In this major reinterpretation, Howard Caygill argues that all of Benjamin's work is characterized by its focus on a concept of experience derived from Kant but applied by Benjamin to objects as diverse as urban experience, visual art, literature and philosophy. The book analyzes the development of Benjamin's concept of experience in his early writings showing that it emerges from an engagement with visual experience, and in particular the experience of colour. By representing Benjamin as primarily a thinker (...) of the visual field, Caygill is able to bring forward previously neglected texts on inscription and the visual field and to cast many of his more familiar texts, for instance the Work of Art in an Age of Mechanical Reproduction in a new light. (shrink)

In this new lexical survey of Kant's works, Howard Caygill presents Kantian concepts and terminology in terms that will introduce and clarify his ideas for students and general readers alike.

Howard Caygill systematically explores for the first time the relationship between Levinas' thought and the political. From Levinas' early writings in the face of National Socialism to controversial political statements on Israeli and French politics, Caygill analyses themes such as the deconstruction of metaphysics, embodiment, the face and alterity. He also examines Levinas' engagement with his contemporaries Heidegger and Bataille, and the implications of his rethinking of the political for an understanding of the Holocaust.

The chapter examines the political arcanum historically and conceptually and reflects on the implications of digital technology for the state and civil society relation.

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

Walter Benjamin was a philosopher but perhaps more importantly he was an experienced critic of such passion, erudation and virtuosity.

Whatever it is, bad weather or good, the loss of a friend, sickness, slander, the failure of some letter to arrive, the spraining of an ankle, a glance into a shop, a counter-argument, the opening of a book, a dream, a fraud - either immediately or very soon after it proves to be something that "must not be missing"; it has a profound significance and use precisely for us. Is there any more dangerous seduction that might tempt one to renounce (...) one's faith in the gods of Epicurus who have no care and are unknown, and to believe instead in some petty deity who is full of care and personally knows every little hair on our head and finds nothing nauseous in the most miserable small service? Nietzsche The Gay Science § 2771. (shrink)

An analysis of Walter Benjamin's response to contemporary cosmology focusing on his reading of Eddington.

Derrida's public struggle with the spectre of Artaud began in the 1960s ‘La parole Soufflée’ and ‘The Theatre of Cruelty and the Closure of Representation’ and continued forcener le subjectile and Artaud le Moma. The texts are read as attempts to break with the dominant critical/clinical readings of Artaud inaugurated by Jacques Rivière and as beginnings for a search to secure Artaud-immunity, protection for and against his words and works. It argues that Derrida's readings of Artaud systematically underestimate the power (...) of his deliberate perversion of Platonism and his intimations of an affirmative metaphysics issuing from the replacement of the idea of the One by that of Chaos. The underestimation of the affirmative drive underwriting Artaud's work led Derrida to uncover a suicidal motif in Artaud-immunity that would eventually compromise his own understanding of auto-immunity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Barthes and the Lesson of SaenredamHoward Caygill (bio)In his late dialogue Parmenides, Plato seems to be on the point of overturning the main achievement of his philosophy, the doctrine of ideas. The aged Parmenides disquiets the young Socrates by asking if ideas apply not only to abstractions such as the just, the beautiful, and the good, but also to "hair, mud, dirt, or anything else particularly vile and (...) worthless" [131A]. Socrates thinks not, but admits being troubled by a doubt that forces him to retreat "for fear of falling into some abyss of nonsense and perishing." This hint of an obverse Platonism that haunts the doctrine of ideas shares much with the later work of Barthes, which, qualifying a life's work in semiotics, seems to turn away from signs and the inquiry into their conditions of meaning to seek meaning in the smudge and the blemish. In his late essay on Cy Twombly, "The Wisdom of Art" (1979), he explicitly adopts the obverse Platonism that so troubled Socrates as a principle of method: "Ideas (in the Platonic sense) are not shiny, metallic Figures in conceptual corsets, but somewhat shaky maculations, tenuous blemishes on a vague background" [180]. The clear allusion to the parable of the cave in Plato's Republic—with its contrast between the shadows on the wall and the bright light of the ideas—allows Barthes's work to be situated within an obverse, dirty Platonism. He does not abandon the Platonic search for ideas but reorients its direction of inquiry from the realm of light to that of shadow, from the heavens to the cave.The position adopted by Barthes before his death should not be understood as a turn away from a preoccupation with light and the conditions of intelligibility to a sensitivity to the shadows in the nuances of voice, tone, timbre, and texture. Such a development might seem to be confirmed by the shift in Barthes's interests from the immaculate, harshly lit geometrical architectural interiors of the Dutch seventeenth-century artist Saenredam in one of his first essays, "The World as Object" (1953), to the informal works of Cy Twombly during the final years of his life. The church interiors of the former would seem to exemplify the idea as "shiny, metallic figure," while the paintings of the latter are closer to maculation and blemish. Yet the sensitivity to the vague and the indefinable that eludes meaning while remaining one of its conditions of possibility was always present, even and especially in Barthes's response to the mysterious works of Saenredam, which for all their immaculate surface are themselves profoundly marked and blemished.The essay of 1953, contemporary with Writing Degree Zero, inaugurates a number of trajectories that range between a concern with the visual to the conditions of artistic practice under capitalism, even to a reorientation of Platonism. Itself an astonishingly wide-ranging yet focused response to seventeenth-century Dutch painting, the essay begins with a discussion of Saenredam as an exceptional moment in Dutch painting. Yet this moment is itself quickly identified as an inaugural moment of a certain obverse [End Page 38] artistic practice—the evocation of the idea of truth through reduction and negation—that continued through the contemporary avant-garde. Saenredam's art is inaugural in its refusal to participate in the mythology of what would later be identified as a capitalist society and culture. The essay, ostensibly concerned with Dutch painting, is also a reflection on the possibilities of an aesthetics of resistance in a capitalist society and the limits within which avant-garde practice is confined. Barthes's reading of Saenredam and through him Dutch painting is thus programmatic of his readings of the contemporary avant-garde, and beyond this to the Platonic structures which still silently inhabit its aesthetic theory and practice.An Aesthetic of SilenceIn the opening paragraph of "The World as Object," Barthes introduces the work of Saenredam as anticipating "a 'modern' aesthetic of silence," an anticipation that is said to exceed even "the dislocations of our contemporaries" [62]. This chronological dislocation of Saenredam's work—placing it in advance of the contemporary avant-garde—is but one of... (shrink)

The article reflects on Heidegger’s admission in the 1966 Spiegel Interview that he was shocked by images of the Earth taken from space. It asks what these images were and shows that far from testifying to the encounter of planetary technics and the modern human they evince the meeting between an improvised automated technology of image capture and contingency.

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)