(PDF) Architecture and the Distribution of the Sensible

According to Jacques Rancière, some practices and knowledges can be studied in terms of the cartographies of the common worlds they imply. Engaging Rancière’s concept of the distribution of the sensible, this article discusses architecture (along with discourses that produce knowledge of architecture) as one such practice. It raises the question of what role architecture – with its spatio-temporal presence and materiality, along with its forms and purposes – has in the production of social space and time. Following Rancière’s understanding of the politics of aesthetics, it examines the different ways in which architecture creates a specific form of sensory experience related to the distribution of the sensible that constitutes a common world. But in order to grasp the specificity of architecture – after all, Rancière develops his conception of aesthetic politics mainly in relation to artistic practices and discourses – the article opens with Theodor W. Adorno’s reflections on architecture as a purposeful art. Adorno’s critique of functionalism allows for a thorough rethinking of architecture by questioning the functions and purposes it accommodates as inscribed within social antagonisms. Adorno enables us to understand how architectural imagination includes but also surpasses purposefulness and its social dimension by producing a particular sense of space – an idea that can be compared to what Rancière calls the distribution of the sensible. While Adorno enables us to understand how the social is inscribed in architectural form, Rancière makes it possible to examine the different forms of aesthetic politics that architecture can employ in order to create a framework of a future common world. With the aim of understanding how architecture can intervene in the dominant order of spatial planning and the real estate market today, we reconsider the aesthetic politics Rancière ascribes to the three “regimes of art” (the ethical, the representational, and the aesthetic) in relation to selected examples from architecture past and present, from the Looshouse to the Quinta Monroy housing estate project by the studio Elemental and Jean Nouvel’s Cartier Foundation for Contemporary Art.

Filozofski vestnik The Concept of World in Contemporary Philosophy Edited by Rok Benčin XLII | 2/2021 Izdaja | Issued by ZRC SAZU, Filozofski inštitut Institute of Philosophy Založnik | Published by Založba ZRC Ljubljana 2021 FV_02_2021.indd 1 22/12/2021 20:28 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 1(082) The CONCEPT of world in contemporary philosophy / edited by Rok Benčin ; izdaja ZRC SAZU, Filozofski inštitut = issued by Institute of Philosophy. - Ljubljana : Založba ZRC, 2021. - (Filozofski vestnik, ISSN 0353-4510 ; 2021, 2) ISBN 978-961-05-0603-4 COBISS.SI-ID 90000643 FV_02_2021.indd 2 22/12/2021 20:28 Contents Filozofski vestnik | Volume XLII | Number 2 | 2021 5 Rok Benčin Introduction: The World According to Contemporary Philosophy 15 Bruno Besana The World: The Tormented History of an Inescapable Para-Concept Part I: The Pre-History of the “World” Peter Klepec World? Which World? On Some Pitfalls of a Concept Roland Végső On Acosmic Realism Ruth Ronen The Actuality of a World: What Ceases Not to Be Written Jan Völker The End of Life Is Not the Worst: On Heidegger’s Notion of the World Magdalena Germek The Anatomy of the World Nick Nesbitt Capital, Logic of the World Marina Gržinić World(s) Rok Benčin Worlds as Transcendental and Political Fictions Jean-Jacques Lecercle Dispersed are we : roman des mondes et monde du roman dans Between the Acts, de Virginia Woolf Nika Grabar Architecture and the Distribution of the Sensible Anna Longo How the True World Finally Became Virtual Reality Noa Levin Spectres of Eternal Return: Benjamin and Deleuze Read Leibniz 45 71 93 113 133 159 193 221 245 259 281 305 331 335 FV_02_2021.indd 3 Notes on Contributors Abstracts 22/12/2021 20:28 Kazalo Filozofski vestnik | Letnik XLII | Številka 2 | 2021 5 Rok Benčin Uvod: svet, kakor ga vidi sodobna filozofija 15 Bruno Besana Svet: mučna zgodovina neizogibnega para-koncepta Prvi del: predzgodovina »sveta« Peter Klepec Svet? Kateri svet? O pasteh nekega pojma Roland Végső O akozmičnem realizmu Ruth Ronen Aktualnost sveta: kar se preneha ne zapisovati Jan Völker Konec življenja ni tisto najhujše: o Heideggerjevem konceptu sveta Magdalena Germek Anatomija sveta Nick Nesbitt Kapital, logika sveta Marina Gržinić Svet(ovi) Rok Benčin Svetovi kot transcendentalne in politične fikcije Jean-Jacques Lecercle Dispersed are we: roman svetov in svet romana v Med dejanji Virginie Woolf Nika Grabar Arhitektura in delitev čutnega Anna Longo O tem, kako je resnični svet končno postal virtualna resničnost Noa Levin Duhovi večnega vračanja: Benjamin in Deleuze bereta Leibniza 45 71 93 113 133 159 193 221 245 259 281 305 331 335 FV_02_2021.indd 4 Podatki o avtorjih Povzetki 22/12/2021 20:28 Filozofski vestnik | Volume XLII | Number 2 | 2021 | 259–280 | doi: 10.3986/fv.42.2.12 Nika Grabar* Architecture and the Distribution of the Sensible Introduction According to Jacques Rancière, some practices and knowledges can be studied in terms of the cartographies of the common worlds they imply. Engaging Rancière’s concept of the distribution of the sensible, this