In this article, we discuss Badiou’s concept of the world through the somewhat unusual metaphor of “the anatomy of the world”. The anatomy of the world allows us to approach the concept of the world through the idea of ​​its constitution, architecture, structure – its anatomy. But as we show in the first part of the text, in order to derive the anatomy of the world, we need a corpse of the world – the world must (...) die. Following the philosophy of Alain Badiou, we demonstrate that the world in its objective existence is indifferent to the question of life and death. Whether the world lives or dies depends only on the realisation of the truth procedures in the world on the basis of which the world is subjectivised. The world suffers from mortifying impulses, as the reactive and obscure forms of subjectivity actively work against the realisation of truths in the world. Through the artistic presentations of anatomy by Rembrandt van Rijn and John Donne, we also elaborate the tense relationship between the corpse of the world and the life of the world. Although art often sees science as something that kills the world, our final point is that the world can also come to life through science. (shrink)

A study contrasting Donne's Anatomie of the World with Pope's post-Newtonian views of the place of evil in the world. The Burnet controversy--a dispute over whether the structure of the earth was a part of God's design--serves as the connecting link.--R. P.

Alain Badiou is one of the leading philosophers in the world today. His ground-breaking philosophy is based on a creative reading of set theory, offering a new understanding of what it means to be human by promoting an 'intelligence of change'. Badiou's philosophical system makes our capacity for revolution and novelty central to who we are, and develops an ethical position that aims to make us less anxious about this very capacity. This book presents a comprehensive and engaging account of (...) Badiou's philosophy, including an in-depth discussion of _The Theory of the Subject_, _Being and Event_ and _Logics of Worlds_. In a clear and careful analysis, Ed Pluth considers exactly how Badiou's theoretical 'anti-humanism' is linked up to what is, for all intents and purposes, a practical humanism. Central to this is an account of Badiou’s theory of the subject, and his attempt to develop an 'ethic of truths'. The role of set theory, Marxism, and Lacanian psychoanalysis in Badiou's philosophy is also given close attention. This book will be of interest to students and scholars of philosophy, as well as to all those keen to develop a critical understanding of one of the most controversial and important thinkers of the twentieth century. (shrink)

In recent years, the growing number of persons to whom basic human rights have been explicitly denied—stateless persons, refugees, undocumented workers, sans papiers and unlawful combatants—has evidenced the logic of contemporary nation-state politics. According to this logic, the state defines itself by virtue of what it excludes while what is excluded is given no other recourse than the state for its protection. Hannah Arendt elucidates this logic when she observes that the stateless and the refugee can only be recognized as (...) human beings when they have already been recognized as citizens. Their appeal to human rights for protection was fruitless because they needed to have citizen rights, the recognition of a government, or of other citizens who can appeal to that government, in order to invoke these rights. In the terms Arendt uses to name political action, one needs to be seen and heard already, the privileges of those who are citizens, in order to appeal to be seen and heard. Just as political life (bios), in order to be free, was only possible once the necessities were accounted for in natural life (zoē), so citizenship is recognized to the exclusion of the non-citizen, that is, the merely human. -/- . (shrink)

