Mar 11, 2017

Art & Philosophy Forum at the DJCAD: Ontology of Photography

View from the Window at Le Gras. Heliographic image by Nicéphore Niépce, 1826
I will be presenting a paper at the Art & Philosophy Forum in DJCAD lecture theatre 5017 at 16:00 on 14 March. As always, these seminars are open to all interested students from across Philosophy as well as Contemporary Art Practice.

The paper is titled "Ontology of Photography and the Crisis of Representation: In Search of the Real". We will look into how our understanding of the 'photographic real' changed throughout history and discuss the challenges and possibilities that the notion of reality presents us with in photography. This interdisciplinary presentation will address the following questions:

• What is real in photography?
• Is realness something that needs to be explained?
• Should we strive for the kind of explanation that refuses to reduce reality to manipulable ingredients?
• What is 'crisis of representation' in photography and how can philosophy address it?
• Can information be a sufficient ground for the new ontology of photography that contemporary philosophy poses?
• What role does manipulation play in our understanding of realness?

Jul 22, 2015

"The Effect of Contemporaneity" | Echo Gone Wrong Magazine

Echo Gone Wrong magazine has just published the first part of the series of my reflections on contemporary art called "The Effect of Contemporaneity." In it you will find some observations about how contemporary art is intertwined with capitalism to an extent of there being no distinction between the two.
 What is of particular interest to me is the way the latest trends and theoretical shibbolets are imported into the global 'province' where artists are eagerly turning themselves into the self-managing entities ready for the overwhelmingly interconnected techno-reality. This is the moment when we witness a sudden and unreflected turn towards what is trending—e.g., things like posthumanism, speculative realism, new materialism, metamodernism, etc.—topics that are exploited without questioning the conditions under which they are introduced in the first place. It is now a common sense that every emerging artist—anywhere in the world—should aspire to the hights of the 'global art market.' Artists, especially those who come from the so-called 'underdeveloped world' or (to use a socio-political term) 'East', learn to embrace these conditions of artistic recognition as something 'natural.'

Jul 8, 2015

On the Rejuvenation of Contemporary Culture

After encountering numerous press releases and official blurbs for the contemporary art events, I could not help to notice that, apparently, it has now became a rule of thumb to include the sentences like "So-and-so (b. 1990-ish) is an independent curator based in [Amsterdam/London/New York]. She graduated in [art-related-something] at the [University of X] with a research thesis on [trendy name]." The thing is that when you are a twenty-something graduate (and the majority of the contemporary executives and curators indeed are), your "research thesis" (which is often simply a cooler way to name an MA degree) is at best only a first academic attempt at coherence and rigorousness, and it is still not even close to a research. Absolute majority of academics I spoke with admit that their BAs and MAs are, well, sh*t (and I include myself in this list), because thinking and writing does not come easy when you are still a fresher. Let's be frank here—our "research theses" of the tender age are nothing but stepping stones into the "real work" that begins only after you embarass yourself with those naive attempts at grandeur and originality. However the tendency to include the achievements into the bios of the new wave of emerging wunderkinds of contemporary art is just astounding. In other words, the truth of this trend is quite clear: in many respects the actuality of contemporary art belongs to freshers that are quick at self-representation, mimicry, and networking. They know what they want—immediately and instinctively, like baby turtles that go straight towards the sea as soon as they hatch from their eggs—and their first attempts at anything are the ultimate good of whatever is meant by contemporary culture. Critical thinking is not included. They don't change their minds. And if they do, the culture follows.

May 27, 2015

Talk at the LCCA Summer School "This is Tomorrow!"


On the 8-th of June I'll be giving a talk at the LCCA Summer School "This is Tomorrow!" (6-11 June) at the artists’ residence at Rucka Manor in Cēsis, Latvia. The full program is still to be confirmed, but having seen the preliminary list of events and speakers I can already tell that it promises to be a rather invigorating experience. In my talk I will focus on the analysis of hope, event, catastrophe and the problem of 'speaking in the name of tomorrow.' The full title of my paper will be "The Conditions of Catastrophe: Speaking in the Name of the Future."

