Are we living in an “in-between time”? If so, what does it mean to be the “contemporary” of such a time? Starting from its consistent recurrence over different times, this article investigates the temporal-philosophical operation related to the designation of “in-between times.” It examines the function this operation assumes in thinking about time, i.e. the specific construction of time it establishes. By focusing on the functioning of _intervalle_ in Alain Badiou and _entre-temps_ in Gilles Deleuze, two contradictory relations to the (...) present conveyed in the concept of “in-between time” are discussed. The article demonstrates that for both philosophers, in-betweenness occupies a key position in their philosophical construction of time—yet, in reverse form in each case. The discussion of this contrasting mode then leads to the final question of whether there is such a thing as a fundamental in-between character that manifests itself through all times, belonging to time as such. (shrink)

Critique currently leads a life akin to a zombie. It is torn between attempts to surpass it and radical gestures of its dismissal, while moderate forces dwell on the business of inventorying its history. Starting from critique’s historical turn on itself, this essay focuses on destabilization and self-questioning as its essential features. Regarding Adorno’s model, it seeks to locate critique’s focal point before it was split by surpassing and dismissal. This model is still challenging because it is situated at a (...) crossroads in critical thinking where the historical aspect of failure is tied to structural aspects of critique: resistance, disruption, and dissolution. It concerns a movement of critique that leads into delirium—without thereby abandoning its claim to objectivity. In the contemporary situation, where critique is at once generalized and dismissed, it is precisely the specific link of disrupting and claiming objectivity that challenges the universalized regime of opinion. (shrink)

Der Beitrag untersucht den Zusammenhang von Kunst und Moral ausgehend von zwei Tendenzen der zeitgenössischen Kunst. Beide Tendenzen betreffen den Status der ästhetischen Form und zeigen eine geänderte Stoßrichtung des moralischen.