article discusses architecture (along with discourses that produce knowledge of architecture) as one such practice. It raises the question of what role architecture – with its spatio-temporal presence and materiality, along with its forms and purposes – has in the production of social space and time. Following Rancière’s understanding of the politics of aesthetics, it examines the different ways in which architecture creates a specific form of sensory experience related to the distribution of the sensible that constitutes a common world. But in order to grasp the specificity of architecture – after all, Rancière develops his conception of aesthetic politics mainly in relation to artistic practices and discourses – the article opens with Theodor W. Adorno’s reflections on architecture as a purposeful art. Adorno’s critique of functionalism allows for a thorough rethinking of architecture by questioning the functions and purposes it accommodates as inscribed within social antagonisms. Adorno enables us to understand how architectural imagination includes but also surpasses purposefulness and its social dimension by producing a particular sense of space – an idea that can be compared to what Rancière calls the distribution of the sensible. While Adorno enables us to understand how the social is inscribed in architectural form, Rancière makes it possible to examine the different forms of aesthetic politics that architecture can employ in order to create a framework of a future common world. 259 With the aim of understanding how architecture can intervene in the dominant order of spatial planning and the real estate market today, we reconsider the aesthetic politics Rancière ascribes to the three “regimes of art” (the ethical, the * FV_02_2021.indd 259 University of Ljubljana, Faculty of Architecture, Ljubljana, Slovenia 22/12/2021 20:28 nika grabar representational, and the aesthetic) in relation to selected examples from architecture past and present, from the Looshouse to the Quinta Monroy housing estate project by the studio Elemental and Jean Nouvel’s Cartier Foundation for Contemporary Art. Purposes, Irrationalities, and Contradictions In one of his rare dealings with architecture, “Functionalism Today”, Adorno wrote: The work of an artist, whether or not it is directed toward a particular purpose, can no longer proceed naively on a prescribed path. It manifests a crisis, which demands that the expert – regardless of his prideful craftsmanship – go beyond his craft in order to satisfy it.1 The text was written in 1965 as a presentation to the German Werkbund. Adorno’s critical position was based on observing the reconstructions of the postWWII world and his belief that the crucial dilemmas that brought about the devastation of war were not being addressed. This was also true for architectural (re)constructions. In Adorno’s critical re-evaluation of the field, architecture was positioned within the broader social domain of the post-WWII public space. He called for a rethinking of city planning, the principles of reconstruction, and by the same token, raised the question of the existence or non-existence of a collective social subject for the benefit of whom such planning was supposed to be carried out. 260 In order to address these issues and the crisis the architectural profession found itself in, he highlighted the need to reconsider the double-faced character of architecture: on the one hand, architecture is an autonomous art form, and on the other, a functional object, a purposeful art.2 Defining architecture as a purposeful art implies that there is an inherent link between architecture and social reality. When using the word architecture, there is always an implication of 1 2 FV_02_2021.indd 260 Theodor W. Adorno, “Functionalism Today”, trans. J. Newman and J. Smith, in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, London and New York, Routledge, 2005, p. 16. Ibid., p. 6. 22/12/2021 20:28 architecture and the distribution of the sensible some kind of societal purpose, of a function the building is to perform. When it comes to design, the intended function of the edifice to be constructed is, in most cases, presented to architects in a simplified, abstract way. Planning a construction entails imagining and drawing the walls and roofs that delimit the areas in which certain activities will take place. In doing so, architects approach the problem with their own imagination and connect building-making to a vast history of architectural ideas. However, any social reality is full of antagonisms that cannot be resolved in the domain of architecture. Rather the opposite, architecture is conditioned precisely by these social antagonisms. For Adorno, architecture thus clearly manifests a fundamental contradiction between society and “human productive energies.”3 While society develops them, it also chains people to the relations and conditions of production imposed upon them. Consequently, the people who constitute the productive energies become deformed according to their working conditions. If, on the other hand, functionalist architecture is understood in a purely objective manner (as in the New Objectivity movement, which Adorno criticised in his paper), its function appears purposeful only because the interpolation of architecture in the