Alejandro Vallega

This article shows that the duality of work (entity/image) and title that for the most part constitutes our experiences of paintings today is sustained and occurs out of a performative event, a certain physicality and rhythm that mark the finitude of visible-intelligible presence. These enactments of finitude figure a certain concealment, and therefore a loss, operative in the presence of work and title. The discussion ultimately indicates physicality, finitude, and loss in painting and provides insight concerning the question of language by inviting a broader understanding of it in the light of these same issues.

In 2010, Charles Scott gave a course at the Collegium Phaenomenologicum in Italy titled “Bordered Americans.” The course followed his concern with understanding philosophical thought given our concrete cultural dynamics today. The lectures addressed the question of the limits and delimitations of borders as dynamic transformative events, which occur in encroachments between distinct and ever moving and shifting cultural configurations and borders. Scott emphasized the possibilities of thinking in such spaces, and ultimately situated Continental American philosophy in such disclosure. This essay is the fruit of long conversations with Scott about these issues; in it I aim to add a Latin American voice to his incisive analysis

Although not often recognized as a major concern in his fecund writings, as Derrida himself indicates, Antonin Artaud accompanies his thought throughout his career. This essay explores that relationship by marking the various places where it appears, and by focusing on Derrida’s early discussions of Artaud. In them, Derrida traces the obsessive character of metaphysics as figured by Artaud’s word, a word that occurs as a speaking-writing-drawing. While Derrida’s discussions expose us to the physicality of Artaud’s word and with them to a saying exterior to the metaphysical tradition. Derrida’s own obsession with the transcendental voice keeps him at a distance from engaging in the physicality and play of language one finds in Artaud’s words.

_ Source: _Volume 46, Issue 3, pp 390 - 404 This article puts into play the ghostly horizon of “death” as it follows its semblances through Derrida’s reading of Heidegger in the French thinker’s last seminars as published in _The Beast and the Sovereign_ Vol. II. The moments I underscore are three, always marking the playing out or releasing of death’s ghost, its sovereignty over life, while the readings, drift off driven by other forces: 1. In Session IV, Derrida’s enjambment of Heidegger’s sense of _dasein_ and _Welt_ with Celan’s line from _Atemwende, “Die Welt ist fort, Ich muß dich tragen”_ ; 2. The mutual displacement of the question of the other and the question of death at the beginning of Session V ; and 3, the unfolding of Crusoe’s desire and fear of “living a living death” in Derrida’s discussion of _survivance_, also in session V. The discussion closes with the interpolation of Latin American thought through the introduction of the temporalizing movement of _différance_ read in light of the non-linear simultaneous asymmetric temporality one finds constitutive of Latin American consciousness. Thus, the reading moves from the deconstruction of various figures of death that permeate in an almost transcendental manner the organizing of the meaning of Derrida and Heidegger’s thought, to a thinking with the temporalizing movement of _survivance_ or living-dying, in which the binomial reasoning and teleological structures of temporality held by the figures of life and death are released to a thought beyond their supposed mutually exclusive timeline.

Giorgio Agamben’s thought arises out of thinking through the concrete negativity or ungroundedness figured by “life” as understood under the sovereign exception. His work is sustained by the continuous exposure of philosophical concepts to what remains excluded, silenced, and to an extent unsayable for philosophy: Thus, disfiguring, decentering, and violating the temporality of Western history and philosophy as well as the concepts that order it. This means that Agamben thinks out of the ungrounded occurrences of language and history, and that the transformative potency of his thought arises from sheer negativity and yet, in his engagement of thought’s concrete situation.

The author presents this volume as “a companion to Plato’s Phaedo”; as such, one expects it to engage closely the dialogue without abandoning critical rigor, while at the same time exposing us to some of the varied and rich issues that sustain today’s readings of Plato. As Beets’s Prologue indicates, his work focuses on “the issue of the coexistence and transition from the world of becoming to that of being”. The work is divided in two parts. The first part takes up one third of the book and begins by discussing human thought in terms of two main levels of thinking: intuitive and entirely determined by the world, and purely formal and “truly free thinking”. Setting out from this differentiation, the first chapter offers a conceptual structure that will determine the rest of the book. In the same chapter Beets goes on to present philosophical thought as the task of “calling up” from the deeper recesses of our mind our knowledge of “the universal a priori,” or the purely formal, which in turn turns us toward the objective nature of reality and free thinking. The chapter closes as Beets establishes the limitations of conceptual human knowledge in terms of the striving for a knowledge of absolute being or the noumenal, which, although available to the mystic, cannot be accomplished by conceptual knowledge but does serve as “the foothold for meaningful cultural, religious, philosophical, and scientific life and for human ethics”. In following Beets’s itinerary we find out that knowledge of the intuited world can be turned to knowledge of the purely structural, and that in this sense human life through critical conceptual knowledge may be a passage toward the eternal. This occurs if one realizes that the world as it appears is a lie and if we listen to the silent voice in the recess of our mind, which tells us of the a priori. This knowledge of the purely formal in the intuited also leads to Beets’s final insight, namely, that ultimately death will lead us to know the eternal. At this point the author equates absolute being, the noumenal, and God. Thus, the path is laid for the passage from time to the eternal.