Badiou explores the exponentially rich and varied world of French philosophy in a number of groundbreaking essays, published her for the first time in English or in a revised translation. Included are the often-quoted review of Louis Althussers's canonical works For Marks and Reading Capital and the scathing critique of 'potato fascism' in Gilles Deleuze and Félix Guttari's A Thousand Plateus. There are also talks on Michel Foucault and Jean-Luc Nancy, and reviews of the work of Jean-François Lyotard and Barbara (...) Cassin, notable points of interest on an expansive tour of modern French thought.Guided by a small set of fundamental questions concerning the nature of being, the event, the subject, and truth, Badiou pushes to an extreme the polemical force of his thinking. Against the formless continuum of life, he posits the need for radical discontinuity; against the false modesty of finitude, he pleads for the mathematical infinity of everyday situations; against the various returns to Kant, the argues for the persistence of Hegelian dialectic; and against the lure of ultraleftism, his texts from the 1970s vindicate the role of Maoism as a driving force behind the communist Idea. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Logic of the SiteAlain Badiou (bio)Translated by Steve Corcoran (bio) and Bruno Bosteels (bio)The Commune Is a Site 1. Ontology of the CommuneTake any world whatsoever. A multiple that is an object of this world—whose elements are indexed by the transcendental of this world—is a site, if it happens to count itself within the referential field of its own indexation. Or again: a site is a multiple that happens (...) to behave in the world with regard to itself as with regard to its elements, in such a way as to be the support of being of its own appearance.Even if the idea is still obscure, we can begin to see its content: a site is a singularity, because it convokes its being in the appearing of its own multiple composition. It makes itself, in the world, the being-there of its being. Among other consequences, the site gives itself an intensity of existence. A site is a being that happens to exist by itself.We will ask: can we give a more concrete idea of what a site is? Is there a site?Let us consider the world "Paris at the end of the Franco-Prussian War of 1870." We are in the month of March 1871. After a semblance of resistance, and shot through with fear of revolutionary and worker Paris, the interim government of bourgeois "Republicans" capitulates to Bismarck's Prussians. In order to consolidate this political "victory"—very comparable to Petain's reactionary revenge in 1940 (where preferring an arrangement with the external enemy to exposure to the internal enemy)—it has an assembly with a royalist majority hastily elected by a frightened rural world, an assembly that sits in Bordeaux.Led by Thiers, the government hopes to take advantage of the circumstances to annihilate the political capacity of the workers. But on the Parisian front, the proletariat is armed in the form of a National Guard, owing to its having been mobilized during the siege on Paris. In theory the Parisian proletariat has many hundreds of cannons at its disposition. The "military" organism of the Parisians is the Central Committee, at which assemble the delegates of the various battalions of the National Guard, battalions [End Page 141] that are in turn linked to the great working-class quartiers of Paris—Montmartre, Belleville, and so forth.Thus we have a divided world whose logical organization—what in philosophical jargon could be called its transcendental organisation—reconciles intensities of political existence according to two sets of antagonistic criteria. Concerning the representative, electoral, and legal dispositions, one cannot but observe the preeminence of the Assembly of traditionalist Rurals,1 Thiers's capitulard government, and the officers of the regular army, who, having been licked without much of a fight by the Prussian soldiers, dream of doing battle with the Parisian workers. That is where the power is, especially as it is the only power recognized by the occupier. On the side of resistance, political intervention, and French revolutionary history, there is the fecund disorder of Parisian worker organizations, which intermingles with the Central Committee of the twenty quartiers, the Federation of Syndicate Chambers, a few members of the International, local military committees. In truth, the historical consistency of this world, which had been separated and disbanded [délié] owing to the war, is held together only by the majority conviction that no kind of worker capability for government exists. For the vast majority of people, including often the workers themselves, the politicized workers of Paris are simply incomprehensible. These workers are the inexistent aspect [l'inexistant propre] of the term "political capacity" in the uncertain world of the spring of 1871. But for the bourgeoisie they are still too existent, at least physically. The government receives threats from the stock exchange of this sort: "You will never have financial operations if you do not get rid of these reprobates." First up then, an imperative task, and a seemingly easy one to carry out: disarm the workers and, in particular, recuperate the cannons spread throughout working-class Paris by the military committees of the National Guard. It is this initiative that will make... (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

The book analyzes, synthesizes, and evaluates the insights of the world's outstanding thinkers, prophets, and literary masters on the good, the morally right, and the lovely (part one); the question whether the world operates on the basis of such universal laws as the logos, the tao, and the principle of polarity (part two); what there is and isn't in the world, including such categories as existence, reality, being, and nonbeing (part three); and pre-eminently credible and enriching beliefs about truth, wisdom, (...) and what it all means (part four). Emphasis is placed on the divergent views of such intellectual giants as Confucius and Laotse in ancient China; the classical Hindu philosophers from ancient times to Gandhi and Tagore; patriarchs and prophets quoted in Scripture; Socrates, Plato, and Aristotle; Saints Augustine and Thomas Aquinas in the Middle Ages; Descartes, Spinoza, Locke, Hume, and Kant; and nineteenth- and twentieth-century luminaries such as Bentham, Mill, Peirce, James, Dewey, Sartre, and Wittgenstein. The differences and resemblances of their cogitations are portrayed as a conversation of the ages on questions of persistent concern. (shrink)

"French philosopher Alain Badiou (b. 1937) introduces the concept of democratic materialism to refer to the belief that there are only bodies and languages, then employs a fair amount of science in what he calls a somewhat fastidious examine of it. He covers formal theory on the subject (meta-physics); the greater logics: the transcendental, the object, and relation; the four forms of change; the theory of points; what a body is; and what it is to live."--Provided by publisher.

