a special type of esthetic awareness and literary-artistic conduct.

When young children learn to use language, they start to use their hands in co‐verbal gesturing. There are, however, considerable differences between children, and it is not completely understood what these individual differences are due to. We studied how children at 4 years of age employ speech and iconic gestures to convey meaning in different kinds of spatial event descriptions, and how this relates to their cognitive abilities. Focusing on spontaneous illustrations of actions, we applied a semantic feature (SF) analysis (...) to characterize combinations of speech and gesture meaning and related them to the child's visual‐spatial abilities or abstract/concrete reasoning abilities (measured using the standardized SON‐R test). Results show that children with higher cognitive abilities convey significantly more meaning via gesture and less solely via speech. These findings suggest that young children's use of cospeech representational gesturing is positively related to their mental representation and reasoning abilities. (shrink)

Increasingly, the private sector is playing a greater role in supporting peace building efforts in conflict and post-conflict areas by providing critical expertise, know-how, and capital. However, reports of the corrupt practices of both governments and businesses have plagued international peace building efforts, deepening the distrust of stricken communities. Businesses are perceived as being selfish and indifferent to the impact their operations may have on the social and political development of local communities. Additionally, the corruption of local governments has been (...) cited as interfering with the creation of stability in conflict areas. Within this framework, multinational Public-Private Partnerships can exert two forms of influence: they can either exacerbate these problems, or they can become part of the solution. Without a relationship of trust among local businesses, government, and the private sector, peace building efforts will at best be mixed, and could possibly perpetuate violence in fragile states. Public and private interests are better served when Public-Private Partnerships are based upon collaboration and assist in establishing principles of good governance in conflict areas. This in turn can help build trust and regain the credibility of both sectors among local communities, which are essential in making Public— Private Partnerships more effective. (shrink)

I would like to begin with the role of philosophy in solving ecological problems, emphasizing two aspects of its role: the struggle against hostile ideology and the organizing and guiding of activity in the sphere of the development of science and the shaping of its problems. This role of Marxist-Leninist philosophy clearly appears in the complex interdisciplinary problem of the interaction between nature and society.

No crucial experiment demonstrates that four hue categories are needed to describe color appearance. Instead, converging lines of evidence suggest that the terms red, yellow, green, and blue are sufficient and precise enough for deriving color discrimination functions and for a useful model constraining relations between color appearance and neuronal responses. Such a model need not be based on linguistic universals. Until something better is available, this holds.

O século XX trouxe uma ciência impossível: a ciência da mente. Esta ciência ignora os problemas semiológico, nosológico e sociocultural a ela inerentes e que a inviabilizam. Como resultado, observamos a criação de uma pandemia global de transtornos mentais, majoritariamente administrados através de psicofármacos. Em contraponto, o pensamento filosófico desafia esta logica desde Canguilhem, passando por Michel Foucault, Deleuze & Guattari, dentre tantos outros. E da Éticaespinosana dos afetos e afecções, nasceu a Heterogênese Urbana (HU), que tem como objeto original (...) a revitalização criativa das potências humanas através do contato entre subjetividades diversas. Etimologicamente, “criação a partir e com a diversidade”. Com a circulação dos afetos, dos desejos, das ideias nos espaços públicos, a HU promove, fenomenologicamente, a expressão daquilo que, antes permanecia invisível e indizível face o silêncio da vida da cidade. Os campos de afetações intersubjetivo e intercorpóreo entre vidas tão distintas desloca e descola o olhar fundado na psicopatologia clássica para atravessar a vida da cidade pelas potências que cada indivíduo é capaz nas experiências coletivas.A HU denuncia a multicomplexidade do conceito “produção de saúde”, que apenas inicia-se nas práticas biomédicas, compreendendo todos os saberes para a construção do cidadão autônomo e afetivo. (shrink)

Philosophizing at Russian theological academies is a complex and ramified cultural-historical formation that developed within the Orthodox confession and goes back to the earliest stages of Russian religious-philosophical culture. The formal content of this concept consists of the philosophy courses taught at the Russian theological academies, established on the basis of the 1809 Charter of Theological Academies, and of the philosophical works of the professors and lecturers at these academies, mostly the philosophical articles in the theological journals published by the (...) academies. (shrink)

