Why do the arts and culture matter? What difference do they make and how do we know what difference they make? This report presents the outcomes of the AHRC’s Cultural Value Project which looked at how we think about the value of the arts and culture to individuals and to society.

Melancholia is a hybrid concept, deployed in feminist and philosophical theories politics and aesthetics, but ‘properly” belonging to neither. This heterogeneity of melancholia as both an aesthetic and a political category allows us to interrogate the interrelationship between gender politics and aesthetics without, however, abolishing their differences. Reinterpreted in the context of a feminist aesthetics, melancholia not only points to art’s origin in the unjust and gendered division of labor and power but also to the ethical and political task of (...) art to bear witness to the mute suffering of women cut off from the signifying possibilities of language. Moving beyond the entrenched oppositions between historicism/subjectivism, subject/object, or formalism /materialism, my own approach to an aesthetics of melancholia in women’s modern novels stresses unpredictable, conflicting migrations of pain between subjects and objects, political oppression and autonomous art, language and affect. (shrink)

I present Hegel’s position that beauty and moral agency cannot be paired in any productive way, demonstrating this as a culminating claim of the sixth chapter of The Phenomenology of Spirit. In this, we learn that for Hegel, beauty claims an ambiguous position, always eviscerated yet never fully put to rest. This dialectical tension requires that we attend to the place of beauty as it appears in Hegel’s thoughts on morality and marks a departure from a long-standing tradition – exemplified (...) in the work of such thinkers as Plato, Immanuel Kant, the ‘Beautiful Souls’ of 18th-century German Romanticism and Elaine Scary – that matches moral goodness with beauty. (shrink)

In the work of Henri Bergson and Martin Heidegger we find different responses to traditional ideas of ‘creation’. Bergson advances a philosophy of creation, wherein ‘creation’ is presented as the production of a ‘radical’ or ‘absolute’ novelty, not only in art, but in all forms of human experience and biological life. Heidegger, in contrast, comes to criticise ideas of ‘creation’ in art as the expression of an alienated ‘humanism’ and ‘subjectivism’ essential to the modern age. This paper illuminates this divergence (...) by showing how Bergson and Heidegger, despite appearances, grapple with the question of art-production – and with the attendant issues of inheritance and originality – in similar ways. It is only in recognising this proximity, I argue, that it is possible to perceive adequately what essentially distinguishes their approaches: Bergson’s conception of creation as a function of the will. (shrink)

Philosophers within the discipline of the history of philosophy have long since demonstrated a preoccupation with the history of aesthetic ideas. However, not all aesthetic concepts in 19th- and 20th-century thought have been given an adequate analysis. One concept which, while attracting interest in literary theory debates, has rarely been mentioned in history of philosophy debates, is that of aura . The reason for the marginal role of aura in present debates is due no doubt to the difficult and sometimes (...) utterly obscure nature of Adorno's texts, which often veils their underlying philosophical content. Aura concept is important because it represents a still rather neglected strand of Adorno's Aesthetische Theorie , which has often been regarded as solely an avocation of the aesthetics of the ‘New’. This article offers an original and in-depth analysis of this key concept showing how significant it is to Adorno's overall project. Key Words: Theodor Adorno • aesthetics • aura • Walter Benjamin • distance • gaze • proximity • receptivity. (shrink)

This paper deals with Derrida's analysis of Kant's Critique of Judgment in his essay 'Economimesis'. I argue that Derrida's analysis of Kant's aesthetics can be used to describe the aporia within Kantian politics between rebellion and progressive revolutionary acts. The focus of my argument falls on examining how the recent debate over Derrida's ethics can be usefully considered from the background of this treatment of Kant. In particular, the analysis Derrida gives of Kant's aesthetics commits him to a series of (...) conceptual constraints that can be detected in his recent commentaries on 'forgiveness' and 'hospitality'. I suggest that these recent commentaries on political topics also depart from his earlier practice of ethics in 'Economimesis' as a 'witnessing' of the particular. This departure can be clearly seen once the Kantian background to Derrida's recent writing is set out. (shrink)

This essay argues that Antony and Cleopatra’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The protest, the passion (...) and singularity, lives mainly through its expressive emphases – such as hyperbole – and the re-functioning of the very dominative roles and norms being opposed. This reflects the restricted but critical – aesthetic – status of early modern drama, and specifies its opposition to the deepening attack on sensate knowing in its world. (shrink)