This concise and accessible book is the perfect introduction to Badiou’s thought. Responding to Tarby’s questions, Badiou takes us on a journey that interrogates and explores the four conditions of philosophy: politics, love, art and science. In all these domains, events occur that bring to light possibilities that were invisible or even unthinkable; they propose something to us. Everything then depends on how the possibility opened up by the event is grasped, elaborated and embedded in the world – this is (...) what Badiou calls a ‘truth procedure’. The event creates a possibility but there then has to be an effort – a group effort in the case of politics, an individual effort in the case of love or art – for this possibility to become real and inscribed in the world. As he explains his thinking on politics, love, art and science, Badiou takes stock of his major works, reflects on their central themes and arguments and looks forward to the questions he plans to address in his future writings. The book concludes with a short introduction to Badiou’s philosophy by Fabien Tarby. For anyone wishing to understand the work of one of the most widely read and influential philosophers writing today, this small book will be an indispensable guide. (shrink)

An accessible introduction to Badiou's key ideas In this brief conversational book, the French philosopher Alain Badiou provides readers with a unique introduction to his system of thought, summed up in the trilogy of Being and Event, Logics of Worlds, and The Immanence of Truths. Taking the form of an interview and two talks and keeping in mind a broad audience without any prior knowledge of his work, the book touches upon all the major concepts of Badiou's philosophy and illustrates (...) them with fitting examples. A veritable tour de force of pedagogical clarity, this is perhaps the single best general introduction to the work of this prolific and committed thinker. If, for Badiou, the task of philosophy consists in thinking through the truths of our time, the texts collected in this small volume could not be timelier. (shrink)

This paper examines the relationship between philosophy and its conditions. The affirmation “mathematics is ontology”, which I posited thirty years ago, has certain inconveniences. In this article, I present six varying possibilities for ontology. My own philosophical decision was to proclaim that being is a pure multiplicity, without the One and without any specific attribute such as “matter” or “spirit”. This movement of thought brought me to study the mathematical condition of philosophy and to search for a rigorous structuration of (...) my speculative decision within the field of mathematics. However, my initial postulate that “Being is the multiplicity without the One” is not a mathematical but a philosophical statement. This paper concludes with a presentation of the relationship between mathematics and philosophy in Being and Event, Logics of Worlds, and The Immanence of Truths. (shrink)

In _Can Politics Be Thought?_—published in French in 1985 and appearing here in English for the first time—Alain Badiou offers his most forceful and systematic analysis of the crisis of Marxism. Distinguishing politics as an active mode of thinking from the political as a domain of the State, Badiou argues for the continuation of Marxist politics. In so doing, he shows why we need to recapture the emancipatory hypothesis of Marx's original gesture in order to actualize its radical potential. This (...) volume also includes Badiou's “Of an Obscure Disaster: On the End of the Truth of the State,” in which he rebuts claims of Communism's death after the fall of the Soviet Union. (shrink)

While Logics of Worlds already emphasized that one’s participation in a process of truth is signalized by an affect and already pointed out some of the affects connected with these processes (enthusiasm, joy, pleasure, beatitude), the further elaboration of this topics remains the task of the third part of the Being and Event, which has yet to be written and is entitled The Immanence of Truths. The first part of the lecture discusses the very reasons for this work, its necessity, (...) and its place in my opus thus far. The task of The Immanence of Truths is to elaborate the question of how somebody is incorporated into a truth-process, how this relates to the question of the subject and the very role of philosophy itself. The latter is not the process of truth in a similar manner as its four conditions, it does presuppose them, but not the other way around. A short sketch of the inner structure of The Immanence of Truths follows and the argument in favour of the transformation of the formal category of negation. The role of the paraconsistent logics in The Immanence of Truths is to conceptualize the process of truth. The aleatory, the contingent character of any event namely means that we have to insist that there is a cut and that the truth is in the position of an exception, but which, however, is not something untransmittable. Concerning the question of the transmission and the ineffable, I distance myself in relation to Plato’s as well as to Bergson’s treatment of this question. For me, the category of an exception is a dialectical category. It has to be thought on one hand as a negation, which is not a miracle of some sort, and on the other as something inner, immanent (perhaps that was aimed at by Lacan with the term ‘extimacy’). The negation is namely an operator which simultaneously divides and includes, it is also part of the dialectical thought which includes the contingent and is therefore not deterministic. Everything that has been said so far has consequences for the functions of philosophy and concerns the question of the relationship between philosophy and life. Philosophy for me as a discipline departs from the conviction that there are truths. It is triple, being at the same time the diagnostics of an age, the construction of the concept of truth, and the existential experience of true life i.e. the immanent experiment of what is a true life, “what is it to live”. This is signalled by the affect of true life and by the formula “to live as an immortal”, which does not entail any kind of sacrifice or recompense. (shrink)

In Being and Event, Alain Badiou disconnects the infinite from the One and the Absolute, thus recasting the basis from which to craft a new theory of generic subject, the existence of which is demonstrated through set theory. In Logics of Worlds, Badiou turns his attention to the modes by which this subject appears in a world. It does so by being incorporated as a subjectivizable body, a body of truth. As opposed to Being and Event, the demonstration of this (...) argument takes shape according to two distinct levels, that of a “calculated phenomenology” and that of a formalism in which category theory provides a general logic, the combination of which delineates an “onto-logic”. In this essay, we trace Badiou’s derivation of the notion of body of truth and evaluate the innovative phenomenological methodology applied to explain its association with a world. (shrink)

Angelaki, Volume 17, Issue 1, Page 83-98, March 2012.