The paper is devoted to Nikolay Lossky who was one of the leading Russian philosophers of the first half of the twentieth century. We demonstrate the interrelationship between three aspects of Lossky’s philosophy: realism in the theory of knowledge, hierarchical personalism, and supra-naturalistic concept of evolution. We pay attention to the contemporary relevance of Lossky, and we discuss and critique his ideas in light of those of other philosophers. Lossky acknowledges that the subject interacts with being itself and that knowledge (...) is not a shadow or copy of being. His ontology is based on intuitivism and epistemological optimism. Its main categories are God, as the super-systematic principle, and monads. In Lossky’s metaphysics, the idea of abstract ideal principles of being is quite harmoniously combined with personalism. Lossky’s ontology has strong ethical underpinnings. He considers that values are rooted in being and that the evolution of the world is directed by God towards the good. Lossky elaborates a supra-naturalistic concept of evolution. He extrapolates principles of teleological determination, which are fundamental to human existence, on the underlying levels of the world as a whole. Many trends of modern thought are in tune with Lossky’s philosophy, including a return to metaphysics, panpsychism, Platonism, and the desire to unite the religious worldview with new scientific discoveries. (shrink)

The gesture-as-simulated-action framework explains the occurrence of iconic gestures. Accordingly, simulated visual imagery gives rise to observer-viewpoint, whereas simulated motor imagery gives rise to character-viewpoint gestures. Because little is known about whether this relationship is either the product of becoming a competent speaker in different communicative tasks or exists from an early age, we investigated 4-year-olds. In the first session, 55 children performed three different communicative tasks. In the second session, we administered a SON-R non-verbal intelligence test to assess children’s (...) cognitive abilities. Results revealed a strong association between the frequency with which children used observer-viewpoints gestures and their scores in visual processing abilities. Because the association between gestures and visuospatial cognitive abilities was found across three communicative tasks, we can propose that it is a general ability rather than a phenomenon of task-specific discourse competence. We discuss these findings in terms of gestural threshold and cognitive offloading. (shrink)

Levinas Faces Biblical Figures captures the drama of the encounter between a great philosopher and a text of primary importance. The book considers the ways in which Levinas's thoughts can open up the biblical text to requestioning, and how the biblical text can inform our reading of Levinas.

This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of the (...) work is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art. (shrink)

Describing some of Marina Abramović’s performances, this essay aims to provide one possible philosophical framework in what concerns this form of art. The scope of presence in Abramović is enlighten by employing some vocabulary from a certain body poetics into the embodiment reflection, and ontological issues in performance come out when thinking about re-performance possibilities.

Bajo la inspiración de la performance Lips of Thomas de Marina Abramovic, se examinan en este trabajo las fisuras y las paradojas que plantea un posible circuito interpersonal del dolor, en el que se distinguen al menos cuatro momentos: experiencia álgica, expresión doliente, reconocimiento y comportamiento de ayuda. Nos detenemos especialmente en el caso de una experiencia álgica a la que no corresponde sorprendentemente una expresión, y también en el caso de una expresión doliente que ha de superar múltiples dificultades (...) para su reconocimiento. Mientras que el dolor agudo parece el verdadero actor que se despliega y manifiesta en la escena sin abrir apenas espacio a una modulación personal, el dolor crónico puede llegar a exigir una cuidadosa puesta en escena para alcanzar paradójicamente el reconocimiento de su mera realidad. Las múltiples fisuras y paradojas en la experiencia, expresión y reconocimiento del dolor pueden deberse, en definitiva, no a una disfunción casual de un circuito funcional y operante, sino al carácter disruptivo, destructivo o aberrante de una experiencia álgica que se manifiesta en último término como experiencia del mal. (shrink)

The Onion is a 1995 video performance by Marina Abramović. The essay aims at analyzing some central themes of the artist’s path, taking this work as reference text. First of all, by including the artist in the process of dissolution of beauty marking the art of the Twentieth century and regarding performance art as one of the outcomes of this process inaugurated by the avant-gardes. Secondly, by showing the link between the political dimension and an existential reflection focused on (...) the role of the artist and the woman in the contemporary world. (shrink)

Lyotard’s references to film and video are so limited, it should be relatively easy to expand his repertoire and consider his thoughts in relation to those of my own. But I have struggled, and skirted round my chosen topic for too long; how can his ideas be brought to play productively to my own ends – to consider the relationship of performance art to film? Perhaps that is the problem: I have sought a productive return on my investment, rather than (...) light that match simply to watch it burn. Listen to me, then, as I set fire to the skin of the film and confront the tangled mess of melted celluloid: after the performance. This article considers aspects of Marina Abramović in The Artist is Present (dir. Akers, 2012), Stuart Brisley’s performance in Ghost Dance (dir. McMullen, 1983) and a short video and dance by Kiff Bamford. (shrink)