antagonistic socio-economic processes is not given proper consideration: Something would be purposeful here and now only if it were so in terms of the present society. Yet, certain irrationalities – Marx’s term for them was faux frais – are essential to society; the social process always proceeds, in spite of all particular planning, by its own inner nature, aimlessly and irrationally. Such irrationality leaves its mark on all ends and purposes, and thereby also on the rationality of the means devised to achieve those ends.4 Function and Ornament 261 In “Functionalism Today”, Adorno discussed the problems concerning functionalism in relation to the work of Adolf Loos, one of its protagonists both as an architect and a cultural critic. Loos is famous for his fierce critique of ornamentality in the name of function, even juxtaposing ornament and crime in the title of his best-known essay. However, Adorno drew attention to Loos’s writings on 3 4 FV_02_2021.indd 261 Ibid., p. 14. Ibid., p. 8. 22/12/2021 20:28 nika grabar Schönberg’s music, which Adorno considered to be far from anti-ornamental. Adorno skilfully articulated the issues concerning the relation between function and ornamentality through a comparison between architecture and music, making visible how modern concepts developed in both fields. By referencing Schönberg’s First Chamber Symphony, which Loos himself praised, Adorno pointed out that Schönberg’s composition, recalling a central motif from Wagner’s Götterdaämmerung and the theme from the First Movement of Bruckner’s Seventh Symphony, actually created an ornamental theme. His observations thus show that the question of ornament was not obsolete in modern music, but became part of an inventive experimental approach, in this case “the model of the first extreme constructivist complex in modern music.”5 Consequently, it was possible to explore the manifold relationships of musical components going beyond the importance of the individual tone.6 One can observe similar architectural experimentations during the period. Modern architecture denounced the ornament but continued to employ craft and material in an ornamental way. Its form adapted to the new modes of production, while the configuration of the façades still echoed the tripartite division articulating the base, shaft, and capital, a method of visually organizing the exterior similar to the composition of a classical column. Interior space was reinvented through elements often designed with materials in ornamental fashion; these elements continued to be the carriers of spatial compositions that simultaneously opened the experience of form with transparency, reflections, light, etc. However, even though functionalism presupposed purpose as something self-evident, it was in fact already subdued in socio-economic antagonisms and the accompanying ideologies of usefulness, effectiveness, practicality, and the like. 262 Adorno also emphasised the contemporary “Kunstgewerbe religion,” as he called it, which praised the so-called nobility of matter and inspired both architecture and autonomous art.7 It inspired Schönberg to understand musical material as matter that could be recomposed and situated in a new structure. Similarly, in architecture, spatial compositions were reinterpreted within new methods of 5 6 7 FV_02_2021.indd 262 Ibid., p. 7. Ibid., p. 13. Ibid., p. 7. 22/12/2021 20:28 architecture and the distribution of the sensible construction, while materials were crafted in a way that follows and articulates their own immanent form. According to Loos, forms needed to be reinvented through the technological innovation of handicraft and not borrowed from art. This corresponded to the belief in a preconditioned connection between material and form, according to which the material, the substance itself, is already invested with meaning and bears with it its own adequate form. Adorno questioned this “cult of materials,” which was, according to him, already denounced by industrially produced materials and other products.8 Loos’s functionalism could not escape the fact that decisions regarding the articulation of form and material are unavoidable. There are no pure functions, ornaments, or materials, as all are based on socio-economic conditions that affect perceptions and bodies and thus the sense of space created by the design. Composers and architects in Loos’s time could experiment with form autonomously to discover new constructions and expressions, but how these were received inevitably depended on the changing world and consequently on the changing sensibilities. It depended on how the public was ready to accept the “recombination” of the old in the new compositions and how the works could produce meaning by creating a sense of space and being purposeful. The physical properties of the material form were only a part of a more significant dilemma about how the sense of space was related to the social and spatial structures and conventions that conditioned its perception. Adorno wrote: The tone receives meaning only within the functional structure of the system, without which it would be a merely physical entity. Superstition alone can hope to extract from it a latent aesthetic structure. One speaks with good reason of a 263 sense of space (Raumgefühl) in architecture. But this sense of space is not a pure, abstract essence, not a sense of spatiality itself, since space is only conceivable as a concrete space, within specific dimensions.9 A concrete physical space is, like sound, not an isolated aesthetic entity; it is a part of a town, city, and landscape. The sense of (architectural) space is condi8 9 FV_02_2021.indd 263 Ibid. Ibid., p. 13. 