Heidegger’s essays “The Origin of the Work of Art” and “The Question Concerning Technology” provide a revealing insight into the importance of exemplarity to artworks. Originally the notion that exemplarity is essential to art is Kantian: As Kant puts it, since originality can produce “original nonsense, [beautiful art’s] products must be models, i.e. exemplary.” However, what Heidegger recognizes is that even if exemplarity allows us to take art seriously in spite of its excesses, it exposes the artwork to new dangers: (...) on the one hand, to the “world withdrawal of the work” as occurs in consignment to the museum shelf, and on the other, to the conditions of Enframing as “challenging-forth,” under which art is taken as a means to an end—dangers which point to the division of artworks between “fine” art and “popular” art. Since Heidegger’s approach favors the former, we will try to gain new critical insight by considering his arguments in the light of a “popular” work that allows us to formulate an exemplarity of popular art as the necessary complement to that of traditional art. By means of an understanding of the exemplarities (in the plural) of artworks, we will be able to reconsider the significance of Heidegger’s notions of reliability, Enframing, and poiesis for our current technological conditions. (shrink)

This article seeks to identify and address the normative void that resides at the heart of postmodernist-feminist theory, and to propose a philosophical framework – beyond postmodernism, but incorporating its central insights – for thinking through the normative questions with which feminists are inevitably confronted in their engagements with positive law. Two varieties of postmodernist-feminism are identified and critically analysed: the ‘corporeal feminism’ of Elizabeth Grosz and Judith Butler, which seeks to ground feminist critical practice in the irruptive capacities of (...) the material body considered as an arte fact of social construction; and the deconstructionist feminism of Drucilla Cornell, for whom ‘the feminine’ is an indeterminate but disruptive force beyond its construction in law and in other social sites. The first component of the argument elaborated here is that each of these approaches ultimately reduces to a form of aestheticism which is incapable of generating a worthwhile and workable feminist approach to the restructuring of politics and law. The second component of the argument involves a return to aesthetics, in particular to the philosophical aesthetics of Kant’s Critique of Judgement. Kant’s aesthetic philosophy, it will be suggested, yields a framework of concepts which, duly re-manipulated, could speak to the very concerns that have inspired postmodernist-feminism: how to attend to (bodily) particularity while avoiding the dangers associated with ‘essentialism’; and how to theorise the propensity of the unrepresentable power of the feminine to exceed both embodied human capacities and the confining rein of socially privileged rationalities. Crucially, however it also responds to a set of preoccupations – those of the feminist lawyer – that cannot be accommodated by postmodernism: how to translate embodied experience into (legal) norms; generalise from the particular; seek consensus; and codify an endless potentiality in the form of law. (shrink)

Feminist epistemology and feminist art theory are characterized by an opposition to modernity's separation of art, politics, and knowledge into three autonomous spheres. However, this opposition is not enough to distinguish them from other philosophies. In this paper I examine parallels between the two fields of inquiry in order to discover what makes them distinctively feminist. Feminist epistemology sees interconnections between knowledge and politics, feminist art theory sees connections between art and politics. We need to explore as well connections between (...) art and knowledge. Compared to feminist epistemology, feminist art theory has had much less exposure, and in this paper I emphasize what the former can learn from the latter. In particular, I suggest that feminist art can answer a call made by feminist theories of knowledge for a kind of transformative knowledge. If we focus on the features of activist art explored by feminist art theories, we see that feminist art is particularly suited to engage emotions as well as the intellect. It is an example of nonpropositional knowledge, and is interactive rather than striving to pass down lessons from above. Feminist art celebrates the power of art to “make strange” and to unsettle fixed identities which can transform our understanding of the world. There is a tendency in some feminist art theory to separate the more concrete work (rediscovering women artists, recognizing women's crafts as art forms, and investigating sexist imagery in art), from the theoretical project of reenvisioning the relations of art to its sociopolitical context. I conclude by arguing that without an awareness of the dialectical relationship between the concrete and the theoretical, feminist art theories run the risk of losing their feminist specificity. They would then amount to little more than abstract pronouncements of the interconnections between art, politics, and knowledge. We need to maintain the feminist specificity of feminist politics in our theories of art and knowledge, and I use examples throughout the essay, drawn particularly from feminist activist art, with this goal in mind. (shrink)

While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, (...) there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski. (shrink)

Im ersten Teil des Aufsatzes diskutiere ich die Bedeutung des Syntagmas „Erkenntnis überhaupt“, das Kant im § 9 der KU einführt, um sowohl das Problem der allgemeinen Mitteilbarkeit des dem Geschmacksurteil zugrundeliegenden „Gemütszustandes“, als auch das Problem der Natur der ästhetischen Übereinstimmung zwischen Verstand und Einbildungskraft aufzulösen: Während der ästhetischen Erfahrung ist es zwar notwendig, dass sie sich miteinander verbinden, als ob sie auf die Gegenstandserkenntnis ausgerichtet wären, aber ihre Beziehung besteht in einem freien Spiel auf dem vortheoretischen Niveau der (...) reinen Erkenntnisform. Ich erforsche auch eine interessante, wenn auch zu wenig studierte, Folge der Vermögensharmonie: das Entstehen eines besonderen Zeitbewusstseins im Betrachtungssubjekt. Im zweiten Teil, auf der Basis von einigen Textstellen bewerte ich die möglichen Antworten auf einen von einigen Auslegern erhobenen Einwand, nämlich dass aus Kants Lösung des Problems der Vermögensharmonie die Notwendigkeit folgt, alle Erfahrungsobjekte als schön zu definieren. (shrink)