May 24, 2015

"The State of Critique in the Times of Accellerationism"

Just finished the paper onthe state of critique that has been published in the Echo Gone Wrong magazine. See the abstract below and this is the link to the full text.
The paper addresses a problem of dismissal in relation to the critical engagements with the contemporary culture. It will be argued that in the hyper-networked and post-institutional world critique is often subjected to the demand to be ‘constructive’—a violent gesture according to which critique either fails to fulfil this demand and becomes dismissed and marginalised, or it embraces the given conditions and becomes dependent on them thus ceasing to be ‘critical’ in the strict sense of the word. Instead of being critical of the complex conditioning beyond the new manifestations of accellerating capitalism, critique either accepts the demonisation and marginalisation, or embraces the given state of events as something that is ‘uncriticisable.’ Thus critique faces a challenge of finding its voice in the world where all our practices—both subversive and recreational—are no longer immune to capitalisation. I will insist that a deconstructive approach provides us with a chance to escape the violent dichotomy of victim/immune system and embrace the autoimmunity of everything that contemporary culture renders as ‘pure’ and ‘necessary’—i.e., immune from thinking, reflection, and critique.




Apr 4, 2015

Digital Subject UK: A Workshop at the University of Dundee (1 April 2015)



• How enabling or disabling are concepts such as ‘the network’, ‘feedback’ and ‘information’ for contemporary forms of life?
• Is the Internet one or many things?
• Is the advent of the ‘Information Age’ something to be welcomed or feared?
• What role can philosophy play in thinking about information and communication technologies and forms of subjectivity emerging in relation to them?

These questions and other related ones were tackled in this intensive one-day workshop at the University of Dundee. The workshop took place Wednesday April 1st 2015, 10 am – 6 pm, Room 2S15 in the Dalhousie Building, University of Dundee. More info >

Dominic Smith (University of Dundee): ‘Does the Digital Subject Sleep?’  [MP3]

Ashley Woodward (University of Dundee): ‘Is the Digital Subject the Übermensch?’ [MP3]

Alan Bell (University of Dundee): ‘Paranoia, fictions and realities; technological change and the record’ [MP3]

Joris Vlieghe (University of Edinburgh): ‘How learning to read and write shapes humanity: A technosomatic perspective on digitization’ [MP3]

Erika Fulop (University of Hamburg): ‘Weave Your Own Web: Authorial Self-representation on the Internet’ [MP3]

Arnauld Regnauld (University of Paris VIII): ‘Aura is Interface: Translation and Subjectivity in the Digital Era’ [MP3]

Claire Larsonneur (University of Paris VIII): ‘Interface me? Living 3.0’ [MP3]

Pierre Cassou Noguès (University of Paris VIII): ‘Body as Money’ [MP3]

Galit Wellner (Ben Gurion University): ‘Codes of Subjectivity’ [MP3]

Tim Barker (University of Glasgow): ‘On Being Con-Temporary: What Technical Media Studies Might Offer to Theories of Contemporaneity’ [MP3]
 

Mar 9, 2015

Waltzing with the Undead: Before, After, Beyond, and Without Photography

Gytis Skudžinskas, "12 Truths of Photography" in "Titanikas" gallery (Vilnius Academy of Arts, Vilnius). 2015

Echo Gone Wrong Magazine published my reflections on contemporary photography and G.Skužinskas' show "12 Truths of Photography":

It is an attempt to reflect on an exhibition “12 Truths of Photography” (“Titanikas” Gallery, Vilnius, 27.01.-14.03.2015)—a series of media-specific artworks created over the period of the last decade by a photographer Gytis Skudžinskas. The fact that the exhibition has already taken place will not prevent us from talking about it as if it was still present, especially having in mind that a photographic exhibition, on its own part, can—and this text invites to exercise this possibility—take place without the conventional presence of photography as such. It is also an attempt to show how the event presents itself in this mode of ‘as if’ by becoming operative in both ways: positive (as if it is still there) and negative (let’s carry on as if nothing happened). Instead of it being a ‘review’ or a generalisation of Skudžinskas’ oeuvre, this reflection will try to problematize the very cultural context of his retrospective gesture, namely: what does it mean to turn towards photography as a medium and photographic practice today?