S pamfletom Avtoemancipacija! (1882), temeljnim besedilom zgodnjega judovskega nacionalizma, je Leon Pinsker po nekaterih argumentih uveljavil sionizem kot nemško govoreče in pišoče gibanje. Kmalu po izidu pamfleta je priznani jidiš pisatelj Šolem Jankev Abramovič objavil njegov prevod v jidiš (1884). V Abramovičevi različici so nemški oziroma zahodnoevropski politični in kulturni koncepti ter besednjak prirejeni vzhodnoevropskemu, judovskemu, jidiš govorečemu okolju, kar vključuje spremembe v besedišču, retoričnih strategijah in kulturnih referencah. Abramovič je pamflet predelal v skladu s svojim razmislekom o stiski Judov (...) v Ruskem imperiju in njeni mogoči nacionalistični rešitvi, s čimer se je ukvarjal tudi v svojih sočasnih romanih. V članku primerjam, kako so v obeh besedilih izraženi nekateri družbenopolitični koncepti, da bi ugotovil, ali Abramovič s svojo ideološko skepso prefinjeno priredi tudi vsebino nacionalistične teze. (shrink)

Contemporary theatre allows for a script, a scenario, that is exclusively visual. If action is no longer supported by dialogue, this does not mean that it will disappear. It will undoubtedly return in gestural exchange and in a temporality that is expansive or contracted and condensed. Action becomes an opaque enigma. The interpretation of performative action is a journey that the spectator undertakes in a foreign country, where we are forced to learn a new language. It remains to be seen (...) what the reaction and the work of interpretation of the spectator would be when confronted with an action knowingly deprived of any meaningful anchor or referent. Would it merely be confusion? Confusion and an interpretative effort that often comes to an end by a harsh defeat: the aesthetic of the performative represents a moment of rupture in the process of rethinking of the traditional relationship between artist and spectator. (shrink)

M’appuyant sur la pratique de l’artiste Marina Abramović qui vise à constituer la performance en art de répertoire, je propose dans cet article une ontologie des œuvres performatives. Est-il possible de re-performer une œuvre du passé, comme on exécuterait une œuvre musicale définie par sa partition? La question philosophique que j’adresse s’inscrit dans le cadre d’une ontologie appliquée sensible aux problèmes concrets que soulèvent certaines pratiques bien identifiées dans le monde de l’art : identification, préservation et conservation des œuvres. (...) J’examine successivement différentes hypothèses : une performance artistique est un événement typique identifié par son script et multiplement instanciable ; la performance artistique est l’énonciation d’une idée ; la performance artistique est un événement doublement initié et par le contexte de sa composition et par celui de son exécution. Ces différentes formulations conduisent à interroger la place de l’interprète dans les performances artistiques. Ma contribution principale consiste à mettre au jour les conditions de félicité des œuvres performatives et à interroger la relation que ces conditions de félicité entretiennent avec les critères d’identification des œuvres dans le cadre d’une interprétation contextualiste de l’ontologie. (shrink)

