Spinoza's counter-aesthetics

ABSTRACT

Spinoza says very little about art or literature in his work; a fact which partly explains the absence of references to him by the German initiators of aesthetics in the eighteenth century, including Baumgarten, Kant and Hegel. Spinoza's resolute opposition to teleology, however, provides an even more compelling reason for his absence, given the teleological conception of literary and artistic form common to the notion of aesthetics at the time of its emergence. Is it possible to fashion a counter-aesthetics from the materials provided by Spinoza's philosophy? I argue that his reading of the great Spanish Baroque writers, especially Luis de Góngora and Baltasar Gracián (whose works were found in his library), provided him with an alternative conception of literary form based on a rejection of formal coherence and closure in favor of constitutive incompleteness and an opening to the infinite.     

WRITING THE HISTORY OF SPINOZISM

In this essay I reflect on Knox Peden's Spinoza contra Phenomenology, a history of French rationalist Spinozism in the mid‐twentieth century. The book marks an important intervention in modern French and European intellectual history, depicting the importance of Baruch Spinoza's thought in the negotiation of and resistance to the phenomenology that captivated much of twentieth‐century French intellectual life. With philosophical and historical sophistication, Peden tells the story of several relatively overlooked thinkers while also providing substantially new contexts and interpretations of the well‐known Louis Althusser and Gilles Deleuze. While accounting for Peden's major accomplishment, my aim is also to situate his work among a number of recent works in the history of Spinozism in order to reflect on the specific methodological questions that pertain to the widely varying appropriations of Spinoza's thought since the seventeenth century. In particular, I reflect on Peden's claim that Spinoza's thought cannot provide an actionable politics, a claim that runs counter to nearly two centuries of leftist forms of Spinozism. I offer a short account of some of the ways that theorists have mobilized Spinoza's thought for political purposes, redefining “action” itself in Spinozist terms. I then conclude by reflecting on the dimensions of Spinoza's thought (and recent interpretations of it) that make it possible for such significantly different claims about its political potential to be credible.     

Intersections between philosophy and art: expressions of immanence in the seventeenth century — Spinoza and Vermeer*

ABSTRACT

Spinoza's philosophy of immanence represents a turning point that radically changed our conception of human agency and its relation to infinity. Hans Blumenberg rightly called the principle of immanence “a general hypothesis of the epoch”, a principle that applies to philosophy no less than to the sciences and arts in the seventeenth century. This article looks at Dutch paintings by drawing parallels between Spinoza's philosophy and Vermeer's work. Spinoza and Vermeer both deny a dualistic conception of the world and a hierarchical structure between inner and outer spheres. With the example of Vermeer's painting the Milkmaid, this article shows how an analysis of light and colour, time and space, reveal a vision of immanent infinity, with the human agent at its centre.     

Goethe's ‘Wilhelm Meister’ and Spinoza

Abstract

A strong case is made in this review that Spinoza greatly influenced Goethe in his much-studied Wilhelm Meister novels, a fact not hitherto recognized, although Goethe himself acknowledged the inspiration he derived from Spinoza's work. Goethe's Werther, and his Faust, are the mythical figures of modern times with the two Wilhelm Meister novels the critical countertheme in which the voice of Spinoza is here considered the cantus firmus of outstanding significance.     

Political economy and mimetic desire: A postmodernist reading of ‘Babette's feast’

Spinoza's use of the phrase “sui iuris” in the Tractatus Politicus gives rise to the following paradox. On the one hand, one is said to be sui iuris to the extent that one is rational; and to the extent that one is rational, one will steadfastly obey the laws of the state. However, Spinoza also states that to the extent that one adheres to the laws of the state, one is not sui iuris, but rather stands under the power [sub potestate] of the state (TP 3/5). It seems, then, that to the extent that one is sui iuris, one will not, in fact, be sui iuris. In this paper, I offer an interpretation of Spinoza's notion of being sui iuris that enables us to overcome this paradox and sheds light on Spinoza's relationship to the republican tradition. I work towards this goal by distinguishing between two ways in which Spinoza uses the locution, which correspond to two different conceptions of power: potentia and potestas. This distinction not only allows us to save Spinoza from internal inconsistency, it also enables us to see one important way in which Spinoza stands outside of the republican tradition, since he conceives of liberty not as constituted by independence, or citizenship in a res publica, but as being sui iuris in the first sense described above: being powerful.     

