El artículo examina el conflicto formal que se produce en la descripción de Odradek al interior de “La preocupación del padre de familia” de Franz Kafka. En la voz de su narrador, Kafka se vale de un lenguaje de extraordinaria precisión para describir a su criatura (Odradek), produciendo una serie de paradojas. Prestamos atención seria a estas paradojas, mostrando las consecuencias que ellas plantean para los conceptos de “historia” en Kant y Benjamin, en sus respectivas relaciones con el (...) concepto de “naturaleza” en estos autores. (shrink)

This essay reconstructs Agamben’s theory of bare life as an example of an affirmative biopolitics, a politics of life that lies beyond sovereignty. The essay shows that his account of bare life constitutes a reworking of four central motifs found in Marx’s historical materialism: the facticity of alienated existence, the fetishism of commodities, the profanity of bourgeois society, and the nihilism of revolution. Agamben’s renewal of historical materialism explicitly turns on an innovative and controversial synthesis of Benjamin and Heidegger. This (...) essay argues that such a synthesis relies, implicitly, on the negative dialectics developed by Adorno. If correct, this interpretation suggests a way of understanding Agamben’s political thought as a particularly radical and consequent continuation of the project of critical theory. (shrink)

The topic of this article is to develop an alternative, ontologically settled, problematic intuition about how to establish theoretical criteria of (non) conceptuality of an intentional content which kind of properties must an object possess to be able to furnish a full formal satisfaction to a conceptualization process? Are there any objects upon which our concepts can only go in vain in a sort of non conceptual short circuit’s breakdown in the very same act, in order to be caught in (...) a perceptual process? To give one or more answers to these questions, the article analyzes some examples of thing which are very difficult to conceive immediate y by means of predicative concept, the so -called Odradek object (O/o),taking inspiration by the case of a Kafka’ s famous tale character.It is possible to show the existence of almost a odd phenomenon of optical illusion in which the behaviour of perceptual structure of certain objects is very clear y similar to an O/o s one (Frisby’s effect in the Waterfall illusion, for example). Nevertheless, conclusions of the article will show how the reasons to believe in the plausibility of this hypothesis are more a priori and conceptually based than psychologically and experimentally inspired. (shrink)

이 연구는 카프카의 단편 〈가장의 걱정(Die Sorge des Hausvaters)〉에 대한 아도르노의 철학적 해석을 사물화의 양가성 문제를 중심으로 다룬다. 아도르노는 벤야민에게 보낸 1934년 편지에서 이 단편에 등장하는 수수께끼같은 형상인 오드라데크를 두고 “사물적으로 전도된 삶에서 자연의 연관관계로부터의 탈출이 약속되어 있다”고 쓴다. 아도르노가 보기에 카프카는 사물화된 세계에서의 소외를 타협 없이 보여주고 있으며, 바로 이를 통해서만 구원의 전망이 열린다. 이러한 전도의 전도는 결코 필연성에 따라 보증되어 있지 않지만, 사물화의 경험은 결코 마르크스-루카치 전통에서 이야기되듯 부정적이지만은 않다. 아도르노는 오히려 사물에 대한 경계, 적대적 태도 속에서 인간성과 (...) 사물성 사이의 경직된 대립이 전제되어 있음을 지적한다. 그는 사물화가 도리어 인간과 사물간의 새로운 관계를 개시할 수도 있다는 것, 왜냐하면 거기서 사물은 인간이 부여한 가치 즉 유용성에서 해방된 것으로 나타나기 때문이라는 것을 간파한다. 이로써 아도르노는 사물화와 물신, 이차적 자연 개념 등의 비판적 사용에 경도된 기존 마르크스 전통을 뛰어넘는 통찰을 전개해 나아간다. (shrink)