Currently, art takes on the characteristics of a secular religion: it offers identity, dogmas, canons, experiences of transcendence and provides a certain worldly salvation without demanding any commitment to a creed or a doctrine. I will illustrate this through the example of the performance Marina Abramovic carried out at the Museum of Modern Art (MoMA) in The Artist is Present (2010). I will connect this to the distinction that Agamben has set between the concepts of secularization and desecration: while secularization (...) displaces the forces from one place to another, leaving them intact, desecration involves neutralizing the desecrated, eliminating its aura and putting it back to use. Even though it is commonly believed that contemporary art desecrates realities, I will try to show that actually it secularizes them. Art brings with it the strength and meaning of the religious and keeps the integrity of the auratic space within the artistic realm. This is one of the reasons why transgression in art is such an important topic for theorists: it is a constant effort to redefine the limits between what is considered sacred (and art has a decisive power on that) and what is profane (not sacred anymore or not yet). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Eternal Present: Slow Knowledge and the Renewal of TimeDouglas E. ChristieA woman is seated in a chair at the center of a large, light-filled atrium. Across from her sits an adolescent girl, Asian or Asian-American, maybe thirteen years old. They are both perfectly still. They look intently at each other. That is all. Minute after minute passes. Neither of them moves. I look more closely. Utter stillness. Not (...) quite repose, for there is a sense of intentionality to their engagement with each other, but deep stillness and calm. I look around the room and see a hundred or so persons also taking in the scene. Everyone is silent, though there are occasional sounds—shoes shuffling on the floor, a cough, a sigh. It takes me a few minutes to understand what is going on, what I am seeing. I feel my own anxiety to place myself somehow in this scene, to find the appropriate categories for grasping what is unfolding before me. I ask a person nearby; he tells me: it’s Marina Abramovic. She is performing “The Artist Is Present,” part of a retrospective of her work at the Museum of Modern Art in New York City.1 “Oh,” I say, “thanks.” It’s performance art. Got it. But knowing this only helps a little. What are they doing? What is going on here? What is my part, if any, in what is happening? My mind, as usual, is racing ahead trying to figure it out. Which in this moment I cannot do. So, I pause (inwardly), take a step back and try to reorient myself. I take a breath, then another. I look again at the two figures.Their stillness is uncanny. This is part of what is making me anxious, I think. They are absorbed completely in the simple act of gazing at each other. I smile, thinking at first of the “stare-downs” I used to have with my brother when we were kids. Who would flinch (and fall into uncontrollable laughter) first? It was a game of chicken. With the eyes. Usually it was of short duration, and someone had to lose. This is different. The quality of attention, in particular, feels utterly different. These two are not trying to knock each other off their chairs. No one is trying to “win” at anything. They are, it seems, simply giving themselves to the work of beholding and being beheld. Extraordinary. I am not sitting in the chair. But I feel a jolt run through my body as I begin to feel the depth and power of this moment. The sense of nakedness, of naked abandon, of vulnerability. What else? Tenderness. Yes, I sense a certain tenderness passing between these two figures. And not just between them. Also touching those of us gathered in the room watching them. How is that possible? We are all [End Page 13] strangers to one another after all. And yet within this space, for these few moments there is a remarkable and palpable sense of intimacy.I am not sure at how long I stand there. But after a while, I feel the need to move, to get some relief from the intensity of this exchange. I leave the room where the artist and her companion are sitting and walk into a nearby gallery. (Later I learn that anyone visiting the museum can occupy the chair opposite the artist and that over the course of the exhibit many, many people do just that.) I am not ready to look at anything else, not yet. I have to gather myself a little first.Eventually, I do begin to take in some of the other art in the museum. But my mind keeps returning to that room and to those two seated figures. During the next couple of hours, I return to the atrium several more times. Each time I do, I am struck by how still these two figures are, how alive. Also how still and alive I feel entering into that space. Those of us beholding the scene are respectful and quiet but also animated, exchanging brief whispers, glances, smiles. We are captivated, enthralled.Suddenly... (shrink)

This study examines how hunger narratives and performances contribute to a reconsideration of neglected or prohibited domains of thinking which only a full confrontation with the body's heterogeneity and plasticity can reveal. From literary motif or psychosomatic symptom to revolutionary gesture or existential malady, the double crux of hunger and disgust is a powerful force which can define the experience of embodiment. Kafka's fable of the "Hunger Artist" offers a matrix for the fast, while its surprising last-page revelation introduces disgust (...) as a correlative of abstinence, conscious or otherwise. Grounded in Kristeva's theory of abjection, the figure of the fraught body lurking at the heart of the negative grotesque gathers precision throughout this study, where it is employed in a widening series of contexts: suicide through overeating, starvation as self-performance or political resistance, the teratological versus the totalitarian, the anorexic harboring of death. In the process, writers and artists as diverse as Herman Melville, Percy Bysshe Shelley, Christina Rossetti, George Orwell, Knut Hamsun, J.M. Coetzee, Cindy Sherman, Pieter Breughel, Marina Abramovic, David Nebreda, Paul McCarthy, and others are brought into the discussion. By looking at the different acts of visceral, affective, and ideological resistance performed by the starving body, this book intensifies the relationship between hunger and disgust studies while offering insight into the modalities of the "dark grotesque" which inform the aesthetics and politics of hunger. It will be of value to anyone interested in the culture, politics, and subjectivity of embodiment, and scholars working within the fields of disgust studies, food studies, literary studies, cultural theory, and media studies. (shrink)

This book examines transmissibility to remind us why the vitality and epistemic significance of an artwork is anachronistic and futural. Transmissibility: Writing Aesthetic History performs a transdisciplinary philosophy of aesthetic history via the work of Gilles Deleuze and Félix Guattari, Cy Twombly, Marina Abramović, Paul Celan, Cecil Taylor, Italo Calvino, Candida Höfer, and others by focusing on the artistic and historiographic labor that differentiates artworks from other modes of creation.

