Susanna Lindberg

Merleau-Ponty’s 1956/1957 lectures on Nature show that his late philosophy of the flesh in Le visible et l’invisible was preceded by a study of Schelling’s philosophy of nature. But what is Schelling’s Naturphilosophie like, and what does Merleau-Ponty actually inherit from it? This article gives an overview of the different stages of Schelling’s philosophy of nature, that starts as a transcendental philosophy of natural sciences, develops through a metaphysics of nature’s productivity and takes finally the form of a peculiar ontology of “gravity” and “light.” Then it shows how Merleau-Ponty’s idea of “flesh” repeats Schelling’s idea of nature as “organism,” except for one thing: relying on “perceptive faith” instead of “reason,” it refuses the general overview on the organic totality of nature and rests embedded in the tissue of flesh. Finally, pointing at a critical confrontation with Schelling that is lacking in Merleau-Ponty, the article weighs the pertinence of Schelling’s ideas for us, today.

Merleau-Ponty’s 1956/1957 lectures on Nature show that his late philosophy of the flesh in Le visible et l’invisible was preceded by a study of Schelling’s philosophy of nature. But what is Schelling’s Naturphilosophie like, and what does Merleau-Ponty actually inherit from it? This article gives an overview of the different stages of Schelling’s philosophy of nature, that starts as a transcendental philosophy of natural sciences, develops through a metaphysics of nature’s productivity and takes finally the form of a peculiar ontology of “gravity” and “light.” Then it shows how Merleau-Ponty’s idea of “flesh” repeats Schelling’s idea of nature as “organism,” except for one thing: relying on “perceptive faith” instead of “reason,” it refuses the general overview on the organic totality of nature and rests embedded in the tissue of flesh. Finally, pointing at a critical confrontation with Schelling that is lacking in Merleau-Ponty, the article weighs the pertinence of Schelling’s ideas for us, today.

This article presents Jean-Luc Nancy’s ideas of music in relation to being singular plural. Nancy elaborates on the themes of sharing of voices and of resonance in several texts, and he relates resonance specifically to sound, voice, and music. Although in other contexts Nancy thinks that the question of the subject belongs to the past, he maintains the question of the subject in the context of sonority. We will see that this subject is not only the subject of sensation but more precisely the musical subject. Finally, we will see how musical themes help him deconstruct the idea of community on individual, dialogic, and collective levels. Nancy opposes his idea of musical community to the total musical community that characterizes Romanticism. In the end, he objects to all forms of formatting in genres and invites to open, active, and inventive forms of listening all sounds that resonate in the world.

The 'end of the world' opens up philosophical questions concerning the very notion of the world, which is a fundamental element of all existential, phenomenological and hermeneutical philosophy. Is the 'end of the world' for us 'somebody's' death (the end of 'being-in-the-world') or the extinction of many or of all (the end of the world itself)? Is the erosion of the 'world' a phenomenon that does not in fact affect the notion of the world as a fundamental feature of all existential-ontological inquiry? This volume examines the present state of these concerns in philosophy, film and literature. It presents a philosophical hermeneutics of the present state of the world and explores the principal questions of the philosophical accounts of the end of the world, such as finality and finitude. It also shows how literature and cinema have ventured to express the end of the world while asking if a consequent expression of the end of the world is also an end of its expression.

This article presents in a programmatic form the task of continental philosophy today. My starting point is one of the major challenges – if not the major challenge – today for all academic research, including philosophy, namely, global warming. I show how my specific subfield, continental philosophy, can pick up this challenge and contribute to the discussion. I claim that global warming requires us to reconfigure the field of philosophy and reformulate many of its fundamental problems. I will single out three major problematics. The first, the question ‘what is thinking?,’ starts by a kind of existential analytic of being-in-the-world of global warming and shows how it leads to reconfiguring what counts as thinking in terms of a kind of rational imagination. The second, the question ‘what is world? shows why the classical phenomenological concept of world needs to be reformulated in the global context. The third, the question of ethics and politics, shows how the relation of existents (human beings and other living beings) to the world, the concept of ethical agency, and the concept of political community need to be reformulated in the context of global warming.

Bernard Stiegler’s theory of consciousness claims: consciousness is cinema. The invention of the technological dispositifs of photography, phonograph, and cinema, have made this structure visible. He develops the thesis of the cinema of consciousness in Technics and Time, where it leads to a deconstruction of Husserlian consciousness and of the Kantian I. This theory also orients Stiegler’s large-scale criticism of contemporary cinematic capitalism that engages with the works of Adorno, Horkheimer, and Debord. This article presents and critically examines Stiegler’s theory of consciousness as a nonconscious power of dreaming that is not based on the imagination hidden in the the unconsciousness but on collective technical image-objects. While Stiegler criticizes the colonisation of the imagination by the cinematic industry, this article looks for its creative potential. The article also presents a theory of mimesis that is presupposed but ignored by Stiegler and that explains the pharmacological nature of cinematic consciousness.

This article presents Jean-Luc Nancy’s ideas of music in relation to being singular plural. Nancy elaborates on the themes of sharing of voices and of resonance in several texts, and he relates resonance specifically to sound, voice, and music. Although in other contexts Nancy thinks that the question of the subject belongs to the past, he maintains the question of the subject in the context of sonority. We will see that this subject is not only the subject of sensation but more precisely the musical subject. Finally, we will see how musical themes help him deconstruct the idea of community on individual, dialogic, and collective levels. Nancy opposes his idea of musical community to the total musical community that characterizes Romanticism. In the end, he objects to all forms of formatting in genres and invites to open, active, and inventive forms of listening all sounds that resonate in the world.