22/12/2021 20:28 nika grabar tioned by such surroundings. Likewise, in music the sensibility needed to hear the delicateness of a theme in a sonata is related to the structure of the musical composition, its history, and the everyday sounds the listener experiences in the background. The Sense of Architectural Space For Adorno, the main subject of discussion in “Functionalism Today” was the form of purposeful art and the way the social is inscribed in it. Architectural form uses its materiality to delimit space for a particular purpose. But, according to Adorno, this is not enough for “great architecture”: the criterion that defines such greatness is the mandatory elevation of the sense of space beyond the realm of purposefulness with the use of architectural imagination.10 Though the architectural form is inherent in its purpose, architectural imagination can elevate it from its domain. In doing so, architectural creativity can create a sense of space out of materiality and retroactively elucidate the complex relations of spatial production. Architectural form as such is accessible to the viewer not through the recognition of architectural standards and the social conventions they correspond to, but through the specific aesthetic experience it enables. Adorno discussed Loos’s texts, but his built work is worth reconsidering in the light of these questions, since the sense of space his buildings create speaks of an antagonistic world his architecture belongs to. Adorno was critical of Loos’s writings, but in his architecture one can discern an elevation beyond socially prescribed purposes, although it is conditioned by them. This made his objects function differently from the then established norms of the architectural profession. His designs functioned in a subversive way. 264 Loos was and is today well known for his stripped-off facades and rich interiors. Encountering his white cube-like villas in the bourgeois residential surroundings must have been a perplexing experience at the time of their construction. The interiors were, on the contrary, playful with their use of space and warm, with decorative marble, wooden elements, and oriental rugs. Loos avoided historical ornaments; however, his interiors were still “decorated” with crafted materials. When applied, they had an ornamental effect. 10 FV_02_2021.indd 264 Ibid. 22/12/2021 20:28 architecture and the distribution of the sensible The Looshouse, his most controversial project with its bare façade, was built in front of one of the entrances to the Viennese imperial palace. He was heavily criticised for its non-ornamental and white design, and according to a well-known myth, the emperor always used an alternative exit so as not to face it. However, it was not all-white. The ground floor exterior was clad in green marble, the entrance was emphasised with Doric columns, and the interior was covered with wood. At the same time, mirrors alluded to the interior of a French department store. Instead of historicist or secession-like ornaments, Loos incorporated the column as a classical element into the exterior design to articulate the public space of the square the house was facing. Not far from the Looshouse, Vienna’s Ringstrasse replaced city walls with public parks and institutional buildings, including the imperial palace. The reconstruction lasted a few decades, spanning from the mid 19th century up to WWI. The representation of public institutions was based on historical styles alluding to the supposed meanings of past eras: the parliament as a Greek temple, the university as a renaissance palace, the town hall as a gothic cathedral, etc. The railroad connected outer districts of Vienna, which had previously functioned outside the centre, to the new emerging metropolis. The city expanded under the new conditions of capitalist production. The change in the material production of space simultaneously affected the relations of power and trade. The growing metropolis tied people to new production processes and, according to Adorno, “deformed” them according to the new working conditions. Looking at the Looshouse today, it continues to convey the message of a critique of taste from more than one hundred years ago. Over time, the city centre has come under the regulations of historic preservation, attempting to freeze the aesthetic relations in space. The central vertical dominant of the inner city remained the church; the imperial palace was its major horizontal edifice monumentally facing the Ring and the centre. To understand the Looshouse entails understanding its position in the context of the then-growing metropolis, which outside the Ring included construction of “palaces for rent” decorated with ornamental historicist motifs. 