The article explores the relationship between two different approaches to happiness and knowledge, that is, the contemplative model and the economistic and instrumental model. Whereas the former equates happiness with the contemplative life, the latter separates happiness from knowledge and subordinates both to what present-day policy-makers call “the economy of well-being.” While biopolitical modernity seems to have rendered the contemplative model obsolete and purposeless, the article suggests reviving the contemplative lifestyle, by putting forward three arguments. First, it contends that we (...) should challenge the economistic and instrumental model, by reaffirming the principle that knowledge and happiness are primarily intrinsic values and ends in themselves. Second, the two models do not necessarily exclude each other and we should strive to combine them. Third, the envisaged integration of the two models requires that we revise them significantly. The elitist and metaphysical character of the traditional contemplative model must be abandoned as it is no longer palatable to modernity. Also, the primacy of economic and instrumental rationality that defines the modern biopolitics of knowledge must be questioned. (shrink)

This article takes as its point of departure Hannah Arendt’s discussion of public happiness, contextualising it within her thoughts on politics, democracy and revolution. It draws on Arendt’s discussion of how the expression “pursuit of happiness” has historically shifted from a public understanding of happiness into an increasingly privatised one. The article engages with Arendt’s account of public happiness in order to reanimate her radical democratic critique of how representative politics reduces the scope of political action and participation; and how (...) the notion of happiness in a neoliberal era can only be interpreted in economistic and subjectivist terms. Furthermore, the article turns to examine how recent works in contemporary political thought, namely, those by Adriana Cavarero and Judith Butler, extend and transform the stakes of Arendt’s account of public happiness. On one hand, Cavarero’s notion of surging democracy is considered as an account of radical politics that keeps alive the Arendtian concern with public happiness by contextualising it within contemporary political struggles and social movements. On the other hand, Butler problematises Arendt’s discussion of politics for its neglect of precarity; however, this article argues that Butler’s work on assembly extends Arendt’s by highlighting possibilities of resistance, radical democracy and even public happiness amid experiences of loss and grief. Although prima facie it might appear that happiness and precarity are opposed to each other, this article points towards contemporary political practices, such as those of Ni Una Menos, that are critically reanimating public happiness through the intertwining of affective registers that range from joy to grief. (shrink)

Modern continental thought is skeptical toward happiness and no longer easily reconciles its pursuit with a desire for justice, the good, and truth. Critical theory has unmasked happiness as a commodity within an industry, an ideological tool for control, and a sedative to, justification of, and distraction from social injustice. This article argues that these diagnoses make it all the more important that philosophy, rather than taking leave of happiness, once again turns it into a serious object of thought. Employing (...) the work of Badiou and Agamben as case studies, it asks what a critically informed yet affirmative philosophy of happiness should entail at a structural level. Assessing their philosophical models of happiness, this article 1) recognizes in their work a revival of the ancient ideal of a true, just, and happy life, 2) opens up a new way of evaluating their work, and 3) articulates basic requirements of a contemporary, affirmative philosophy of happiness beyond the happiness industry and its critics. (shrink)

This article investigates the anthropology of Spinoza as a strategy for happiness, political, as well as individual. Inspired by the readings, comments, and perspectives of Matheron, Deleuze, and Balibar, I will analyze Spinoza’s theory of the affects as the basis for this strategic anthropology. These authors all share an ontological and political vision organized around the concepts of multitude and the transindividual which result directly from Spinoza’s analysis of the human affects in books III and IV of the Ethics, and (...) his theory of political dynamics developed in the Political treatise. They consider Spinoza a contemporary and share with him the idea of a relational ontology and an inextricable and mutual interdependence of the individual and the community which is captured in the concept of the transindividual. With Matheron/Spinoza I will focus on the question of anthropology and the structure of thought, with Deleuze/Spinoza on the kinds of knowledge in relation to the human mind and body, and with Balibar/Spinoza on the transindividual, productive, active, and thus strategic nature of our thinking. These three analyses of human thought and affects all proceed from the hypothesis of conatus/desire as human essence and aim not just at theoretical knowledge but rather at the effective improvement of our well-being and lives, that is, at happiness. (shrink)

The considerable literature discussing Walter Benjamin’s “idea of happiness” points both to the important role it plays in his thought and, in this context, to the diversity of interpretations his elliptic style has generated. The pivotal role played by the term in Benjamin’s oeuvre from his early writings on language to his Passagenwerk originates in what has been regarded as his “dialectics of happiness.” While this is certainly a plausible diagnosis, a closer look at the wording of the relevant passages (...) in Benjamin’s oeuvre reveals more nuanced and numerous manifestations of the indirectness that characterizes his approach to happiness. Benjamin invokes the term “happiness” (Glück) at crucial crossroads in his thought. It oscillates between potentiality and inaccessibility; individual and collective experience; commemoration and utopia, Eros and emancipation, concrete phenomena and abstract ideas, and last but not least between politics and theology. Equally striking are the divergent modes of expression in which Benjamin’s notion of happiness is articulated. They range from the inexpressible (das Ausdruckslose) to the most lyrical effusions. My talk will correlate Benjamin’s seemingly incommensurable invocations of happiness with the very detours, incompletions, and indirections in his writings about this state of being. (shrink)

