John Phillips

This piece presents the work of academics and architects in a collaborative venture. It provides an architectural design and a series of statements towards the hypothetical creation of an unconventional city centre in the Chinese city of Shenzhen. The idea is to create a linear university that would run the 20-kilometer length of the Shenzhen Strip: the 20K university. The contributors outline, in the diversity of their idioms, a complex spatial condition fundamental to life, and demonstrate new relationships between knowledge and the city. The design of the proposed ‘open university space’ responds to two simultaneous and interrelated challenges: that posed to architecture, and that posed to science. The university would embody the meeting of these at the intersection of the urban infrastructure and the knowledge infrastructure. The purpose is thus also to develop the notion of knowledge, embodied in institutions, as urban infrastructure.

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery (from May to July 2006) and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space.

Deconstruction has sometimes been championed as if it was a kind of poetic (as opposed to say analytic) writing. The identification has encouraged some to relegate deconstruction to the shadows or sidelines, the sideshows, of serious philosophy. Both tendencies are foolish. There nonetheless remains the question of the relation between two enigmatic discourses: poetry and deconstruction; some deep complicity is surely implied. Reading in the texts of philosophy and poetry the adventure and performance of the names themselves, philosophy, poetry and deconstruction, it is possible to outline the consistency of a logic, according to which: as poetry must have its thing, so too must deconstruction; and philosophy would be deconstruction's poetic thing. The common ground (of poetry and deconstruction) would be the photograph (in ancient and modern senses) recording the loss of what disappears into its appearance. After deconstruction philosophy can therefore only be accomplished otherwise, not as poetry, but as a poetic thing.

In this article we outline the ways in which questions of language have both revealed problems with conceptions of knowledge and suggested constructive ways of addressing those problems. Having examined the limitations of instrumental notions of language, we outline some alternatives, especially those developed from the middle of the 19th and throughout the 20th century. We locate forceful and influential philosophical interventions in the writings of Nietzsche and Heidegger and foundational revisions in the linguistics of Ferdinand de Saussure and his structuralist inheritors. We also chart the parallel path of literary theory from Mallarmé through Blanchot and poststructuralism to deconstruction. We conclude, after making some observations about the politicization of language in the works of feminist and postcolonial theorists, with some remarks about how the question of language helps to problematize global knowledge.

This essay attempts to answer the question of how one commemorates the event of thinking by raising it in relation to some commemorative texts. Derrida’s Demeure, Athènes provides an exemplary point of departure, but the seminars concerned with the death penalty raise the stakes in readings that deeply trouble an inheritance fixated on the determination of death, with Socrates and Oedipus as ancient figures of an enduring culture. The essay touches on Freud and Heidegger as dissenting figures and concludes by commemorating three distinctive thinkers: Lauren Berlant, Jean-Luc Nancy and Bernard Stiegler.

This article, which introduces the special section on The Urban Problematic, takes as its starting point the ways in which categories associated with the ‘urban’ have broken down, such that the once singular and coherent concept ‘city’ has disintegrated in certain ways: the notion has been demythologized, so that representations of the city must now be regarded as partial and invested; and cities themselves have become opaque and unpredictable both to urban scholars and to governments, planners and various kinds of welfare organizations. The indications of crisis, captured for instance by concerns about the slums, favelas and shanty towns of the world’s megacities, also indicate that much of what counts in modern urban life is in some way connected with the marginal, the unofficial, and the supplemental. The article takes a supplemental view of the current state of urban dwelling. This involves at the same time a longer, more patient, historical view in its attempt to understand the current state of the city as part of a shift in the play of heterogeneous forces. With reference to the articles contained in The Urban Problematic, this introductory article finally draws attention to some of the urgent and critical issues of contemporary urbanism.

Recent arguments asserting a topological turn in culture also identify a range of topologically informed interventions in social and cultural theory. Talk of a topological turn evokes both the enduring interest that the field of mathematics presents and the business of analysis in the cultural sphere. This article questions the novelty of this ‘becoming topological of culture’ and digs into a deeper historicity in order to identify the trends that may be said to support the development of topology in the current situation. It also examines the relationship between mathematics considered ontologically (philosophy of mathematics) and mathematics considered epistemologically (as a methodological practice of knowledge), in order to better grasp the significance of the practical abstractions that mathematics as technics (or cultural topology) manifests. Discussions of Cantor, Russell, Poincaré, Lévi-Strauss, Lacan and others address the background of contemporary mathematical topology. The article goes on to examine Alain Badiou’s principle that mathematics is ontology and concludes with a discussion of the mathematics of Martin Heidegger.

This introduction to the special section ‘The Half-Life of the Avant-Garde: 50 Years On from 50 Years On’ explains why the section is conceived to look back at the century since the First World War. It is designed to offer ways of rethinking the concept and the role of the anniversary, where the First World War constitutes the memorialized event. The organization of the section follows the movement between often hidden or submerged forms of continuity. It attempts to think some of the aesthetic and technological legacies and inheritances of the First World War in its durational 100th anniversary (2014–18) through a specific temporal strategy most succinctly captured in the phrase ‘50 years on from 50 years on’. The entry point is the middle of the 20th century, allowing contributors to work backward and forward by examining links between the three separate temporal frames (1964–68, 1914–18 and 2014–18). The consistency but also the strangeness of critical practices, as world history passes with its violent climaxes and depressions, has unique contours in each frame, with Dada providing an exemplary through-line.

