European Graduate School

Este artículo explora el proceso de constitución mediante la escritura colaborativa, integrando marcos psicoanalíticos, filosóficos y estéticos. Examinamos la interacción de elementos que conforman formaciones relacionales y proponemos un modelo de constitución como un proceso tenso y a la vez coherente. El texto encarna una negociación continua de significado, agencia y afecto, sirviendo como producto y testimonio del acto de constitución.

In this paper, I examine Badiou’s idea of the “infinite value of truth” as an important imperative of our post-truth era. The main concepts essential for understanding the creation of truth include the mathematical system of set theory, events, and the relationships between truth and the subject, truth and politics, and truth and art. The condition of truth appears to be essential for Badiou’s notion of real life. By gaining a better understanding of what truth can be, we can explore different visions and understandings of the future to come.

Em uma entrevista de 1977, Michel Foucault argumenta que é necessário criar uma filosofia política desvinculada do conceito de soberania, já que “cortar a cabeça do rei” é impossível na teoria política. Democracias ocidentais ainda estão conectadas a esse modelo político e jurídico. Não há soberania sem um soberano. Surge, assim, a necessidade de desconstruir a soberania na filosofia contemporânea. Catherine Malabou afirma que filósofos como Foucault, Derrida e Agamben fracassaram nesse objetivo, pois ao tentar definir o que resiste à soberania, acabam permitindo sua continuidade. Malabou volta-se justamente na biopolítica, conceito introduzido por Foucault e reformulado por Agamben e Derrida, caracterizado como um poder centrado no controle da vida. Para desconstruir a biopolítica, é necessário um ponto de intersecção entre biologia e história, no qual se encontrem o sujeito político e ser vivo. No entanto, para Foucault, Agamben e Derrida, a biologia está sempre ligada à soberania, apresentada como ciência que transgride seus limites para controlar a vida. O argumento de Malabou aponta para o fato de que qualquer resistência biológica ao biopoder é impossível, pois a determinação biológica da vida deve ser transgredida. Ela propõe a existência de dois conceitos de vida: a vida biológica e a vida simbólica, com a última revelando o potencial de resistência. Para a autora, novas categorias biológicas, como a epigenética, podem ajudar a encontrar um novo materialismo. A epigenética, segundo ela, resiste à redução política da biologia a mero veículo de poder, revelando a intrincada relação entre o biológico e o simbólico, sem transgressão do biológico. A plasticidade dialética da diferença, em vez da indiferença simbólica, seria a forma mais eficiente de desconstruir a soberania, destacando o alcance revolucionário dos mecanismos biológicos, especialmente a epigênese.

Background: Fibonacci patterns and tubular forms both arose early in the phylogeny of multicellular organisms. Tubular forms offer the advantage of a regulated internal milieu, and Fibonacci forms may offer packing efficiencies. The underlying mechanisms behind the cellular genesis of Fibonacci and tubular forms remain unknown.

This piece meditates on the possibility that translation, which entails openness to the possibility of another, and love, which always already involves reading, are not quite the same thing but are potentially inseparable from each other. All while bearing in mind the fact that translation, even when done with love, always also transforms the text: changing it in ways that might fundamentally alter it, for better or worse. Where the translator is always also potentially a traitor. Who (s)he betrays though — the text, herself, the other, their relation — might well be the question. Though, as Neil Murphy once told me, “reading literature with your head is always a mistake”. So, instead of attempting to rationalise a text — reign it in, make it safe, tame it — perhaps all we can do is to open ourselves to a work. And listen. Hoping it takes my breath away.

Abstract Presented with the (non) choice of either assimilating into bourgeois society and, thus, annihilating themselves, or being annihilated by society, the working class subject may choose, neither, engaging, instead, in an act of negative freedom. By engaging in an act of negative freedom, the working class subject destroys all possibility of rehabilitation, thus, determining their fate. The act alone provides a means by which to mark the outer limits of what they are willing to tolerate. Through the act, the subject is altered, their world is changed. Furthermore, before engaging in the act, they do not know what will happen to them. They are, in other words, stepping into the abyss of unknowing. In this article, I will explore the concept of negative freedom in relation to the working class subject: how engaging in such an act marks their fate, separating them from bourgeois society while, also, setting them free. At the same time, due to its inherent withdrawal from civil society, negative freedom veers dangerously near nihilism, thus, reducing their act to one without meaning.

This article asks the fundamental philosophical question concerning contemporary art: what is contemporary art? The distinction between modern and contemporary art is defined as internal to modern art, with the logic of rupture inherent to modernity. With modernity in art, three possibilities arise: constructivism, abstraction and non-art. After this, all contemporary art is either self-critical, formal or revolutionary. Through subtraction and formalization, contemporary art negates reality through local experiments that function at an abstract level of symbolization, making visible the real that is specific to every work of art and that creates a new place in the world. This experimentation effects a displacement within the sensible, creating a displacement between the possible and the impossible. Not unlike politics, art displaces a place in which it installs the formal promise of a new world. However, unlike politics, art provides a provisional respite through its ability to displace the laws of the world without ever promising to topple the world. Four maxims are proposed that define a contemporary meta-aesthetic ethos of anticipation that is not on the order of politics.

En esta conversación, María del Rosario Acosta y Jean-Luc Nancy reflexionan sobre los distintos registros de la palabra "murmullo" y la relación que puede establecerse entre cada uno de ellos y la pregunta por la crítica política y de lo político en el pensamiento de Nancy. El aspecto sonoro del murmullo permite acercarse, por un lado, a una reflexión sobre la circulación del sentido en términos de resonancia. Conduce también a la pregunta por la singularidad de la experiencia de la escucha en la constitución de ser-en-común, y por el papel del testimonio - y la desaparición de espacios para su escucha - en medio de las múltiples violencias que afectan nuestro presente histórico. Nancy revisa algunas de sus posturas anteriores frente a estas preguntas, profundiza en otras, y trae a colación temas nuevos que no se encuentran desarrollados en otros de sus escritos.