265 Loos’s critique of ornament, while applying the material in an ornamental fashion in its distinct location, is not merely a critique of décor, but of the emerg- FV_02_2021.indd 265 22/12/2021 20:28 nika grabar ing public space shaped by the new conditions of capitalist production and the tastes of the rising bourgeois society. This critique invented a particular form of aesthetic experience different from that which the dominant order was trying to establish. Its representation was a negation of the dominant architectural conventions of the time. To experience Loos’s villas as a shock, they had to be constructed in bourgeois neighbourhoods. Encountering his blank façade was a micro event in an urban stroll. The way he approached the design of forms ascribed new meaning to space, craft, and the material itself. It produced a new sense of reality – a reality conditioned by the irrationalities hidden by the capitalist society. These new surroundings, conditioned by new materials and industrial production, opened the doors to a new kind of criticism in art and architecture. They created a new public that dissentingly anticipated a new shared world, the form of which was retroactively connected to the sense of space it produced. With this in mind, we can reconsider Loos’s built work following Adorno’s social and aesthetic reflections on architecture. According to Adorno, the social is not external to the aesthetic form, be it in the sphere of autonomous artworks or purposeful art. On the contrary, the social is always inscribed immanently into the form itself. This is why at the end of “Functionalism Today” he claims that even as a purposeful art, architecture “demands constant aesthetic reflection.”11 For Adorno, the inscription of the social into the autonomous form – as it is developed historically amidst social antagonisms – is the proper object of aesthetic analysis. This allows us to see how purposes could be elevated by great architecture and ultimately leads to the realisation that there can be no strict division between autonomous and purposeful art: 266 The purpose-free (zweckfrei) and the purposeful (zweckgebunden) arts do not form the radical opposition which [Loos] imputed. The difference between the necessary and the superfluous is inherent in a work and is not defined by the work’s relationship – or the lack of it – to something outside itself.12 11 12 FV_02_2021.indd 266 Ibid., p. 16. Ibid., p. 6. 22/12/2021 20:28 architecture and the distribution of the sensible Yet, Loos designed his project precisely around the tension between the necessary and the redundant immanent to form. His detailing of materials was rethought in relation to the experience of space defined by the architectural form he invented and not to the past styles and historicist motifs employed by other contemporary developments, and thus to something outside of the invented form itself. Nonetheless, the effect the form had on its public was unavoidably conditioned by the rapidly transforming world, including the expanding industrial production and the production of space appropriate to the needs of the emerging mass society. Distribution of the Sensible In order to think architecture socially and aesthetically at the same time, as Adorno does, we should first consider its role in the production of social space. The production of social space begins with planning infrastructure and the uses of buildings. It interpolates the natural environment in planning strategies and transforms landscapes according to the conditions and relations of production. The totality of the activities in the natural and social environments envisaged by architecture with delimited areas of different shapes and materials it designs corresponds to contemporary standards of how society is supposed to function. Yet, the sense of space that architecture introduces is not determined merely by social projections of space, even though they condition it. It is not identical to the social space it overlaps with, nor to the (natural) environment it might overlook or from which materials are gained for its construction. The material presence of architectural form inevitably mediates a relationship between the environment and the social space-time in a particular way. What elevates the architectural experience beyond function is a sense of space pertaining to a specific type of fiction. It establishes an impression of a shared common world through the sense of space it creates. Here, following Rancière, I do not use the word fiction as the invention of an imaginary world, but as “the construction of a framework within which subjects, things, situations can be perceived as coexisting in a common world and events can be identified and linked in a way that makes sense. Fiction is at work whenever a sense of reality FV_02_2021.indd 267 267 22/12/2021 20:28 nika grabar must be produced.”13 Thus, what Adorno elaborated as a sense of space can be linked to Jacques Rancière’s concept of the distribution of the sensible, which he describes as a “set of relationships between ways of being, seeing, thinking and doing which determines at once a common world and the way in which these or those subjects take part in it.”14 We often think of artistic practices as establishing their own space-time, and the same can be said about architecture. The distribution of the sensible is present in architecture even before the lines of floor plans and sections are drawn on paper. It is imagined in the form of the presumed uses for which buildings are to be constructed. It