Addressing the recent call to rethink history as a form of presence, the essay works toward a recovery of a space in which such presence of history is encoded. I argue that history as a form of active perception is akin to virtual witnessing of the past in the moment of our encounter with historical artifacts, be they texts, photographs, or buildings.To this end, I engage with the conceptual and material aspects of historical perception, deriving a model of history as (...) “inhabited ruins,” the way it emerges together with historical consciousness and finds an especially dynamic expression in Georg Simmel's philosophy of culture. Throughout, I work with the notion of distance and trans-dimensional presence as the forces that shape and reshape historical awareness.Ruins, intimately connected to the modern historical imagination, are approached not as sites of commemoration or nostalgia, but as spaces of active exchange between presence and disappearance. As such, they are taken to be the models for the transitive character of history itself, blurring the division between perception and thought. In other words, ruins are taken as structures that evoke and summon the past to an encounter with contemporary reality—a type of co-appearance that opens the possibility of virtually witnessing the past. I conclude that the logic of “inhabited ruins” constitutes the event-horizon of modern identity, always placing history right at the threshold of fragmentation. (shrink)

This contribution to the Common Knowledge symposium “Fuzzy Studies” considers how the ultramodernist aesthetics of Central Europe has related to and reacted against the region's political history and cartography. Central Europe has been a rich source of “soluble” realities that can be observed as they emerge, mature, and rapidly decay. Central European modernism, represented here by Adolf Loos in architecture and by Arnold Schoenberg and Leoš Janáček in music, experimented with blurry regions between presence and absence, light and shadow, sound (...) and silence. Loos disrupted the logic of architecture, while Schoenberg and Janáček nearly dissolved the acoustic paradigm of sound. This essay argues that the curious positioning of Central Europe, with its frequently changing borders and national entities, conduced both to positive experiments in cultural vagueness and to a corrosive reaction against existing and potential identities, parameters, distinctions, foci, and logics. (shrink)

This paper explores the relationship between crisis and experience, concentrating on ‘excentric positionality’ in relation to the shared world, as presented in the work of Helmuth Plessner. A by-product of the 1920s Weimar Germany, Plessner’s philosophical anthropology, it is argued, presents us with a forgotten blueprint for transitive and compositional approaches to the social world. Instead of the familiar ‘crisis of experience’ used to diagnose ‘what has gone wrong’, it allows us to re-learn how to work with ‘the experience of (...) crisis’ itself. The latter holds the key to a different type of approach based on ‘xeno-communication’. This type of communication utilizes the productive potential of crisis in its uncertainty and hesitation before a decision, showing a way to extend and enlarge experience itself. Cultivation of these ‘excentric’ dynamics in turn suggests new ‘excentric methodologies’ based on a more flexible fit between concepts and the worlds they are meant to describe. ‘Excentric methodologies’ constitute a type of experience-based, analytical response to the shared world. They work with phenomena across spaces and problems, analytically utilizing their joint emergence from the fundamental imbalance and discontinuity characteristic of the human environment. (shrink)

The article employs music to describe the dynamics of Central European identity at the turn of the 20th century. Conceptually, the analysis is based on the notion of cultural resonance and the distinction between political territories, which isolate identity, and cultural landscapes which let it escape. This theoretical understanding is derived from the acoustic philosophy and musical practice of two Central European composers, Leoš Janáček and Béla Bartók. Exemplified here is artistic ‘extra-territorial’ identity, which is indeed how Theodor Adorno at (...) one point referred to the ‘peripheral’ sound coming from the region. This process of identity construction amplifies paradoxical middle spaces, which Jean Luc Nancy describes evocatively as a cultural mêlée. The vitality of cultural resonance is fuelled by this primary contact with mundane reality and the ‘navigational hesitation’ underpinning identity and its many trajectories. (shrink)

This article investigates the meaning of the ‘social’ based on Durkheim’s philosophy of society as a ‘collective representation’. I argue that the social, the way Durkheim formulates it, is an abstract sign for reality, a metaphor, which operates on the level of language. Because of this fact, the ‘social’ is from the start limited in its functionality as a descriptor, but it also contains within its own linguistic form, in its word, the possibility of renewal and renaming that is the (...) unique force inherent in language. I propose that this origin of the social operates according to the ‘spirit of postmodernism’, which constitutes a common response to modernity, by what later differentiates itself into the currents of sociology and postmodernism. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)