Ashley Woodward

This article surveys the notion of the event as it is treated in Lyotard’s works, and examines the implications of this treatment for his method, and for critical theory in general. While the event is of importance to many influential French philosophers, it is arguably Lyotard who has positioned his philosophy most central around the problem of accounting for events. For Lyotard, an event is an occurence which cannot be predicted in advance, and cannot be fully determined in retrospect. An event is "nothing," in so far as it cannot be captured in theoretical representations, but it is of import to theory in so far as it disrupts representations and indicates their limits. Lyotard's work engages with the problem of the event both theoretically and performatively, not only discussing the nature of the event, but letting it govern his methodology. This chapter outlines the way in which Lyotard's engagement with the event demonstrates the implications of this notion across a wide variety of critical concerns, including metaphysics, epistemology, aesthetics, ethics, and politics. It also distinguishes Lyotard’s understanding of the event from that of other French philosophers, such as Derrida, Deleuze, and Badiou. While this chapter does not explicitly treat of the book’s main themes, its placement as the first chapter serves a general introductory function, outlining the main phases and concepts of Lyotard’s work which are frequent points of reference in the proceeding chapters.

Gianni Vattimo occupies the relatively rare position of being both a prominent philosopher and an engaged politician. This article outlines Vattimo’s philosophy of “weak thought” and his democratic socialist politics, and argues that there is a “gap” between them: his stated political positions seem at odds with aspects of his philosophy. This gap between the phi- losophical and the political is examined with reference to the topic of globalised capitalism. I then apply Vattimo’s own strategy in reading other philosophers to his thought, attempt- ing to draw out the possible political implications of weak thought against his own stated position. I do this through the application of one of Vattimo’s central concepts, Verwindung (―twisting-free‖), to globalised capitalism. I conclude with some reflections on the prospects for a politics of weak thought.

A connection is often made between postmodernism and nihilism, but the full meaning of such a connection is rarely explored. The contemporary Italian philosopher Gianni Vattimo is one of the few philosophers to have devoted much work to explaining this connection. Vattimo extrapolates the relevance of Nietzsche’s theory of nihilism for the postmodern condition, arguing that the concept of the postmodern can only be thought rigorously in relation to the nihilistic destiny of the West. This article explores Vattimo’s postmodern reading of Nietzsche and argues that this reading helps to illuminate (1) the connection between nihilism and the postmodern; (2) the postmodern transformation of nihilism, which was originally a theory of the ails of modernity rather than of postmodernity; and (3) why postmodernists may wish to affirm nihilism rather than take the accusation that postmodernism is nihilistic as a charge that must be refuted.

This chapter explores Lyotard’s aesthetics in relation to the artist Yves Klein. Through the different activities of philosophy and art, Lyotard and Klein both explore the nature of sensibilité through an investigation of matter. Both paradoxically conclude that matter is in a sense immaterial. Lyotard understands matter as that part of an artwork which is diverse, unstable, and evanescent: in music, this corresponds to nuance and timbre, and in painting, to colour. Following Kant’s aesthetics, Lyotard interprets matter as that which defies conceptual grasp or rational calculation. From the point of view of the concept, then, matter appears as immaterial – it is nothing at all. Klein develops his meditation on matter firstly through his monochrome “propositions,” calling attention to pure colour (in particular, blue), which he theorises as stabilisations of energy. Beyond this, Klein invents “immaterial” works, such as the famous Void exhibition (an empty room in a gallery), and his Zones of Immaterial Pictorial Sensibility. Klein understands these immaterial works as presenting matter in its “prime state,” as energy diffused in space. This chapter develops the confluences between Lyotard’s and Klein’s reflections on “immaterial matter,” and seeks to show how the results achieved in each area of activity (philosophy and art) can contribute to the other. Lyotard’s aesthetic theory provides the basis for a new interpretation of Klein which provides an alternative to his common reception as a Conceptual artist. Klein’s work, on the other hand, not only acts as a profound example of Lyotard’s theory, but functions as a corrective to Lyotard’s emphasis on the negative and privative nature of sensitivity to matter by demonstrating the creative and life-affirmative potential of such sensitivity.

Nietzsche's critiques of traditional modes of thinking, valuing and living, as well as his radical proposals for new alternatives, have been vastly influential in a wide variety of areas, such that an understanding of his philosophy and its influence is important for grasping many aspects of contemporary thought and culture. However Nietzsche's thought is complex and elusive, and has been interpreted in many ways. Moreover, he has influenced starkly contrasting movements and schools of thought, from atheism to theology, from existentialism to poststructuralism, and from Nazism to feminism. This book charts Nietzsche's influence, both historically and thematically, across a variety of these contrasting disciplines and schools of interpretation. It provides both an accessible introduction to Nietzsche's thought and its impact and an overview of contemporary approaches to Nietzsche