is present in how different areas of physical space within the natural environment are planned to be used for food production, the excavation of materials, nature parks, industrial zones, or residential neighbourhoods, schools, and galleries. Furthermore, it is imagined how subjects will move between different activities in certain time intervals, how many years they will attend which institution, and what infrastructure is needed to make this possible. The transformations of land and (public) space are imagined via abstract diagrams and maps that make it possible to transfigure everyday environments according to fictitious conditions in line with contemporary theories of progress. This way of seeing space introduces a particular kind of environment in which activities are seen as purposeful only through the imaginary framework of productivity and profitability, but it does not guarantee a socially just and healthy environment for the future. 268 Consequently, the conception of space implied by the real estate investment market today does not produce a sense of a functioning common world. Although everything is planned, calculated and legally defined, a sense of reality, a sense of space that would amount to a common world is missing. Empty housing estates sold out before being finished, luxury housing situated next to favelas, spectacular buildings erected in times of humanitarian and environmental crisis – the fiction that produces this space has distorted our sense of reality. The imaginary distribution of the sensible that forms space in our daily 13 14 FV_02_2021.indd 268 Jacques Rancière, Modern Times: Essays on Temporality in Art and Politics, Zagreb, Multimedijalni institut, 2017, p. 13. Ibid., p. 12. See also Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible, trans. G. Rockhill, London and New York, Continuum, 2011, pp. 12–19. 22/12/2021 20:28 architecture and the distribution of the sensible lives is increasingly alien and destructive. A meaningful future seems absent from architecture, which seems to contribute to the space of conflict rather than producing a sense of a common world for emancipated communities. The categories of time and temporality have disappeared from social questions and projections. Development revolves around the present moment, transience, consumption. Time, which plays a vital role in the distribution of the sensible, has become invisible in planning. Yet, it cannot be avoided as it is critical when considering the cyclical processes of the natural environment and human life. These processes are changing and remind us that we need to encapsulate reality differently. A fiction of a new common world that we could believe in has yet to be reinvented. Aesthetic Politics Rancière rarely mentions architecture in his writing, but let us consider his arguments on the politics of modernism in art before returning to the distribution of the sensible at work in architecture today. He maintains that the emergence of the autonomy of art was intrinsically linked to the anticipation of an emancipated community to come, which led to two opposing aesthetic politics. On the one hand, there was the aesthetic politics that equated transforming the forms of art with transforming the world. In this new, transformed world, art would no longer constitute a separate sphere of reality. On the other hand, there was the aesthetic politics that preserved the autonomy of art by rejecting all forms of compromise with the practices of power and the forms of the aestheticisation of life in the capitalist world.15 Rancière considers both kinds of aesthetic politics (building a new world and preserving the autonomy of art in the face of the capitalist world) to have been diluted by an ethical turn, which coincided with the end of the Cold War.16 The first kind of aesthetic politics, which collapsed along with the Soviet dream, underwent a soft version of this ethical turn. This includes, for example, the architects and designers who aimed to revitalise communities by redesigning 15 16 FV_02_2021.indd 269 269 Jacques Ranciere, Aesthetics and Its Discontents, trans. S. Corcoran, Cambridge and Malden, Polity Press, 2009, pp. 129–131. Ibid. 22/12/2021 20:28 nika grabar public spaces, or relational artists who made unusual interventions into city suburbs and landscapes. The second aesthetic politics underwent a hard version of the ethical turn, which transformed the politics of aesthetic autonomy into ethics. The struggle to preserve autonomy made it possible to inscribe into artworks the unresolved contradiction between the aesthetic promise and the reality of an oppressive world. With the turn towards ethics, however, the promise of emancipation disappeared. This promise became interpreted as a lie from the perspective of the catastrophe – the concertation camp – that set the ultimate point of reference for any discourse on art in the irresolvable past event that casts a shadow on any political project in the future. Modernism contains a contradiction “between two opposed aesthetic politics, two politics that are opposed but on the basis of a common core linking the autonomy of art to the anticipation of a community to come, and therefore linking this autonomy to the promise of its own suppression.”17 According to Rancière, the ethical turn – and not so-called postmodernism – signals the end of modernism, not as a trend or a style, but as a long-lasting contradiction of opposing aesthetic politics that stem from the same core. Rancière is consequently critical of the contemporary artistic dispositives since they refer – through the interpretive schemata of our experience – to a single ethical community in which the distinction between politics and justice can no longer be thought. In an ethical community, politics is no longer possible. 