L’article présente un regard synthétique sur les enjeux de la philosophie de la nature de l’idéalisme allemand. Il montre pourquoi la philosophie hégélienne de la nature doit être lue non pas seulement comme la chute de l’idée dans une extériorité sans esprit, mais aussi comme la chance de l’esprit qui veut penser le réel tel qu’il est. Il compare cela à l’opposition de la gravité et de la lumière dans la philosophie de la nature de Schelling, et fait finalement une hypothèse sur l’utilité de la Naturphilosophie aujourd’hui.

L’enjeu de ce recueil est de contribuer à repenser la notion de limite, en l’envisageant sous les différentes figures, philosophiques, écologiques, politiques, que lui confère notre présent. Comme le montrent, sous des modalités diverses, les contributions de ce collectif, la limite peut et doit être conçue en dehors des valeurs négatives – borne, restriction ou frontière –, qui en affaiblissent la portée. Elle peut alors être pensée sur le fond de cet illimité où s’ouvre la question même du dehors. Si la finitude demeure la condition de l’existence, de l’art et de la pensée, assumer notre condition finie ne consiste donc pas à se murer dans le connu, mais bien à en transgresser les bornes, et ce faisant, à s’illimiter. Au plus loin de la fermeture des frontières que prônent certaines politiques, ou de la certitude dogmatique dans laquelle certains cherchent à réassurer leur pensée, la limite ne vit que de son rapport fécond à l’illimité. Interrogeant l’existence, la politique, l’art – autant dire, la pensée même –, les textes de ce recueil mettent au jour un certain don de l’illimité.

Jacques Derrida a formulé une importante critique du concept de tolérance hérité des Lumières. Évidemment, il ne recommande pas l’intolérance, mais il en appelle à une autre forme de tolérance réinterprétée dans le cadre d’une éthique plus générale de l’hospitalité. La parution en 2021 du volume 1 de son séminaire Hospitalité (EHESS, 1995-1996) permet de préciser ses concepts de l’hospitalité conditionnelle et de l’hospitalité inconditionnelle, ainsi que leur enchevêtrement aporétique. Cet article présente son concept d’hospitalité au-delà de la tolérance, mais découvre aussi une in/tolérance au cœur de l’hospitalité. Celle-ci est enracinée dans le concept de vie que Derrida examine en termes d’auto-immunité : ce sont les réactions de la tolérance et de l’intolérance propres à la vie qui mettent à mal la pensée de l’hospitalité, en sorte que la pensée de l’hospitalité présuppose une in/tolérance qu’elle commande de surpasser.

This article considers the remote meeting technologies that have become the unavoidable framework of work during the COVID-19 epidemic. I analyze them with the help of Jacques Derrida’s concepts, thus also illustrating the reach of the latter. The article presents four “transcendental illusions” as supporting the digital world and, according to Derrida, experience. The illusion of proximity: digitality relies on a haptocentric illusion but it also reveals the distance at the heart of touching. The illusion of presence: digitality functions under the illusion of presence, but it also reveals the spectrality of digital presence. The illusion of a complete memory: although the Internet appears to be a total memory, it is really an archive, that is, a finite set of traces. The illusion of worldwide community: teletechnologies pretend to constitute a universal place, but they only generate a finite dis-place of common alienation.

I present Gilbert Simondon’s thinking of technics, that I take to be so compelling today because it articulates technological reality in ecological terms as a technogeography and life as being-with-the-machines. I will flesh out Simondon’s program for a being-with-the-machines, show how it corresponds to the essence of the technical objects described in terms of milieu and relation indicate how this is based on Simondon’s ontology of individuation suggest a criticism of Simondon, insofar as he would underestimate the technicality of the human being him/herself and of his/her world.

My hypothesis in this article is that it is possible to use the philosophical concept of technics to solve a conflict in contemporary continental ontology between speculative materialist and phenomenological approaches. More precisely, I will show that technics gives a privileged access to ontology because it leads to a “materialist” ontology, avoiding both theological and nihilistic approaches, and because technics, being by definition a domain of artificiality, precludes any explication of it in terms of naturalist materialism. I start by critically examining two techno-ontologies that come from speculative realism and object-oriented ontology: Levi R. Bryant’s onto-cartography and Graham Harman’s tool-being. I then present, as a counter-position, Jean-Luc Nancy’s idea of “ecotechnology”. In conclusion, I evaluate the usefulness of the concept of technics for ontology and argue that Nancy’s post-phenomenological approach is preferable because it avoids indefensible hypostases and is more attentive to its own discursive status.

This paper is motivated by Heidegger’s invitation to think the essence of technics through a dialogue between technics and art. This dialogue is approached with the help of several artworks belonging to what can be called the “technological turn” in art. First, I draw a schematic picture of notions of instrumentality, rationality, totality, and teleology inherited from classical philosophy of art and technology and challenged by contemporary art. I underline the Romantic claim that art overcomes these features thanks to its freedom and ask, referring to the work of Gilbert Simondon, whether technology could also be liberated from its subordination to utilitarian ends. Second, I look at how certain contemporary works of art attempt to solve some of these problems. Artists who seize technical objects generally seek to make their functioning visible and problematic by distorting, interrupting, or otherwise modifying the technical dispositif—this is when a machine becomes a work of art. I show how this happens in certain works of Rebecca Horn, Jean Tinguely, Anaïs Tondeur, Eduardo Kac, and Tomas Saraceno. In conclusion, I show how art can liberate technology by liberating it from utility and instrumentality and by exposing it as such in its functioning. On the other hand, I argue that technology can liberate art, both through artistic techniques and nonartistic technological processes.