Speculative Realism Pathfinder This guide was created to help students, faculty, and other interested parties find materials related to the emerging school of philosophical thought known as Speculative Realism. I have linked most of the items listed in the Fundamental Texts section to their Google Books entry in an attempt to make this guide useful to all; Google Books lists the prices of various book retailers and has a "Find in a Library" link which can be used to find a freely-available copy near you. A. Reference Websites These sites provide useful overviews of the Speculative Realism movement as well as its many variants and sub-species. While they range in depth from a blog aggregator with hundreds of posts to a brief encyclopedia entry, all are valuable overviews of the field. Speculative Realism – Wikipedia: A public-edited introduction to the genre of philosophy known as Speculative Realism. Collapse Vol. What is Actor-Network Theory? ^^Back to the Top^^ B. C. D. E. To the terms themselves!
nick land Speculative realism Speculative realism is a movement in contemporary philosophy which defines itself loosely in its stance of metaphysical realism against the dominant forms of post-Kantian philosophy or what it terms correlationism.[1] Speculative realism takes its name from a conference held at Goldsmiths College, University of London in April 2007.[2] The conference was moderated by Alberto Toscano of Goldsmiths College, and featured presentations by Ray Brassier of American University of Beirut (then at Middlesex University), Iain Hamilton Grant of the University of the West of England, Graham Harman of the American University in Cairo, and Quentin Meillassoux of the École normale supérieure in Paris. Credit for the name "speculative realism" is generally ascribed to Brassier,[3] though Meillassoux had already used the term "speculative materialism" to describe his own position.[4] Critique of correlationism[edit] Variations[edit] Speculative Materialism[edit] Object-oriented philosophy[edit]
Dictionary of concepts for Graham Harman’s object-oriented philosophy [draft: work in progress] | Avoiding/the\Void Object-Oriented Philosophy: A Graham Harman Dictionary of Concepts [Feel free to comment if you have improvements for any of the definitions or notice any errors. I will continually update, add new words and generally make it more comprehensive as time goes on. This is by no means a definitive list, and beware that Harman's philosophical terminology and descriptions have changed in parts from Tool-Being to Prince of Networks. Some of the definitions are a little short and scrappy, so there's lots to work to do] “Allure is a special and intermittent experience in which the intimate bond between a thing’s unity and its plurality of notes somehow partially disintegrates” (GM, p.143). “Relations between all real objects, including mindless chunks of dirt, occur only be means of some form of allusion. BONDS [incomplete] - PHYSICAL BONDS: “there is the unremitting duel between an object itself as a real unity, as a single thing, and the same object as made up of numerous specific features”.
speculations - Home Gilles Deleuze Gilles Deleuze (French: [ʒil dəløz]; 18 January 1925 – 4 November 1995) was a French philosopher who, from the early 1960s until his death, wrote influentially on philosophy, literature, film, and fine art. His most popular works were the two volumes of Capitalism and Schizophrenia: Anti-Oedipus (1972) and A Thousand Plateaus (1980), both co-written with Félix Guattari. His metaphysical treatise Difference and Repetition (1968) is considered by many scholars to be his magnum opus.[2] Life[edit] Deleuze was born into a middle-class family in Paris and lived there for most of his life. His initial schooling was undertaken during World War II, during which time he attended the Lycée Carnot. Deleuze taught at various lycées (Amiens, Orléans, Louis le Grand) until 1957, when he took up a position at the Sorbonne. In 1969 he was appointed to the University of Paris VIII at Vincennes/St. Deleuze himself found little to no interest in the composition of an autobiography. Philosophy[edit] [edit]
Rhizome (philosophy) "As a model for culture, the rhizome resists the organizational structure of the root-tree system which charts causality along chronological lines and looks for the original source of 'things' and looks towards the pinnacle or conclusion of those 'things.' A rhizome, on the other hand, is characterized by 'ceaselessly established connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles.' Rather than narrativize history and culture, the rhizome presents history and culture as a map or wide array of attractions and influences with no specific origin or genesis, for a 'rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo.' "In this model, culture spreads like the surface of a body of water, spreading towards available spaces or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. Deleuze, Gilles and Félix Guattari. 1980.