Heroes and Political Communities in John Ford's Westerns: The Role of Wyatt Earp in My Darling Clementine

Abstract

Widespread moral corruption, particularly of the sort fostered by their internal security agencies, was a key feature of communist regimes. The Lives of Others provides a dramatic portrayal of this phenomenon as it occurred in East Germany. The film can appear, given its central story of the moral redemption of a Stasi officer through his becoming intrigued by the lives of artists, to be an overly idealistic or audience-pleasing testament to the humanizing power of art. But the film also reveals the possible moral corruption of the artists. This essay provides a typology of the sorts of moral corruption exemplified by the situations of different characters in the film and shows that the main artist is actually saved from his impending corruption by the Stasi officer's actions. This reciprocal rescue is the key feature of the film's plot; it teaches that while art can undermine and resist totalitarian corruption, it is also susceptible to its snares—especially when it apolitically relies upon its own resources.     

From the Preface to the French edition of Une exigence infinie

Abstract

In 2008, Rowan Williams sparked a huge controversy in Britain by pleading for more recognition of shari'a law. The present paper aims to explore Mike Higton's suggestion that this plea actually results from Williams's defence of the Enlightenment. The paper will first show that Williams's plea for increased recognition of shari'a is in line with the Enlightenment ideal of sociability. It will subsequently show that this does not mean that Williams gives up on the importance of the secular law. Special attention will be given to the two fundamental principles behind Williams's views on shari'a and these principles will be developed with the help of Edward Schillebeeckx's view of ‘the humanum’. Finally, the paper will also indicate that Williams's two fundamental principles offer a way to better understand the biblical commandment to love one's neighbour—a view that will be developed with reference to the work of Slavoj Zizek.     

THE LETTER KILLS: ON SOME IMPLICATIONS OF 2 CORINTHIANS 3:62

The paper focuses on an argument put forward by Augustine in his De doctrina Christiana: there are passages in the Bible that need to be read in a literal, contextual, and ultimately rhetorical perspective. This approach to the Bible (usually overshadowed by Augustine's own parallel emphasis on the importance of allegory) was needed to deal with customs—for instance the patriarchs' polygamy—that had to be evaluated, Augustine argued, according to standards different from those prevailing in the present day. This need inspired Augustine to utter some sharp remarks on the need to avoid (as we would say today) ethnocentric, anachronistic projections into the Biblical text. The long‐term impact of Augustine's argument was profound. The emphasis on the letter played a significant role in the exchanges between Christian and Jewish medieval readings of the Bible, which affected Nicholas of Lyra's influential commentary (Postilla). The same tradition may have contributed to Valla's and Karlstadt's audacious hermeneutic remarks on the Biblical canon, which covertly or openly focused on contradictions in the Biblical text, questioning the role of Moses as author of Deuteronomy. Traces of those discussions can be detected in Spinoza's Tractatus theologico‐politicus. The paper suggests that the emphasis on a literal, contextual reading of the Bible provided a model for secular reading in general. The possible role of this model in the aggressive encounter between Europe and alien cultures is a matter of speculation.     

Der Ort des rhetorischen Wissens Kunst und Natur bei Isokrates

This paper poses the question of the place of rhetoric as a discipline. It addresses the topical demand that nature, art, and exercise have to be combined by way of an analysis of Isocrates' Against the Sophists. Its thesis is that the call for a “combination” of art and nature solves the disciplinary problems of rhetoric, even though such a synthesis is in fact inconceivable. Rhetoric is not a science, and does not have access to a methodical correlation of rhetorical strategies and their effects upon the audience. Isocrates' criticism of those rhetoricians who assume that their art could be taught in much the same way as the art of writing is of paramount importance here. The case of Isocrates is instructive because it shows how rhetorical success depends on re-designing the institutional structure of rhetoric and on the capacity to cope with its lack of methodical knowledge. As a result of its para-scientific nature, rhetoric refers to various models and metaphors to present itself as a discipline. Of these the orator perfectus, the orator imperfectus, and the sophist model of the art of writing as criticized by Isocrates are discussed. This paper attempts a rhetorical reading of the discourse of rhetoric by exploring the implications of these metaphors. At the same time it argues for a history of science which does not shrink away from an analysis of such para-sciences as rhetoric. It is precisely the lacking scientificity of rhetoric as a discipline which warrants increased attention from the point of view of the history of science.     

The Art of Contested Histories: In Pursuit of Venus [Infected] and the Pacific Legacy

ABSTRACT

European artists of the eighteenth century framed an exotic textual and visual narrative of the Pacific, drawing largely on knowledge gained from exploratory journeys of the 1760s and 1770s. Visual representations of the Pacific became socially fashionable and commercially successful. The French wallpaper manufacturer, Dufour, captured this commercial potential in a dramatic, panoramic wallpaper that told stories of European encounters with Pacific peoples: Les Sauvages de la Mer Pacifique (1804). Yet it was selective, defining the Pacific by moments of contact with Cook and other explorers. Lisa Reihana's In Pursuit of Venus [Infected] (2015–17) dramatically interrogates the eighteenth-century narrative of the Pacific, responding to Dufour's wallpaper in a complex, panoramic work. By attending to ways in which the factual and speculative are brought together in Enlightenment artefacts and Reihana's restaging of them, we explore how art might be put to use in the service of historical interpretation.     