ENGLISH ABSTRACT: This thesis is a philosophical exposition of violence informed by two theoretical positions which confront complexity as a phenomenon. These positions are complexity theory and deconstruction. Both develop systemsbased understandings of complex phenomena in which relations of difference are constitutive of the meaning of those phenomena. There has been no focused investigation of the implications of complexity for the conceptualisation of violence thus far. In response to this theoretical gap, this thesis begins by distinguishing complexity theory as a (...) general, trans-disciplinary field of study from critical complexity theory. The latter is used to develop a critique and criticism of epistemological foundationalism, emphasising the limits to knowledge and the normative and ethical dimension of knowledge and understanding. The epistemological break implied by this critique reiterates the epistemological shift permeating the work of, among others, Friedrich Nietzsche and Jacques Derrida. In this context, critical complexity theory begins to articulate the idea of violence on two levels: first, as an empirical, ethical problem in the system; and, secondly, as asymmetry and antagonism. Violence in this second sense is implicated in the dynamic relations of difference through which structure and meaning are generated in complex organisation. The sensitivity to difference and violence shared by critical complexity theory and deconstruction allows for the parallel reading of these philosophical perspectives; and for the supplementation and opening of critical complexity theory by deconstruction within the architecture of this thesis. This supplementation seeks to preserve the singularity of each perspective, while exploring the potential of their points of affinity and tension in the production of a coherent philosophical analysis of violence. Deconstruction offers a more developed understanding of violence and a wealth of related motifs: différance, framing, law, singularity, aesthetics and others. These motifs necessitate the inclusion of other philosophical voices, notably, that of Nietzsche, Arendt, Kant, Levinas, and Benjamin. In conversation with these authors, this thesis links violence to meaning, to its possibility, to its production and to the process by which meaning comes to change. Given these links, violence is conceptualised in relation to the notion of difference on three distinct levels. The first is the difference between elements in a complex system of meaning; the second is the notion of difference between systems or texts around which boundaries or frames can be drawn; and the third is the notion of difference between meaning and the absence of meaning. This discussion examines the relationship between this violence implicated in the constitution of meaning and the more colloquial understanding of violence as atrocity, as rape, murder and other socially, politically and ethically problematic expressions thereof. It is to empirical violence, following Derrida and Levinas, that we are called to respond and to intervene in the suffering of the other. The ethical and political necessity of response anchors this discussion of violence. And, it is towards the possibility of an adequate response – the possibility of an ethics sensitive to its own violence and a politics that is directed at the eradication of empirical violence – which this discussion navigates. (shrink)

This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...) specific philosophical convictions regarding agency and morality coalesce with certain ethical and political conditions. A tragic vision forms the grounds for tragic views. For Adorno, the key convictions rise out of the failures of reason and culture to enable the eradication of unnecessary suffering by creating the kind of conditions in which human beings could flourish. These convictions give rise to a view of humanity as blind to its own shortcomings and thus doomed to perpetuate suffering in the name of progress and growth. Adorno’s persistent negativism prevents him from offering practical solutions for changing the world, but he does offer a scathing critique of the modern world that continues to resonate with new generations of readers. The analysis of the tragic vision presented in this dissertation will highlight the fundamental philosophical and ethical commitments underlying Adorno’s views and will thus allow both situating his work into a larger cultural context and juxtaposing it with the work of other philosophers, as well as other writers, thereby opening new vistas for research not just on Adorno but on continental philosophy, social theory, and the domain of arts and letters at large. (shrink)

This dissertation is intended as an intervention in the interminable and apparently antinomical philosophical exchange between political theories of radical democracy descended from Ernesto Laclau and Chantal Mouffe and liberal democracy descended from John Rawls. Radical democrats have deployed the friend-enemy distinction of Carl Schmitt to criticize liberal democracy as hypocritical and ultimately undemocratic in its refusal to critique its own ground; liberal democrats have riposted by characterizing radical democracy as dangerously anarchic. In this project, I read Immanuel Kant in (...) dialog with the work of Ingeborg Maus to show in a novel way that contemporary radical democratic theories ultimately fall to the very critique upon which they indict liberal democracy, that they degenerate into the valorization of mere war, and that it was in fact in full recognition of this dynamic that Kants theory of liberal democracy begins. Kants theory of countervailing liberalism is ultimately discovered to be a politics of love over barbarism. The project ranges over a wide ground, from a close reading of Kant, to the 19th Century Pantheismusstreit, to works by Arendt, Hardt and Negri, Žižek, and Strauss. (shrink)