Albert Camus and Rachel Bespaloff had an undeniable influence on the existential thought of the twentieth century. The former, by claiming the world to be silent to our search for meaning, based the concept of happiness in the inherent value of life. The latter grounded her happiness in music and transcendence rather than in the acceptance of the absurd human condition, though the two thinkers seem to agree on the importance of subjective contemplation. In this article, I will offer a (...) reading of Camus’s works that emphasizes his view of happiness in awareness of the absurd. I will then argue for the ethical and political challenges that such happiness causes. Finally, by putting into dialogue the philosophies of Camus and Bespaloff, I wish to show that the two thinkers advocate for the possibility of happiness despite the suffering of the world, and show that this concept, understood as contemplation, can be rooted in the absurd as well as in transcendence. (shrink)

This article analyzes the artwork of two seemingly distant contemporary artists – Toomas Altnurme and Cao Jun – elucidating their creative processes through the theoretical frameworks of Martin Heidegger, Sigmund Freud, and Henri Bergson. In Section 1, I offer reasons for a side-by-side examination of Altnurme’s and Jun’s art. In my discussion of Altnurme’s art in Section 2, I argue that his process exemplifies Heidegger’s view that artists must abnegate themselves in order for their creations to come into being. In (...) Section 3, I elucidate Jun’s painting in its power to decenter the usual, object-oriented, circumspection of the mind. I ground my analyses in Freud’s concept of dream logic. Freud’s work on dreams allows me to approach Jun’s creative process as a work of translation whereby the artist translates the preconscious elements into images that we – the audience – then see on canvas. In Section 4, where I offer a comparative examination of both artists, I rely on Bergson’s articulation of the importance of intuition in order to show that both Altnurme and Jun create artworks that disclose to us the non-objective dimension of life wherein action or process and possibility take precedence over objectively existing things. (shrink)

Kant criticizes Plato for his interest in positing ideas that are entirely purified from any sensible elements, but which, nonetheless, exist in some supra-sensible reality. I argue that Kant’s criticism can be repositioned and even countered if, in our assessment of Plato, we assign a wider scope of significance and greater value to the senses. In order to lend focus to my article, I analyze Socrates’ presentation of what I translate as the “look of the Good” (τοῦ ἀγαθοῦ ἰδέαν, 508e) (...) in the Republic so as to show the proximity between Plato and Kant on the question of sensibility. I also draw on the Phaedo and extant literature that goes against the traditional view regarding the status of Ideas or Forms, including the Idea of the Good. I further discuss an affinity between the Good that is “beyond being” (ἐπέκεινα τῆς οὐσίας, 509c) in the Republic and Kant’s view of God as an Ideal of Reason. Given my articulation of the importance of the sensible dimension in Plato, there is a continuity between Kant and Plato on the question of the illegitimacy of certain ideas. In other words, in my reading (and contrary to Kant’s view of Plato), Kant does not so much overturn Plato’s metaphysics, but develops further the view that is already inscribed in Plato. (shrink)

Noting that one may hear without listening, the article probes the phenomenological and epistemic distinction between hearing and listening. To listen is to be attuned to voices muffled by silence or camouflaged by a defensive rhetoric resonant with a voice inflected by festering wounds, existential and political. In exploring how one is to listen to these voices of silence, I draw upon Martin Buber’s concept of dialogical “inclusion” of others’ stories, to listen without interpretation to allow the voice behind his (...) – or her or their – story, be it merely etched viscerally in the language of silence, to dwell aside one’s own story in a dialogue unencumbered by perceptions of the Other forged by cultural, social, political constructs, and perhaps most insidiously one’s own defensive postures. (shrink)

The present article tries to show the originality of Lukács’s theory of Actuality (Wirklichkeit) by comparing it with the same notion in Hegel’s Logic. It results that Lukács’s interpretation of Marxism and the Russian Revolution depends on a clear and independent theoretical position with regard to Hegel and his Idealistic theory of Modality. Particular importance is given to the new conception of the Dialectical interplay between the notions of Objective Possibility and Historical Necessity.

Dust is a distinctive material that, in addition to its physical properties, reveals anthropological and cultural dimensions, particularly within aesthetic contexts. In a collaborative project focused on “dust,” a theoretical-systematic approach is combined with an artistic-practical-participatory one. Philosophical reflections and artistic concepts related to the material “dust,” specific artworks involving dust, and the relationship between artwork and theory are interwoven. Thus, the text discusses various types of dust, the role of the artist, different modes of perception, cultural context, forms of (...) dust and materiality, media-specific characteristics, and questions of mediation. Throughout this process, common practices of artistic and theoretical engagement are transformed and developed. (shrink)

With reference to Steven Feld’s “acoustemology,” his epistemology of sounding and listening, developed in the Bosavi Rainforest in Papua New Guinea, where the trees are too dense to afford a distant view and meaning has to be found up close, on the body with other human and more-than-human bodies, this essay deliberates how sound knows in entanglements and from the in-between: in a being with as a knowing with rather than from a distance. In this way, this essay, from the (...) densities of the rainforest, critiques Western knowledge and its reliance on visual categories, straight lines, and universalising principles that pretend objectivity and a distant view. Instead, it turns to the relational indivisibility of sound that lets us hear interdependencies and confronts us with the invisible of which we are part. In conclusion, it proposes that sound studies as applied, transversal studies enable such a paradigm shift that at once reveals what hegemonic knowledge strands exclude and invites a different dialogue from the in-between of everything. (shrink)