Alain Badiou is one of the world's most influential living philosophers. Few contemporary thinkers display his breadth of argument and reference, or his ability to intervene in debates critical to both analytic and continental philosophy. Alain Badiou: Key Concepts presents an overview of and introduction to the full range of Badiou's thinking. Essays focus on the foundations of Badiou's thought, his "key concepts" - truth, being, ontology, the subject, and conditions - and on his engagement with a range of thinkers (...) central to his philosophy, including Plato, Descartes, Spinoza, Heidegger and Deleuze. (shrink)

Badiou and Wittgenstein focus in their works on potentialities of innovation in the realm of thought as well as in the realm of politics. These innovations manifest themselves especially when two seemingly contrasting jurisdictions of thought – present in politics and logic – meet and merge. For Badiou a set-theoretical process of enforcement may change pre-established templates of a political doxa. For Wittgen-stein it is the spontaneity of concept-formation that crisscross referential relations within the “space of reason” and through performative (...) enactments makes visible unexpected places of unprompted innovation. For both Wittgenstein and Badiou, the subject is of vital importance in this union of politics and logic. It is both a “limit of the world” as well as a “supernumerary agency”. Characterized as such, it can provoke new worlds to appear with the aid of what I will call in the following paragraphs self-proclaimed logics of scission. (shrink)

Exchanging the Lies of the World for the Liberating Truth of God.

For Polish Jews, Warsaw was an important center of social and cultural life. It was the biggest center of Jewish community and culture in Europe. It was also here that the greatest tragedy of this community took place, made still more dramatic by the transports of the Jews from various European and Polish cities. The Warsaw Ghetto Uprising reminds us of the egoism of the societies of the Allied powers. Similarly the lonely fight of the heroes of the Warsaw ghetto (...) reminds us of the lonely fight of the insurgents of Warsaw in 1944. Both uprisings involved the whole society. They differed only in the scale of military operations conducted and in their duration.Polish Jews, as well as the Jews from other countries, observed with deep interest the course of insurgent fights, in which a small number of Warsaw Jews saved from extermination and Jews from many European countries, liberated by the insurgents, took part. The feeling of community of fate of the Polish and Jewish nations was a phenomenon of the Warsaw Uprising in 1944; it was a harmony that was never achieved again. Jews, citizens of different countries and members of different organizations loudly demanded help for the heroic but forlorn insurgents. (shrink)

This classic companion to The World's Religions articulates the remarkable unity that underlies the world's religious traditions.

The article considers the problem of rationality on the basis of two key texts by the prominent proponents of the new cartography for philosophy. These include A Manifesto for Re:emergent Philosophy by Jonardon Ganery (2016) and Comparative Philosophy without Borders edited by Arindam Chakrabarti and Ralf Weber (2016). The both mentioned texts are imbued with the fervor of the movement for liberation from colonial intellectual servitude and epistemological injustice that does not recognize a plurality of ways of thinking. They call (...) for redefinition of the distinctive models of understanding as well as for justification of their rights to be acknowledged. A new cartography of philosophy presupposes a new atlas of rationality. The Manifesto by J. Ganery is compared with The Manifesto for Philosophy by A. Badiou. Both are calling for support for their global projects - “rebuilding of philosophy’s edifice” (Badiou) and “re:emergence of philosophy” (Ganeri). Badiou implies “an approach to the Philosophy” or “a return to the philosophy” by recognition of the four sources of the truth, which he regards as politics, love, art and science. Ganery speaks about “the plurality of ways of thinking”, about the movement for liberation from colonial intellectual dependence by applying the intercultural approach. The two philosophers acknowledge the plurality of cultural worlds. Badiou means “the philosophy of events,” while Ganery - “philosophy of a new cartography.” Badiou discovers different logics in disparate worlds that every time are submitted in specific forms, and thus he comes to the conclusion that single universal logic is impossible. Ganery is consistent and does not contradict himself by claiming plurality of rationalities, of logical systems, and thus advocates the promotion of the project for a new cartography of philosophy. (shrink)