Antonin Artaud Antoine Marie Joseph Artaud, better known as Antonin Artaud (French: [aʁto]; 4 September 1896 – 4 March 1948), was a French playwright, poet, actor, essayist, and theatre director.[1] §Early life[edit] Antoine Artaud was born 4 September 1896 in Marseille, France, to Euphrasie Nalpas and Antoine-Roi Artaud.[2] Both his parents were natives of Smyrna (modern-day İzmir), and he was greatly affected by his Greek ancestry.[2] His mother gave birth to nine children, but only Antonin and one sister survived infancy. When he was four years old, Artaud had a severe case of meningitis, which gave him a nervous, irritable temperament throughout his adolescence. Artaud's parents arranged a long series of sanatorium stays for their temperamental son, which were both prolonged and expensive. §Paris[edit] In March 1920, Artaud moved to Paris to pursue a career as a writer, and instead discovered he had a talent for avant-garde theatre. §Final years[edit] §Apprenticeship with Charles Dullin[edit]
MACHINES CELIBATAIRES Origine : Systèmes séparés de la vie La pensée organisée en chapelles, l'art, la mode, l'économie, les marques, les multinationales, la fonction publique, les boîtes de com', entre autres exemples, peuvent être considérés comme de tels systèmes. Ces systèmes se comportent comme des machines, fascinantes certes, mais qui tournent par elles-mêmes, pour elles-mêmes et en elles-mêmes. D'aucuns y voient la fin de l'art, c'est le sens caché (?) Au contraire des systèmes-machines propres, débarrassés de toute scorie, où tout ce qu'on a introduit est traçable, stérilisé, où les pièces de fonctionnement sont toutes interchangeables et la fiabilité comme l'hygiène sont garantis. Les grands trusts mondiaux, avec leurs marques et logos, leurs alliances et leurs O.P.A, ne fonctionnent pas autrement. La Mégamachine Progrès, ou "actualisation illimitée du possible", Car liberté égale courage. Parole d'Indigène! Le label est en train de remplacer les auteurs. May Livory
GRILLE POUR UN MONDE POETIQUEMENT CORRECT Mon hypothèse de départ est que le monde de l'art et le monde industriel, vécus par les mêmes êtres humains, peuvent et doivent échanger leurs philosophies et leurs problèmes. Je suis donc fondé à appliquer à la problématique actuelle de l'industrie les réflexions et les travaux de créateurs artistiques de la première moitié du siècle tels que les surréalistes. En ce qui concerne l'investissement considérable que nous consacrons actuellement à notre interaction avec les machines, nous avons un trésor d'outils de réflexion à puiser dans ce que ces créateurs ont ressenti, représenté et exprimé. En particulier, une analyse serrée montre que la vie et l'œuvre de Marcel Duchamp sont au centre de ces préoccupations et dégage les éléments fondamen-taux d'une réflexion contemporaine efficace. Rappelons quelques points de la vie de Marcel Duchamp fondant mon propos. Les cubistes (déjà) traditionnels sont atterrés. Duchamp part aux États-Unis, où son Nu fait sensation à l'Armory Show. • etc
V., Une machine célibataire Ainsi, l'identité multiforme de V. domine : elle est une femme sereine, toujours jeune et belle, même à soixante-seize ans. Elle est Victoria Wren, une adolescente du Yorkshire déflorée par un agent britannique au Caire pendant l'incident de Fachoda en 1898 ; puis elle séduit le père de Stencil au consulat britannique à Florence. Sous les traits d'une lesbienne, elle est à Paris en 1913 et amoureuse d'une danseuse qu'elle habille en garçon. Devenue Verona Manganese à Malte en 1919, elle a un saphir incrusté dans le nombril et un œil de verre avec une horloge comme pupille ; mais, sous l'identité de Vera Meroving de Munich dans le Sud-Ouest africain en 1922, elle décervelle un poisson rouge. Le message de Pynchon est ambigu : veut-il dire que l'homme maîtrise ses instincts destructeurs par le détachement et la passivité, tandis que la femme triomphe de sa vulnérabilité en devenant une machine ?
Des machines mythologiques… | Jean-Charles Pichon Des machines mythologiques aux machines littéraires par Lauric Guillaud « Dans l’univers entier, notre univers, il n’est plus que des mythomanes ou des scientistes. » Jean-Charles Pichon La formidable croissance du monde des machines depuis le XVIIIe siècle n’a pas oblitéré les capacités humaines à construire d’autres machines fantasmatiques ou délirantes, mais tout aussi complexes. Les machines célibataires Dans son livre paru en 1954 et réédité en 1976, Carrouges analyse les figurations mécaniques en peinture et dans la littérature de l’imaginaire, devenus selon l’auteur les nouveaux masques des hommes en voie de mécanisation, tout en suggérant le parallélisme général des structures qui relient les machines célibataires les unes aux autres dans l’espace mental commun à tous. Pichon insiste sur l’exclusion dont furent victimes selon lui des auteurs tels que Jarry, Roussel et Kafka, ridiculisés de leur vivant, avant de connaître une fin tragique. Mariée Commandement indistinct Lauric Guillaud J.