American Historical Demography: A Review Essay

Abstract

American historians of modern art routinely assume that after World War II New York replaced Paris as the center of the western art world. An analysis of the illustrations in French textbooks shows that French art scholars disagree: they rate Jean Dubuffet as the most important painter of the era, ahead of Jackson Pollock, and they consider Yves Klein's anthropometries of 1960 as the greatest contribution of a single year, in front of Andy Warhol's innovations in Pop Art. Yet the French texts also show that the French artists' practices and conceptions of art paralleled those of the Americans. Thus, whereas French and American scholars disagree over the relative importance of their nations' artists, there is no disagreement that the most important art of the 1950s was produced by experimental seekers, and that of the 1960s by conceptual finders.     

D'Arcy Thompson's ‘On Growth and Form’ and the Rediscovery of Geometry within the Geographic Tradition

Abstract

D'Arcy Thompson (1960–1948) was one of the most celebrated biologists of his day, best known for his On Growth and Form (1917) which was the first successful biophysical explanation of the size and shape of organisms. In particular, his concept of allometric growth and theory of transformations have informed cutting edge research in biometrics and practice in the fields of fine art, urban design and civil engineering. He was a seminal figure in the development of the spatial analysis tradition within geography in the 1960s and 1970s underpinning major contributions by Haggett and Bunge and inspiring Tobler to develop cartograms which liberated map projections from sole reliance on Euclidean geometry. Re-assessing his contribution to geography fifty years later, it is still to be found in Batty's work on the size, shape and scale of cities and in Dorling's World Mapper project. This re-discovery of the importance of geometry within the geographic tradition over the last half century owes much to Thompson who spent the whole of his academic life in the University of St Andrews and (what was later to become) the University of Dundee.     

Prophetic Perfectionism: The Afterlives of Nat Turner and John Brown

ABSTRACT

Recent fiction, film, art, and scholarship on nineteenth-century American abolitionists Nat Turner and John Brown shed light on the politics of their prophetic religion. Both men led violent rebellions against slavery for which they were executed. Prophetic perfectionism drove Turner and Brown but tended to fade in works about them. Exceptions to this pattern of reception include Jacob Lawrence's John Brown series (1941), Nate Parker's film The Birth of a Nation (2016), and Ted Smith's book Weird John Brown: Divine Violence and the Limits of Ethics (2014). This essay situates Turner's and Brown's prophetic perfectionism and their reception in the context of contemporary political theologies and aesthetics of religion and race.     

Politics and Public Policy

Abstract

Donnersmarck's The Lives of Others has been widely praised as the first German film to confront the horrors of the East German communist regime. But the film's politics may be ambiguous. As critical as it is of East Germany, it does not offer a ringing endorsement of West Germany. For example, the film's playwright-hero seems to have artistic problems in the West, just as he did in the East. The film's equivocal attitude toward communism is epitomized by its apparently positive view of the Marxist author Bertolt Brecht. This essay compares The Lives of Others with Brecht's play The Good Person of Szechwan in an effort to understand Donnersmarck's attitude toward his East German predecessor and what it means for his larger view of communism and its relation to art.     

Philosophy,Eros, Judaism

Abstract

A careful reading of Caritas in Veritate shows it to be framed and permeated by two principles. The first is that human persons in their consciences and deeds are the principal agents of economic and political life, whether directly in interpersonal relations or mediated through their work in and for institutions. The second is that human persons as citizens are best prepared to promote “integral human development” and “the common good” when they are urged on by charity or love that is lived in truth. In these respects Caritas in Veritate is a clear continuation of the line of thought that Benedict developed in his earlier encyclicals Deus Caritas Est and Spe Salvi, and before that in his theological writings as Joseph Ratzinger. Benedict's work thus underscores the need modern societies and political communities have for charity, and thus for faith and for hope. We explicate this aspect of Benedict's political vision throughout this essay, anticipating and beginning to respond to some objections to the thesis that politics even in a secular age requires theological virtues to flourish.     

Against a fatal confusion: Spinoza,climate crisis and the weave of the world

ABSTRACT

In this paper, I take up the theme of Spinoza's ars vivendi in relation to its temporality; duration as the very rhythm of life. In the face of an intensifying climate crisis, our experience of the rhythm of life in the everyday and its implications for the deep time of climate futures seem increasingly out of joint. Building on Morfino's argument of the necessary relationship between ontology and history, I explore the connections between the rhythm of life and our (Western) comprehension of the climate crisis. This framing provides insights into a fatal confusion. This confusion is fueled by the chrono-topography of the modern capitalist city, its intensification of a perceived separation of daily life from bioenergetic processes; and it is amplified in object-oriented ontology, which, in its treatment of climate as a hyperobject, both accepts and reifies a split between ontology and history. I argue, in contrast, that to think of the world as multi-relational and multi-temporal provides us with tools to assess the politics of the multitude in relation to the climate crisis, to better comprehend the complexity of the conjuncture and the schematization of divergent climate futures, and to fashion a responsive and response-able ars vivendi.     