A tension runs through the lucidly militant work of Alain Badiou. It takes various shapes, such as the tension between the rigorous ontology of mathematics and the structures of narrative, or between fiction and argument, image and formula, poem and matheme, or Anglo-American analytic rationalism and continental lyricism. However, the shape of that tension that interests me most is between the triumphant banishing of theology via mathematics and its perpetual recurrence in his thought. For all Badiou’s efforts to dismiss theology (...) as the philosophy of the ‘One’, for all his efforts to read Pascal, Kierkegaard or Paul as exemplars of the ‘event’ without buying into the belief system they purvey, for all his dismissals of the pious myth or fabulous core of Christianity, it seems as though he cannot avoid theology. The question then is whether this philosopher who is ‘rarely suspected of harbouring Christian zeal’ may actually provide an insight or two into theology. The texts on which I base my reading are Being an Event, the short book on Paul, Logiques des Mondes, especially the section on Kierkegaard, and parts of the disparate collection, Theoretical Writings. A rather formidable collection, to say the least. In what follows I begin by considering the absolute blockage of theology in Badiou’s philosophy, specifically through his banishment of the One. And yet, despite his best efforts to seal his system against theology, it has an uncanny knack of returning. I am particularly interested in the way theology has a ghostly presence in what appears for all the world like a fifth ‘procedure of truth’ (alongside the four pillars of art, science, politics and love), in his enthusiastic affirmations of Pascal and Kierkegaard, and the play between fable and truth in his engagement with the apostle Paul. (shrink)

Poetics : principles of lingual poiesis -- The analytic circle : the lingual creation of a true world -- Speculation : aspects of a poetics of thought -- Cognition : metanoia is an anagram of anatomie -- Epilogue: The whole truth and nothing, But the truth!

Conceived as the sequel to Alan Badiou's Being and Event, Logics of Worlds stands as one of the most important texts in contemporary thought. As a complex theory of worlds, the text has, for the most part, been misunderstood. Yet, through William Watkin's diligent and critical close--reading, he guides the reader through the Badiouan text, whilst demonstrating how Logics of Worlds is the essential book for anyone interested in existence, meaning and the potential for radical change.

The present paper outlines some basic concepts of Alain Badiou’s philosophy of the subject, tracking down its inherent and complex philosophical implications. These implications are made explicit in the criticism directed against the philosophical sophistry which denies the pertinence of the concept of truth. Badiou’s philosophical innovation is based on three nodal concepts, namely truth, event and subject, and it must be revealed how the afore-mentioned concepts areorganized and interrelated, eventually leading to reformulating the concept of the subject. In its (...) exercise, philosophy is intimately affiliated to the four adjacent procedures of mathematics, art, love and politics that could be understood as overall conditions on the margins of which philosophical thinking takes place. Separating philosophy from ontology and charging philosophy with what exceeds being, Badiou transforms it to the general theory of the event. Consequently the concept of the subject is disconnected from that of the object, the subject being not an instance of knowledge, but always a part of generic procedures and thus definable simply as a finite fragment or an operative configuration of the traces of the event. Therefore, it could be stated that Badiou’s theory of the subject is formal and refuses all essentialist connotations. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

This article traces the consequences for Badiou’s political subjectivity if his understanding of the Cartesian subject is incorrect. For Badiou, the faithful subject, political and otherwise, is formed through fidelity to the appearance of an event of truth, and the process of this fidelity creates a world. These truths are immanent to the worlds in which they appear. An obscure subject, however, is faithful to a negation, while a reactive subject denies the appearance of a truth’s event. Badiou’s subject radicalizes (...) Lacan’s radicalization of the Cartesian subject, but for him both Descartes and Lacan consider the subject stable since they are caused by truth rather than by the event of a truth. However, immanent to Descartes’s philosophy is an unstable subject, thanks to the role of the imagination in the discovery of the cogito. Fidelity to this immanent Cartesian subject shows Lacan as an obscure subject and Badiou as reactive. (shrink)

The Anatomy of Dance Discourse offers a fresh, original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period, juxtaposing philosophical and literary conceptualizations of dance and exploring how they interacted with different areas of cultural expression.

Ours is an age full of desires but impoverished in its understanding of where those desires lead—an age that claims mastery over the world but also claims to find the world as a whole absurd or unintelligible. In The Vision of the Soul, James Matthew Wilson seeks to conserve the great insights of the western tradition by giving us a new account of them responsive to modern discontents. The western— or Christian Platonist—tradition, he argues, tells us that man is an (...) intellectual animal, born to pursue the good, to know the true, and to contemplate all things in beauty. Wilson begins by reconceiving the intellectual conservatism born of Edmund Burke’s jeremiad against the French Revolution as an effort to preserve the West’s vision of man and the cosmos as ordered by and to beauty. After defining the achievement of that vision and its tradition, Wilson offers an extended study of the nature of beauty and the role of the fine arts in shaping a culture but above all in opening the human intellect to the perception of the form of reality. Through close studies of Theodor W. Adorno and Jacques Maritain, he recovers the classical vision of beauty as a revelation of truth and being. Finally, he revisits the ancient distinction between reason and story-telling, between mythos and logos, in order to rejoin the two. Story-telling is foundational to the forms of the fine arts, but it is no less foundational to human reason. Human life in turn constitutes a specific kind of form—a story form. The ancient conception of human life as a pilgrimage to beauty itself is one that we can fully embrace only if we see the essential correlation between reason and story and the essential convertibility of truth, goodness and beauty in beauty. By turns a study in fundamental ontology, aesthetics, and political philosophy, Wilson’s book invites its readers to a renewal of the West’s intellectual tradition. (shrink)