In this new book, Florian Klinger gives readers a basic action-theoretical account of the aesthetic. While normal action fulfills a determinate concept, Klinger argues, aesthetic action performs an indeterminacy by suspending the action's conceptual resolution. Taking as examples work by Tino Sehgal, Kara Walker, Mazen Kerbaj, Marina Abramović, Cy Twombly, and Franz Kafka, the book examines indeterminacy in such instances as a walk that is at once leisurely and purposeful, a sound piece that is at once joyous and mournful and (...) mechanical, or, a sculpture that at once draws one in and shuts one out. Because it has irresolution as its point, aesthetic action presents itself as an unsettling of ourselves, our ways, our very sense of who we are. As performers of such action, we don't recognize one another as bearers of a shared human form as we normally would, but find ourselves tasked anew with figuring out what sharing a form would mean. In conversation with philosophers such as Kant, Hegel, Wittgenstein, and Anscombe; political thinkers such as Marx and Lorde; and contemporary interlocutors such as Michael Thompson, Sebastian Rödl, and Thomas Khurana, Klinger's book makes a case for a conception of the human form that systematically includes the aesthetic: an actualization of the form that is indeterminate and nevertheless rational. The book gives the project of Western philosophical aesthetics a long-overdue formulation for our present that aims to do justice to contemporary aesthetic production as it actually exists. It will appeal to those working in philosophy, art, and political thought. (shrink)

This article discusses works of two artists—Marina Abramović and Elżbieta Jabłońska —who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen (...) as St. Teresa of Avila while Jabłońska dons Superman’s cap. Does one have to rise above the ground to feel that cooking, cleaning, and washing up are not beyond the powers of an average woman? Are the body and the soul doomed to fight each other permanently? Each artist’s work suggests different answers and solutions. (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)

Hans Peter Riegel zählt zu den wenigen Künstlern, die gleichzeitig als Autor tätig sind. Aus dieser Position schreibt er kenntnisreich und kritisch über den Kunstmarkt sowie Künstlerinnen und Künstler. Während der Recherchen zu seinen erfolgreichen Biographien über Joseph Beuys und Jörg Immendorff hat er viele Gespräche geführt, die bislang nur in Auszügen veröffentlicht wurden. Immer wieder hat er auch für namhafte Medien geschrieben, Künstler und Kreative interviewt. Jetzt hat Hans Peter Riegel eine Auswahl dieser Texte in diesem Buch zusammengefasst. Unter (...) anderem mit Beiträgen zu Marina Abramovic, Helge Achenbach, Joseph Beuys, Tina Brown, Jörg Immendorff und Eva Presenhuber sowie Interviews mit Jörg Immendorff, Diane Keaton, Marc Spiegler und Klaus Staeck. (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)

Throughout the 2016 US presidential election, pundits repeatedly described Donald Trump as a performance artist and his campaign as performance art. Meanwhile, his alt-right supporters were mounting performance art shows, debating the meaning of Marina Abramović’s work, and developing their own theories of political performance. For experts in performance theory, such punditry and provocation is like the image in a funhouse mirror. It’s hard to make sense of such bizarre, distorted images—let alone to recognize ourselves in them. This article (...) insists that, nonetheless, we should try. Trump and his movement pose special challenges to American political culture—and also to academic performance theory. His rise has revealed the limitations of a politics (and performance theory) based on norms and their transgression. It has also given the lie to politicians’ false belief that they (and only they) are not performing their politics. The challenge now—for academics, activists, citizens, and journalists alike—is to articulate how performance works, how it provides models of cultural power. (shrink)

This essay explores the nature of being visible and its normative dimensions. In a first part, core traits of an anthropology of visibility are sketched, drawing mainly on Hans Blumenberg’s phenomenological studies. In a second part, human visibility is investigated regarding its implications for our self-understanding, for our relation to others, and for the publicness of our existence. Apart from Blumenberg, also Jean-Paul Sartre, Charles Taylor, Hannah Arendt are involved in this examination. In a third part, two ‘basic rights’ are (...) brought into focus: the right to be seen and the right to remain unseen. In addition to the philosophical exploration, texts by Ralph Ellison, Elena Ferrante and Dave Eggers are discussed as literary references. In a fourth part, a performance by Marina Abramovic that thematised the connection of visibility and recognition is introduced and analysed. (shrink)

Eschatologies often associate this world with darkness and the beyond with light, seeking a move from the former to the latter. This article rethinks the importance of darkness through a reading of Heidegger’s concept of Augenblick, a blink of an eye, which exhibits a moment and site of a “beyond” coming to presence. Thus, the article contributes to approaches that seek to explore the ontological and poetic dimensions of politics. An onto-poetics of darkness draws attention to the presence of the (...) concealed in each moment of actualization and it highlights the way in which the beyond created in the Augenblick involves relation both to other beings and to Being itself. The conceptual problematic of a “beyond” is further explicated through an engagement with Marina Abramović’s performance “The Artist Is Present.” Instead of a move from darkness to light, such eschatology implies inhabiting the darkness of the blink of an eye. (shrink)