See full text in EchoGoneWrong.com

Jul 24, 2014

The Monolith Case: Vilnius Junction


Embankment Arch by Valdas Urbanavičius. Vilnius, Lithuania.

As discussions about The Embankment Arch in Vilnius (LT) gather momentum, Echo Gone Wrong magazine publishes my reflections on the issue:
The Monolith Case: Vilnius Junction | Echo Gone Wrong.


Also, Lithuanian version of the text in Artnews.lt.


There it is — an impenetrable and enigmatic intruder, immune to a commanding recognizability of its surroundings, immune to the expectations of puzzled spectators. It is simply out there in all its presence and givenness, inviting the gaze and returning it dispassionately. By remaining opaque to all the enquiries and refusing to reveal its purpose, it somehow withdraws from an everyday arrangement of things. Even more: it withdraws from causality itself by withholding the reason of being there in the first place. Devoid of both reason and a place within the order of things, it disturbs the fabric of reality as a ‘non-thing’ — i.e., as a lack of a recognizable ‘something.’ Read on...

Jun 17, 2014

Talks On Speculative Realism in Vilnius, Lithuania

Next week (23-24 June) me and my dear friend Julijonas Urbonas are giving talks in the Reading Room at the Contemporary Art Centre in Vilnius. Here's the official blurb:


The Third Table: Ideas and Practices of Speculative Realism  
This apparently new and vibrant form of realism was devised during the first decade of this century in the works of such authors as Graham Harman, Quentin Meillassoux, Ray Brassier, and Levi Bryant, as they were attempting to critique what Meillasoux called “correlationism,” namely the sort of philosophy (which is, basically, all post-Kantian metaphysics up to this day) that allows philosophical thought to exist only as a discourse on how human beings perceive the world, a discourse which abandons Kantian “thing-in-itself” and realism altogether.    
Today, after a long period of separation between analytical and continental philosophies, we can sense the urgency to find a new, fresh way of looking at the world, and this urgency first of all means the necessity to rethink the status of objects in realism/idealism debate. It is almost commonsense that continental philosophy is a stronghold of idealism, while analytical philosophy deals with objective, scientific reality “out there” which can be known. This academic distinction has brought us to the point where any kind of realism is completely eliminated with the arrival of post-structuralism and Derrida, as some authors claim (cf. Lee Braver, A Thing of This World: A History of Continental Anti-Realism (Topics in Continental Philosophy, 1st ed. Northwestern University Press, 2007)).  
One of the central ideas of speculative realism is the problem of reductionism — i.e.,  reducing the world into its fundamental elements (apeiron, earth-water-fire-air, atoms, etc.) or their effects and relations (networks, language), which are to be viewed as essential qualities “below” or “above” the phenomenal surface of objects. What is missed in both of these reductions, according to the speculative realists, is the object itself.
What object-oriented ontology arrives at is the objects which cannot be touched nor can they touch each other, which at first looks like a paradoxical occasionalist world where interactions are carried out by some mysterious entity. However Harman introduces a detailed ontology, where he draws on a quadruple structure of objects and puts the distinction between the real and sensual at the centre of his scheme. Speculative interpretations of this new ontology will be one of the central points during these two consequitive evenings of talks and events.  
During the first evening Tomas Čiučelis will overview the spectrum of philosophical arguments behind speculative realism by focusing on the opposition between Quentin Meillassoux’s speculative materialism and Graham Harman’s object-oriented ontology; and during the sencond evening Julijonas Urbonas will give a presentation on the methodological applications of speculative realism in artistic practices. At the end of an event everyone will be invited to take part in a creative workshop — a speculative “guessing game.”   