In Kafka’s unfinished story, The Burrow, an unidentified subterranean creature struggles while digging in a burrow, constantly engulfed in anxiety for potential intruders. His obsessive anxiety starts to be materialised in his hearing of a noise everywhere and at constant intensity. Incessantly speculating the cause of this noise, his dreadful imagination first finds it as a swarm of small fries, eventually growing into a single gigantic monster threatening his burrow, as if desiring an irresistible entity that goes beyond the idea (...) of the individual. Inspired by this story of a creature suffocating from his lonesome effort of nesting, this paper discusses how an individual sensation of dread could potentially transcend to an ability to imagine social totality, drawing on the philosophical readings of Kafka’s other character Odradek by Benjamin and Adorno. I further argue that this process is aesthetic, correlating Freud’s idea of the uncanny with Adorno’s theory of aesthetic experience which examine the negotiation between individuation and socialisation in an experience of desubjectification. By sketching out the anxious hearing in The Burrow in reference to the disturbing seeing of object-creature Odradek, I discuss the feeling of dread that marks the transformation of individual entities into a transcendent social/collective being. (shrink)

Texts and textures: approaching an age of human-made nature through the particulate, the volatile, and the radiant. We have entered the Anthropocene era—a geological age of our own making, in which what we have understood to be nature is made by man. We need a new way to understand the dynamics of a new epoch. These volumes offer writings that approach the Anthropocene through the perspectives of grain, vapor, and ray—the particulate, the volatile, and the radiant. The first three volumes—each (...) devoted to one of the three textures—offer a series of paired texts, with contemporary writers responding to historic writings. A fourth volume offers a guide to the project as a whole. Grain: Granular materials add up to concrete forms; insignificant specks accumulate into complex entities. The texts in this volume narrate some of the fundamental qualities of the granular. In one pairing of texts, Robert Smithson compares the accumulation of thoughts to the aggregation of sediment, and an environmental historian writes about the stakes for earthly knowledge today. Other authors include Alfred Russel Wallace, Denis Diderot, and Georges Bataille. Vapor: The vaporous represents matter's transformations. In this volume, a political scientist compares Kafka's haunting “Odradek” to “vibrant matter”; a media theorist responds to poems and diagrams by Buckminster Fuller; and more, including texts by Hippocrates, Italo Calvino, and James Clerk Maxwell. Ray: A ray is an act of propagation and diffusion, encompassing a chain of interdependencies between energy and matter. This volume includes texts by Spinoza (with a reconceptualization by a contemporary philosopher), Jacques Lacan (followed by an anthropologist's reflections on temporality), Thomas Pynchon (accompanied by an interpretation of Pynchon's “electro-mysticism”), and others. These volumes constitute a unique experiment in design and composition as well as content. The mingling of texts and the juxtaposition of different areas of knowledge represented in a variety of forms express the dynamics of a world in change. (shrink)

-/- In Kafka's work there are many examples of metamorphic instances. Die Verwandlung is obviously the first case that we are used to know as a real metamorphic example. However, it is not the only one, for examples Odradek, but also the way Kafka describes the encounter between characters or the characteristics of some of them (Das Schloss). The paper tries to conceptualize the metamorphosis through a distinction between two forms: (1) metamorphosis or transformation that allows us to know (...) from where what is transformed comes (start) and where it arrives (arrival); (2) becoming that shows a tension between two different conditions or that not allows us to grasp something because of his intangibility. All this will be examined using the monumental work of Deleuze and Guattari and a phenomenology of metamorphosis developed by Conci. (shrink)

El personaje de Hamlet ha sido un punto de referencia para gran parte de la filosofía europea del siglo XX, representando el espíritu y destino de Europa. Diversos autores, como Pavel Florenskij, Lev S. Vygotskij y Carl Schmitt, han visto en Hamlet la contradicción inherente a una transición epocal no resuelta, caracterizada por el dolor interminable de un interim. Mi artículo explora la posibilidad de interpretar el tiempo de Hamlet bajo esta luz, en relación con las ideas de Walter Benjamin (...) sobre el Trauerspiel alemán. A diferencia de Florenskij, que lee a Hamlet de manera trágica, sigo la tesis benjaminiana que sitúa a Hamlet como el fin del Trauerspiel moderno. En este marco, se revela la naturaleza de la conciencia moderna y su relación con la verdad, destacando cómo Hamlet encarna los rasgos aporéticos de la política moderna, en contraste con la visión premoderna de Carl Schmitt. (shrink)