The article proposes to reconsider the late Heidegger’s examination of the concept of the world, as for Heidegger the eradication of all life on planet earth is not the most horrible thing that could happen. It is the impossibility of thinking the world that exposes us to something worse: the loss of our link with being. Following Heidegger, to think the world is not only necessary to prevent the extinction of life on earth, but, moreover, the loss of thinking the (...) world lies at the beginning of the crisis we are living through. (shrink)

The problem of the fictional truthfulness of deviant evaluations is a description of a paradox that has become the subject of debate in the philosophy of literature of the analytical tradition in the last thirty years. Philosophers such as Walton, Tanner, Moran, Gendler, and others have constructed “mini-stories” in order to show that the authors of fiction, regardless of the almost unlimited powers of what they can make true in their fictional storyworlds cannot successfully construct a fiction in which an (...) objectively false evaluation would nevertheless be fictionally true in the story. For example, someone comes up with a fictional account in which a brutal unmotivated murder takes place. The author merely postulates such an event, and then readers accept it as true in the story. But let us imagine that the description of the murder also contains the evaluation of such an act as a morally right thing to do. We do not accept an evaluation that we consider “deviant” in relation to our current (moral) beliefs as an integral part of the fictional world, even though the author asks us to do so. The paradox is that it seems to be a basic convention of fiction that all third-person narrative statements that cannot be attributed to fictional characters are always fictionally true. This seems to constitute a major restriction to the narratorial authority prompting us to question our usual understanding of the phenomenon of fiction. However, by analysing specific “mini-fictions”, the article argues that (i) there is no good reason to assume that deviant evaluations in these mini-stories are uttered by some thirdperson narratorial voice that cannot be identified with a fictional character; (ii) that deviant evaluations must always be voiced by a personal narrator; (iii) that such personal narrators are never sensu stricto “omniscient” and that we do not need to trust them unquestioningly when, for example, they evaluate a murder as “the right thing to do”. The whole paradox, we claim, is just a pseudo-problem generated by ignoring concrete reading practices and a simplified understanding of narrative conventions. (shrink)

The word "ontology" presently encompasses two different meanings. In the philosophical sense, ontology has been defined since the days of Aristotle as the "science of being," also called "metaphysics." In this sense, ontology is concerned with categorizing discrete entities in reality and the relationships that hold between those entities (Aristotle 1952). Ontology, in the tradition of philosophical realism, aims to describe every day, mesoscopic entities and relations as they are in themselves, and not from the specific viewpoint of some particular (...) domain or conceptual schema. The type of entities realist ontology concerns are those that exist "out there" in the world (such as tables, chairs, mountains, streams .. (shrink)

This article argues that Alain Badiou's theory of the subject offers conceptual resources that help make sense of ordinary life-experiences of ‘evental moments’ and enable the critique of hypertrophic forms of political or corporate agency. The article identifies a set of ideas through which Badiou's philosophy contributes to much-needed emancipatory thinking today. As it investigates the notions of horlieu and the event, the article stresses that true political change requires the emancipation of the ‘quasi-totality’, something that ‘reactive’ political or corporate (...) subjects would not be able to deliver. The piece emphasises that, for Badiou, universalist equality is the indispensable game-changer of politics, and that every single person can contribute to genuinely egalitarian projects. In Badiou's view, there are no meta-subjects and meta-events. Everyone can experience truth in their lives. (shrink)