May 3, 2014

The Dark Matter of Heidegger's “Black Notebooks”

Publication of Martin Heidegger's Schwarze Hefte (Black Notebooks) caused a tempest which now appears to be one of the biggest dramas in academic world these days. The chain reaction of comments is gaining power with each conference, book, essay, and blog post dedicated to this issue. Now The New Yorker contributes — again (see older articles here and here) — to the “Heidegger-the-nazi” saga with Joshua Rothman's “Is Heidegger Contaminated By Nazism?”, and I must admit after reading at least a dozen of other recent articles on this very issue, that it is one of the most readable insights.  
The so-called “Heidegger controversy” is a highly complicated, sensitive, and — for the majority of Heideggerians and the continental kind in general — painful matter. In fact, the matter is so dark and delicate, that big words and bold statements seem to be impossible to avoid. Alas, the commanding boldness of the title of Rothman's article. Even the question mark at the end of the title leaves no chances for redemption because of this biologically suggestive term “contamination” — a graphic trope which obviously works very well for the press. The trope has been borrowed from Peter Trawny, director of the Martin Heidegger Institute at the University of Wuppertal in Germany, also the editor of Schwarze Hefte and the author of a book called Heidegger and the Myth of Jewish World Conspiracy. In the latter, Trawny occasionally addresses Heidegger's philosophy in terms of it being possibly “contaminated” by Nazism. However, at the end of his article, Rothman is cautious enough to remark, that “As to the question of ‘contamination,’ Trawny said he regretted, somewhat, the choice of that metaphor. It may have been ‘too strong.’” I would add that in this uneasy and tense silence which often befalls us when we are publically challenged by the terms such as “Holocaust,” “Nazi,” “jew,” or “gas chamber,” every subsequent utterance, no matter how thoroughly premeditated, will always tend to sound a bit “too strong.” Within this field of tension, within this apparent unthinkability of the matter, utterances often become inevitably amplified to the level of dictum, or verdict.  
Speaking of verdicts, some authors (e.g., Emmanuel Faye et al.) would be happy to turn the whole Heideggerian philosophy into an ideological Chernobyl — a zone contaminated by radioactive waste of Nazism. Such attempts are often based on the assumption that Heidegger's early writings, including Being and Time as well as some of the most important seminars of the twenties, allegedly had a bias toward subliminal ideological reasoning, as if Nazi ideology — retroactively — was a condition of possibility in Heidegger's philosophy even before he became a member of NSDP in 1932. By the same token, it would be equally unfair to assume that such bias was evident in Heidegger's work even after this infamous biographical turn — all in all, until the publishing of Schwarze Hefte in 2014, we had no direct hermeneutical evidence of this sort.
Meanwhile, despite the fact that Rothman's article is devoid of conveniently polarized verdicts, I must disagree with his dictum regarding the “math-like quality” of philosophy as such. Rothman puts forth the proposition that philosophy is “not just a vocabulary, but a system. A failure in one part of the system can suggest a failure everywhere.” Such an apparently commonsensical reasoning might seem irrefutable until this “everywhere” is brought into question. In other words, what is “everywhere”? Does it pertain to both philosophy and biographical life?   
The fact that Heidegger wanted Schwarze Hefte to be published at all instead of simply getting rid of them, tells us that he was surely aware of these questions. In Rothman's article we find a passage about the position of Peter Trawny himself, who “saw a way out for Heidegger in one of the philosopher’s own concepts, ‘errancy’—the idea that human beings are not calculators, but conjecturers, and that being wrong is, therefore, an irreducible part of being a person. (In ‘The Essence of Truth,’ Heidegger wrote that ‘the errancy through which human beings stray is not something that, as it were, extends alongside them like a ditch into which they occasionally stumble; rather, errancy belongs to the inner constitution of the [existence] into which historical human beings are admitted.’)”  
In philosophy, dictum veritas is never axiomatic in the mathematical sense. It is not that the principles of logic do not apply or do not matter, but the mere possibility of having the whole philosophical “system” grounded on a certain set of self-evident axioms turns philosophy into a positivist scientific project. The fact that today we consider Plato and Aristotle, Decartes and Locke, and even Spinoza and Leibnitz still worthy of a serious philosophical enquiry is one of the quick ways to argue against such a synonymity between philosophy and mathematics. Despite all the incongruencies, contradictions, and plain errancy of certain arguments and propositions, philosophical “systems” survive because somehow they happen to be more than the sums of their parts.  
If the question of Schwarze Hefte is to be answered, then the answer should not entail the amputation of a whole chapter in philosophy, because amputation of a limb — even if it is a saluting hand of a Nazi — brings us only to a phantom limb syndrome.