According to Hume, the pleasures that appreciators experience from good tragedies are critically accounted for by the unpleasantness associated with the events that those tragedies represent. This account appeals to a process of conversion of the unpleasant into the pleasant. Two of the more prominent contemporary interpretations of Hume’s conversion process – respectively advanced by Malcolm Budd (1991) and Alex Neill (1998) – put forward two contrasting views of the role of unpleasantness in Hume’s view of the pleasures of tragedy. (...) In the present paper, I argue that, whilst Budd’s and Neill’s readings find some textual support in “Of Tragedy”, neither of them can do complete justice to the text of Hume’s essay. By contrast, I show that what I call a ‘two-stage interpretation’ of Hume’s conversion thesis is consistent with a body of textual evidence that neither Budd’s nor Neill’s interpretations can accommodate in its entirety. (shrink)

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to understand what (...) machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

The aim of this paper is to discuss how the image of the artist has formed in Western culture and how digital art may shed light on some of its internal contradictions, if not perhaps even help us overcome them. Firstly, I take into consideration the Jewish and Christian tradition according to which the image of God as Creator may play the role of the archetypal artist, of whom the human artist is a sort of copy and imitator – an (...) idea that fully established itself during the Renaissance and even now widely influences the image of the creative artist, whom is commonly endowed with an almost absolute subjectivity able to derive from her boundless spontaneity everything is needed for the making of the work of art. Next to the image of God as Creator I focus on the influence exerted by the Platonic myth of the Demiurge, the divine craftsman who, trusting its own ability and insight, shapes a given matter according to a preexisting model it contemplates. It will then be shown how the image of the Demiurge might temper the absoluteness proper to the notion of the artist deriving from the image of God as Creator and, therefore, how it might help rediscover the dimension of historicity and conditionedness that is inseparable from human artistic creativity, even though it has been strongly downplayed and despised. Finally, I argue that the philosophical study of digital art – particularly of computational creativity and remix – may offer a precious occasion for shedding new light on the objective and conditioned elements of artistic creativity and, as such, may lead the way towards a reconfiguration of the image of the artist (and of the many concepts connected to it) not under the absolute sign of God as Creator, but rather under the historical aegis of the Demiurge. (shrink)

Among the many forms of artistic expression that characterize the digital era, remix occupies a rather central position. At the same time, however, the success of remix as an artistic practice raises several hard questions. What is original and what is derived? How can we sort out and make sense of questions concerning origination and derivation in situations where one thing is appropriated, reused, and repurposed for something else? What theory of moral and aesthetic value can accommodate and explain these (...) situations where authorship, authority, and origination are already distributed across a network of derivations, borrowings, and re-appropriated found objects? This paper develops a response to these questions, and it does so in three steps or movements. The first briefly introduces the concept of remix and the opportunities and challenges that this now wide-spread, content creation practice presents to existing models and theories of moral and aesthetic value. The second outlines the three elements of what I call “remixology”—a new axiology (or theory of moral and aesthetic value) that is designed to scale to these new opportunities and challenges. The third and final movement investigates the consequences of this proposal, demonstrating how remixology can be read backwards through time, providing us with some new perspectives on artistry and creativity in all human endeavors, and read forwards into the emerging challenges that have been made available by innovations in algorithmic content generation and computational creativity. (shrink)

This paper analyses Spalding’s Betrachtung über die Bestimmung des Menschen (1748) through a translation proposal that tries to point out the human disposal to act ethically. In accord with modern German use, I argue for a translation of Bestimmung as disposition. In the first part of the article, I deal with the relevant issues for a philosophy of human experience that are present in Spalding’s text. In the second one, I bring the translation proposal into the philosophical domain showing how (...) the Bestimmung as disposition suits the human nature, in particular for what concerns the ethics, namely the way humans are arranged to act with others, and things in a non-egoistic mode. The analysis rests on two philosophical concepts: Sorge (Heidegger) and Liebe (Jaspers), that give a description of the essential relational component of human beings in which to take care, to love, and to discover our surrounding world are the key points. (shrink)