Machine generated contents note: -- Introduction to the OneThe Concept of One: From Philosophy to Politics -Artemy Magun Part I. Metaphysics of the One and the Multiple1. More than One -Jean Luc Nancy 2. Condivision, or Towards a Non- communitarian Concatenation of Singularities -Gerald Raunig 3. Unity and Solitude -Artemy Magun 4. The Fragility of the One -Maria Calvacante 5. The One: Construction or Event? For a Politics of Becoming -Boyan Mancher Part II. 20th-Century Thinkers of Unity and Multiplicity 6. (...) Truth and Infinity in Badiou and Heidegger -Alexey Chernyakov 7. Complicated Presence: The Unity of Being in Parmenides and Heidegger -Jussi Bachman 8. The Universal, the General, the Multiple in the Perspective of a Political Utopia: Deleuze and Badiou on the Event -Keti Chukhrov 9. Humanity, Unity and the One -Nina Power Part III. Unity and Multiplicity in Nature 10. Elemental Nature as the Ultimate Common Ground of the World Community -Susanna Lindberg 11. Vegetative Democracy, or the Post-metaphysics of Plants -Michael Marder Part IV. Unity in Action: Forms of Political Consolidation in the Case of Contemporary Russia12. Collectivity in Post-revolutionary Russia -Igor Tchubarov13. Street University: Production of Collective Time and Public Space -Pavel Arsenyev 14. Fighting Together: the Problem of Solidarity -Carine Cle;ment Part V. E Pluribus Unum: Res Publica and Community 5. How Does One Constitute the One? Theology of the Icon, Theory of Non-representative Art and of Non-representative Politics -Oleg Kharkhodin 12. Drawing Lots in Politics: Unity and Totality -Yves Sintomer. (shrink)

Why would I spend a good portion of my time over the last 35 years gathering information on the Gymnosophists? The story begins even earlier. As an undergraduate student in the Flint College of the University of Michigan, I pursued an English major with a strong history minor-always looking for something between the two, and rarely finding it. Then in my practice teaching, I happened into one of the early experimental high school courses in Interdisciplinary Humanities. With the exciting interrelationships (...) between art, literature, music, philosophy and history, I said YES-this was what I had been looking for. So I pioneered in teaching high school Humanities for the next few years. Interdisciplinary Humanities was a bottom-up movement. Gradually, colleges began offering Masters programs to give teachers the rich background they needed. I decided I was not tied to Michigan where it was cold; I would find the best Masters program in Humanities anywhere in the world, and go there. Well, it turned out that the best Masters program in the world was at Wayne State University in Detroit, of all places. Unlike other programs that were really just double majors, Wayne offered truly interdisciplinary classes. Moreover, they offered an Eastern track and a Western track. Knowing that I would never find that Eastern track anywhere else, I studied interdisciplinary courses in the cultures of India, China, Japan, and Egypt. (The middle-eastern professor was on sabbatical when I was there.) I especially liked India-perhaps because I had already travelled around the world, and India impressed me the most. (shrink)

The question of nihilism is always a question of truth. It is a crisis of truth that causes the experience of the nothingness of existence. What elevated truth to this existential position? The answer is: philosophy. The philosophical will to truth opens the door to nihilism, since it both makes identifying truth the utmost aim and yet continually calls it into question. Baker develops the central insight that the crises of truth and of existence, or 'loss of world', that occur (...) within nihilistic thought are inseparable, in a wide-ranging study from antiquity to the present, from ancient Cynics, St Paul, Nietzsche, Heidegger, Foucault, Agamben, and Badiou. Baker contends that since nihilism is always a question of the relation to the world occasioned by the philosophical will to truth, an answer to nihilism must be able to propose a new understanding of truth. (shrink)

Plato famously banishes the poets from his ideal city in book X of his Republic. Yet in this banishment Plato establishes the boundaries of reason, art and poetry — boundaries that have haunted western thinkers since antiquity. In this article I will explore those Platonic boundaries, specifically the intellectual limits of poetic writing as reflected upon by self-identified Platonist Alain Badiou. That being said, I am not attempting, strictly speaking, to look at Badiou’s interpretation of Plato’s banishment of poetry. Instead, (...) I am using the banishment as a springboard for discussion of Badiou’s notion of poetry as the ‘birth of truth’ in his Handbook of Inaesthetics. I will examine the way this text interacts with Plato’s conceptual banishment. I assert that this interaction should illuminate the status of writing — especially artistic writing — in the state. (shrink)

