ABSTRACT The following article highlights post-Kantian philosophical moments in Kant’s Critique of Judgment. Post-Kantian is less a temporal designation and more a conceptual category indicating the absence of a unified Critical system. This article focuses on three specific areas where conceptual commitments in the first two Critiques are questioned and undermined in the third Critique leading to an incomplete system. The purpose of this article is to move away from a reading of Kant that simultaneously privileges the Critique of Pure (...) Reason (over and above the other two critiques) and that uses the Critique of Pure Reason as a lens through which to read the critical system. This shift toward the third critique is to specify the nonunified aspect of the Critical system and to highlight significant moments of the Critique of Judgment. This article concludes by specifying the precise moments where Kant’s third Critique moves beyond the boundaries of the first two. (shrink)

This paper traces the tenuous relationship of prestige television, the culture industry and blackness. The opening section aims to get a hold on what is meant by prestige television. We review literature that introduces and problematizes the intuitive arguments of prestige television’s elevated status as high art and ultimately conclude with a sociopolitical argument that minimises the distinction between form and content in order to emphasise and show the hierarchy inherent in the culture industry based on legitimacy. The second section (...) introduces the idea of blackness to the conversation of prestige television by analysing the final scene of The Sopranos – a cut to the black screen – as not merely the event that officially inaugurates prestige television, but as an event that also announces the possible escape from its parameters of legitimacy. To do the latter we reflect upon “Black Bieber” as a figure of illegitimate blackness in Donald Glover’s Atlanta. In the third and concluding sections of the paper, we continue our elaboration of the uniqueness of blackness by putting into conversation Fred Moten’s conception of fugitive blackness with Theodor Adorno’s aesthetic theory. In the conclusion, we show how blackness challenges the totalizing aspect of the culture industry, totalizing aspect of the culture industry, pointing us towards something altogether new, after black(ness). (shrink)

This article tackles a thorny issue within the reception of Badiou’s philosophy, i.e., the question of the role of the “social” within the ontological framework it outlines. Acknowledging that the question of the social is underdeveloped in Badiou’s system, the paper argues that there are resources in it to develop a social ontology, and attempos to flesh it out through an original and sustained reading of Badiou’s key formula on the distinction between democratic materialism and materialist dialectic: “there are only (...) bodies and languages, except that there are truths”. (shrink)