In this interview Samuel Weber proposes a rethinking of the relation of secrecy to transparency and outlines some of the forms it takes, while considering certain of its implications for current social, political and epistemological contexts. He begins by questioning the opposition itself, suggesting that we will have to learn to be more at home with the secret and that the demand for transparency must be radically rethought and complicated. He argues that the demand for absolute transparency can only promote and obscure the process by which the ‘secret’ is placed in the service of private appropriation. As the emotional experience of the relation between transparency and secrecy reflects the historically specific traditions that constitute the sense of self, then it is that sense that should be ‘opened up to its irreducible heterogeneity’

Kleinian psychoanalysis has recently experienced a renaissance in academic and clinical circles. _Reading Melanie Klein_ responds to the upsurge of interest in her work by bringing together the most innovative and challenging essays on Kleinian thought from the last two decades. The book features material which appears here for the first time in English, and several newly written chapters. _Reading Melaine Klein_ recontextualizes Klein to the more well-known works of Freud and Lacan and disproves the long-held claim that her psychoanalysis is both too normative and too conservative for critical consideration. The essays address Klein's distinctive readings of the unconscious and phantasy, her tenacious commitment to the death drive, her fecund notions of anxiety, projection and projective identification and, most famously, her challenge to Freud's Oedipus complex and theories of sexual difference. The authors demonstrate that not only is it possible to rethink the epistemological basis of Kleinian theory, rendering it as vital as those of Freud and Lacan, but also that her psychoanalysis can engage in powerful and productive dialogue with diverse disciplines such as politics, ethics and literary theory. This timely collection is an invaluable addition to the scholarship on Melaine Kein and catalyst for further debate not only within the psychoanalytic community but also across social, critical and cultural studies.

Taking the publication in English of several works by Alain Badiou and Jacques Rancière as its point of departure, this review article attempts to outline what may be at stake in reading these two authors together. Looking especially at the works on politics and on aesthetics (particularly Badiou’s Handbook of Inaesthetics and Rancière’s Politics of Aesthetics ), the article also draws on other major texts by these authors as a way of clarifying their basic philosophical principles. Under the rubrics of ‘the axiom of equality’ (Rancière) and ‘the empty set’ (Badiou), these two thinkers establish links with their tradition in ways that are mobilized towards invention or transfiguration in spheres of both politics and art.

Nothing survives deconstruction unless we accept that survival in some sense attaches to the ghostly or etiolated figures (the marks and traces) of things, by which deconstruction proceeds. If the ghostly figure survives then it may be because it is undeconstructible. Yet the spectral figure would no doubt remain insignificant if it was not for the force it brings to bear on more central and familiar categories of philosophical and literary discourse. These categories, like style, friendship, justice and hospitality, tend to occupy those spectral spaces that mark the structural difference between philosophy (conceptual, abstract, universal) and literature (figurative, concrete, singular). Yet nothing defines such spaces so well as the trace and its paradoxical structure. And nothing describes the structure of the trace so well as that of the signature. This paper identifies the movement of the trace as occupying and to a great extent defining the difference between philosophy and literature. The example, in this case, is the appearance of asphodels in Homer's Odyssey, according to which the fields where ghosts live are thick with the so-called grave-flower. But the asphodel on closer examination breaks down into mere traces of itself in a series of insoluble philological problems. The larger implications have to do with death, the signature of the writer, the relation between philosophy and literature and their respective modes of survival. There is no philosophy (no truth, no good, no chance) without its attachment to the etiolated figure, the trace of itself. The paper proposes readings of Blanchot, Derrida, Hegel and Plato, in addition to a focus on the main philological problem in Homer and its implications for a tradition of literary allusion, as a way of establishing the consistency of the paradoxical structure of the signature

This article challenges the generally accepted dogma that reliance is an essential ingredient in contractual formation. We argue that this view has resulted from an erroneous interpretation of the relevant case law, failure to cite contrary authority, and the elevation of often oblique judicial references to the need for reliance to the status of fundamental contractual principle. Contractual theory and clear policy reasons support our position that in English law a contractual obligation subsists when a person, knowing of a promise, performs the stipulated act (or gives the promise) requested by the promisor, even though that person has not relied on the promise

The article examines the distinction between the state of emergency and the normal state and an inherent undecidability at the base of the distinction. We argue that states of emergency arise from strategic sovereign decisions to divide visible from invisible, enemy from ally, underground economy from above-ground, illegitimate war from legitimate war. The capacity to so divide is manifested, for instance, in the technology of air raid sirens in a way that indicates the momentum of the technicity that covertly underlies sovereign power. The article, furthermore, shows how the distinction between the visible and the invisible can serve as a mystification, perpetuating the state of emergency by disguising the intrinsic connection between the two domains.

This article commemorates Jean Baudrillard’s career with an account of the consistency of his interventionist logic, the subtlety of his styles of argument and the prescience of his observations. It provides an account of Baudrillard’s sustained engagement with the intensification of simulation that has increasingly codified trends in communications, technology politics, the social, the psychological and economics in the name of functionality. The consistency of Baudrillard’s arguments belies the many superficial judgements made about them, which were anyway often knowingly encouraged by Baudrillard’s rhetorical strategies.

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery (from May to July 2006) and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space.