The conception of René Descartes as the arch-rationalist has been sufficiently exploded in recent literature; however, there is still a large lacuna in our understanding of how empirical research and experimentation fits within his philosophy. My dissertation is directed at addressing just this problem. I contend that Descartes’ famed method is not a singular monolith but instead two interdependent methods: one directed at metaphysical and epistemological truth, while the other directed at empirical questions and contingent facts of the world. I (...) claim there is evidence for this position not only in his actual scientific practice, but also in the rhetorical structure of the Discourse on Method and the Principles of Philosophy. In exploring the empirical side of Descartes’ method, I show how his unusual system produces a system of experiment designed to serve both as a discovery and verification tool at the same time. As a further application of my interpretation, I argue that the Passions of the Soul and Descartes’ ethical theory expressed in his correspondence must also be seen as part of his two-fold methodology. Instead of attempting to cast Descartes as a virtue ethicist or deontologist, as is normally done, I emphasize that Descartes’ ethics is centered on the mind-body union, and therefore, includes an empirical element as well. The end result is an ethics that requires a detailed study of mechanics, anatomy, physics, as well as medicine. Lastly, I show how this methodology can help us understand the works of some of his early followers: Claude Gadroys and Jacques Rohault. Both of these philosophers not only serve to ground my interpretation, but also to highlight aspects of Cartesian that have often been passed over. I show how the experimentalism of Jacques Rohault goes beyond the epistemological boundaries set up by Descartes, as signifies a new direction that will ultimately eclipse the Cartesian school of thought. In the case of Claude Gadroys, I present a concrete example of the exploitation of the over generality of Cartesian principles. In so doing, I show that while Descartes’ experimentalism was intended to rule out the possibility of occult causes, he in fact created a system that allowed for them, only under a different guise. (shrink)

Kant's famous statement (from the first Critique) that he found it necessary to deny knowledge in order to make room for faith acknowledges a religious or theological telos to the entire critical project. This article outlines a series of relations of 'knowledge' to 'faith' in the architectonic repetitions with variation that plays from the first Critique through the Religion. Various deployments of 'truth' at each stage presume a kind of 'faith' or trust all the way along. These deployments are shown (...) to follow a pattern which echoes that set out in Northrop Frye's understanding of literary modes descending from myth to romance to high and low mimetic and ending in the ironic. These modes describe realms of possibility and necessity, and their nesting in Frye's explication of literature is shown to be itself an echo of more formal theories of Tarski and Godel. (shrink)

In the context of Badiou's philosophical mobilization from Platonism of the multiple towards the question of the Idea, in this article I will analyze the equivalence that Badiou proposes between an ‘awakening of History’ and the reactivation of the Idea of communism, through his historical diagnosis of the present as a time of revolts in the midst of a regressive capitalism towards nineteenth-century forms. However, the affirmation of such ‘awakening’ is problematic, since Badiou indicates that ‘History does not exist’ as (...) a transversal dictum in his work. Is there an internal contradiction in the author's philosophy? In this regard, I will show the correlation of the thesis of non-existence of History with the affirmation of post-eventual eternal truths. My hypothesis will be that the thesis of the non-existence of History can be elucidated in communication with the logical theory of the appearance of the object in a world: the law of history would not be the discontinuity of appearing but the continuity of a narrative determined by its processual character. That would support their link with political organization as 'discipline of the event': determine how to be faithful to the change of world in the world itself under the sign of the Idea. (shrink)

A compelling defense of the sacred by one of today's leading philosophers In The Soul of the World, renowned philosopher Roger Scruton defends the experience of the sacred against today's fashionable forms of atheism. He argues that our personal relationships, moral intuitions, and aesthetic judgments hint at a transcendent dimension that cannot be understood through the lens of science alone. To be fully alive—and to understand what we are—is to acknowledge the reality of sacred things. Rather than an argument for (...) the existence of God, or a defense of the truth of religion, the book is an extended reflection on why a sense of the sacred is essential to human life—and what the final loss of the sacred would mean. In short, the book addresses the most important question of modernity: what is left of our aspirations after science has delivered its verdict about what we are? Drawing on art, architecture, music, and literature, Scruton suggests that the highest forms of human experience and expression tell the story of our religious need, and of our quest for the being who might answer it, and that this search for the sacred endows the world with a soul. Evolution cannot explain our conception of the sacred; neuroscience is irrelevant to our interpersonal relationships, which provide a model for our posture toward God; and scientific understanding has nothing to say about the experience of beauty, which provides a God’s-eye perspective on reality. Ultimately, a world without the sacred would be a completely different world—one in which we humans are not truly at home. Yet despite the shrinking place for the sacred in today’s world, Scruton says, the paths to transcendence remain open. (shrink)

The essay addresses the main shifts in Badiou’s conception of the event and the subject as they unfold in his late Logiques des mondes. In this text he develops an objective phenomenology of appearing in view of specifying the logical character of real change. The main focus of the essay is how Logiques des mondes stipulates a set of directives for an “ethics of living with an Idea,” that is, a subjective incorporation to truth as exception. How does Badiou’s text (...) write what is excluded from the inertia of a restricted economy of Being? I show that in order to account for this exception, Logiques des mondes must resituate the notionof site, prevalent in Being and Event, and that it does so in terms of the notion of world and of the localisation of appearing. This logic posits the articulation of a new transcendental regime whose major coordinates unfold as a true war machine against cultural relativism, or what Badiou calls “democratic materialism” and to which he contraposes a “materialist dialectics”. (shrink)