Jean Paul Martinon

For the last 350 years, nearly all writing devoted to Spinoza is exegetic, providing endless interpretations of his many propositions, axioms, definitions, and scholia. When reflecting on this enormous corpus, the following question immediately springs to mind: Instead of adding one more interpretation to Spinoza’s scholarship, is it possible to undertake the emending project that he proposes in his Treatise on the Emendation of the Intellect and the Ethics? Emendation does not mean altering for the better but simply choosing a better perspective. Can such a change of perspective be actually achieved? Spinoza: Journal of an Emendation attempts to carefully follow and live out Spinoza’s emendation project today.

Today’s understanding of time remains mostly Aristotelian and Newtonian/Einsteinian: time is what has been abstracted from the mundane realities of life and reduced to its measurement. Any somatic, psychological, or other experience of time is deemed either irrelevant or secondary. The history of the attempts to provide alternatives to time as measurement is infinite, most of which focuses on understanding time as an inner-temporal phenomenon for which a subject temporalizes him or herself through remembrance, experience, or anticipation (including death). Amidst this vast field, one argument by an enigmatic figure in ancient Greek thought stands out for the way it abides by neither the conventional view that time is clock time nor that it is an inner temporal phenomenon: Aenesidemus’ overlooked way of apprehending time by qualifying it as similar to air. To make sense of such an unusual statement, it is necessary to reconsider what informs such an unusual idea. Aenesidemus’ teacher was Pyrrho (often dubbed the Greek Buddha) who advocated for a non-differential approach to reality, one for which nothing is fixed or stable. With this perspective in mind, Aenesidemus’ idea then becomes clear: time or air knows no differentiae, whether that of the unit of measure or of the subject breathing it and sheltering from it. Both are radically unstable. While these ideas had no purchase for over 2000 years, they can now be revealed in all their magnitude. In the last 120 years, we have indeed become aerial beings. We no longer scuttle around on the ground floor below an unsuspected ocean of air. We no longer aspire to shin a tree or scale a peak. We have now made a habitation of the air. Such a new dwelling has its own unique time, a time that strangely does not agree with the abstracted and/or calculated time that was formulated when we only had sundials and water-clocks at our disposal. Against time as measure and against time as inner-temporal phenomenon comes time as total instability. Can revisiting the few fragments that Pyrrho and his disciple left us help once again articulate our relation to time and give us a renewed sense of reality and who we are within it? This monograph focuses on early Pyrrhonism (as distinguished from the sceptical work of Sextus Empiricus), Pali Buddhism, as well as contemporary interpretations of time and reality in both science and philosophy.

A new ethics for the global practice of curating Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. Curating as Ethics is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial--for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such--sharing, caring, preparing, dispensing, and so on. With its invigorating new approach to curatorial studies, Curating as Ethics moves beyond the field of museum and exhibition studies to provide an ethics for anyone engaged in this highly visible activity, including those using social media as a curatorial endeavor, and shows how philosophy and curating can work together to articulate the world today.

This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.

Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms nor in performative terms, but in a perpendicular relation akin to that which brings space and time together. In doing so, this book doesn’t aim to establish yet another theory within the field of masculism or men’s studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity. virility and patriarchy.

Is writing about peace after the Rwandan Genocide self-defeating? Whether it is the intensity of the massacres, the popularity of the genocide, or the imaginary forms of cruelty, however one looks at it, everything in the Rwandan Genocide appears to defy once again the possibility of thinking peace anew. In order to address this problem, this book investigates the work of specific French and Rwandese philosophers in order to renew our understanding of peace today. Through this path-breaking investigation, peace no longer stands for an ideal in the future, but becomes a structure of inter-subjectivity that guarantees that the violence of language always prevails over any other form of violence. This book is the very first monograph in philosophy related to the events of 1994 in Rwanda.

This book explores the ways deconstruction addresses the issue of futurity (what Jacques Derrida calls the "to-come," [l'à-venir]). In order to achieve this, it focuses on three French expressions, venue, survenue, and voir-venir, each taken from the work of Jacques Derrida, Jean-Luc Nancy, and Catherine Malabou. The idea behind this focus is to elude the issue of the one and only "to-come," as if this was a uniform and coherent entity or structure of experience, and to put forward instead the possibility of a multiplicity of structures, each with a different intonation or pitch. Overall, this book makes an original contribution to the way deconstruction addresses the issue of futurity in the act of writing and translation