Composing Einstein: exploring the kinship of art and science

Abstract

The work Albert Einstein published in 1905 led to a revolution in physics and the way nature is explained. At the same time, his physics touches on profound existential questions which are also dwelt upon in the arts. This article addresses the relatedness of music and physics, art and science. The point of departure is my composition The Einstein Resoundings, and how writing it refined my sensitivity to the deeper layers of creative effort. I discuss points of contact between the spheres of music and physics: the phenomenon of quantum leaps, continuous and discontinuous structures in tone and atom, and the role of continuity and discontinuity in the act of creation. My reflection on the kinship of art and science is based on the notion of complementarities. This allows a double perspective on art and science as different in regard to activity and language, but similar in regard to their mutually complementing characters.     

Micro-level assessment of regional and local disaster impacts in tourist destinations

ABSTRACT

The tourism sector faces severe challenges due to the economic impacts from changing natural environments as seen with the increased frequency of natural disasters. Therefore, analyses of disaster impacts models are necessary for managing successful tourism recovery. Typically, disaster assessments are conducted on a countrywide level, which can lead to imbalanced recovery processes, and a distorted distribution of recovery financing or subsidies. We address the challenges of recovery using the tourism disaster management framework by Faulkner. To calculate precise damage assessments, we develop a micro-level assessment model to analyze and understand disaster impacts at the micro-level supporting tourism recovery in an affected destination. We examine economic consequences of a disaster at a small regional scale arguing recovery from a natural disaster is more difficult in individual areas because of differences in geographic location or infrastructure development. The island of Dominica is chosen as an example for the model using statistical data from the tourism sector to outline and detail the consequences of a disaster specifically for communities. The results highlight the importance of damage assessments on a small-scale level, such as communities in order to distinguish between individual regions facing severe changes for resident livelihoods and the local tourism sector. We argue that only after identifying regional impacts it is possible to apply adequate governmental subsidies and development strategies for a country's tourism sector and residents in a continuously changing environment in the hopes of mitigating future financial losses and future climate change impacts.     

Crossing the Great Divides: Hans Aarsleff's Lessons for Nineteenth-Century Intellectual Historians

SUMMARY

This essay discusses Hans Aarsleff's long battle to demonstrate the importance of the French and British thinkers of the mid-eighteenth century to the development of modern linguistic thought. Contesting claims that German scholars were the first to develop historicised theories of language, Aarsleff, along with his Princeton colleagues Lionel Gossman and Anthony Grafton, helped pioneer longue durée studies of the history of philology and of historiography that cross national boundaries as well as the so-called Sattelzeit (stretching from about 1780 until 1820). Although the importance of his work was, for a long time, little appreciated by modern intellectual historians, this essay argues that it is time that we fully learned Aarsleff's lessons.     

A Critical Reappraisal of Eustathios Makrembolites’ Hysmine and Hysminias

Abstract

Despite the massive amount of scholarly literature on Iconoclasm and its aftermath, there are really only two major publications that deal specifically and synthetically with ninth-century art. One of these is André Grabar's magisterial L'iconoclasme byzantin, a chronological analysis of monuments and texts; the other is Robin Cormack's short but insightful essay in Iconoclasm, the collection of papers originally presented at Birmingham in 1975, which asks ‘whether the discussion of religious images stimulated by Iconoclasm changed the nature of Byzantine Art’. My aim is rather different. Rather than presenting an encyclopedic overview, this article attempts to crawl into the fabric of Byzantine culture: to see and understand Byzantine art of the ninth century as the Byzantines saw and understood it. It follows that the material presented has not been segregated into the familiar (and often useful) categories of style, iconography, and context, for, to the Byzantines, the three were neither exclusive nor separable. For similar reasons, I have deemphasized any linear progression that might imposed with art historical hindsight on the distant past, and have thereby underplayed the flashes of innovation, novelty and erudition that such detachment allows. These sparks are probably more visible (and certainly more appealing) to twentieth-century art historians than they were to the ninth-century Byzantines, for whom, as we shall see, the power of tradition militated against individual creativity, and artists on the whole remained anonymous artisans. In my attempt to look at Byzantine art from the inside rather than from the outside I have, in other words, concentrated on the fluid interface between objects, and the shifting dialogue between objects and context. This is because what interests me here is how Byzantine ideas about art (their theories), Byzantine perception (how the Byzantines saw), and the artifacts themselves (the practice) come together in the ninth century: how art, that preeminent social construct, worked in the years after Iconoclasm.