270 Similar arguments can be detected in architectural discourse. The most symbolic example of the failure of modernist aesthetic politics that can be understood as the point of reversal is probably the demolition of Pruitt-Igoe, a modernist housing project in St. Louis, Missouri, in 1972-1976. The project became infamous for its poverty, crime, and racial segregation soon after its completion in 1956. When the buildings were demolished they became a symbol of the failure of urban planning renewal, public-policy planning, and public housing. It also came to be seen as an indictment of architecture’s modernist aspirations running contrary to “real-world” social development, making it clear that architecture, with its form alone, cannot provide solutions to political problems. Charles Jencks 17 FV_02_2021.indd 270 Ibid., p. 128. 22/12/2021 20:28 architecture and the distribution of the sensible referred to the demolition as the moment when modernist architecture died.18 The fate of modernist architecture was also referred to by Fredric Jameson, who acknowledged the importance of Jencks’s work for having described the first signs and symptoms of postmodernism.19 As is well known, the question of postmodernism was first raised precisely in the context of architecture. The worlds of art and architecture are closely related. Both were affected by the postmodernist discourse, but due to its function, purpose, materiality, and large scale, architecture has wider social consequences in comparison to art. Autonomy in modernist architecture (as in art) was associated with the anticipation of an emancipated community to come. Its sense of space was conditioned by two imagined distributions of the sensible through which its content, materiality, and location were determined to correspond to either the Eastern or the Western “vision” of the future. If modernist architecture in socialist contexts was a material condition of a society supposedly transforming into its socialist future, modernist architecture, conditioned by capitalism, like in art, supposedly resisted forms of compromise with practices of power and the aesthetisation of life. Aesthetic politics was in both cases conditioned by the (spatial) planning of the state via its public institutions. In both cases, modernist architecture also renounced previous practices of representation. Formal concerns superseded stylistic and typological considerations. To achieve an appropriate sense of space, however, architects needed to meaningfully articulate both form and public space. For this reason, architectural modernism invented new details, elements, constructions, spatial compositions, materials, new senses of transparency, etc., to achieve a particular form of sensory experience. In doing so, it also created new conventions and rules on how to envisage form itself. Even though the same principles of rethinking form in public space can be used today, the fall of the Berlin Wall created a new sense of reality that simultaneously reconditioned the distribution of the sensible. When the market-driven economy became the dominant perspective of “progress”, the societal planning of post-socialist contexts dissolved, and their property underwent a process of wild privatisation. The fall of the socialist state in the “East” and the weakening 18 19 FV_02_2021.indd 271 271 Charles Jencks, The Language of Post-Modern Architecture, New York, Rizzoli, 1977, p. 9. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, London and New York, Verso, 1991, p. 62. 22/12/2021 20:28 nika grabar of the welfare state in the “West” consequently reconditioned spatial planning, while post-WWII development strategies persisted and depoliticised key questions regarding the post-socialist transformations. And it is in this context (in the context of the reimagined distribution of the sensible) that the established rules and conventions of architectural modernism today fail to create a sense of a credible new world. Consequently, architecture is repeatedly criticised as being too formal. Architecture and its Discontents The emerging problems brought about by the alien and destructive space produced by construction under the conditions of the market-driven economy have become challenging to address within the existing planning system. Since the issues are globally interconnected, an efficient systemic response in spatial planning would be difficult to achieve. Under such circumstances, what role does architecture play (it should be taken into consideration that architects only design a small percentage of the built environment), and which problems can it address by inventing new fictions that try to encapsulate reality differently? Taking the concept of the distribution of the sensible into account, let us reconsider Adorno’s notion of great architecture, supposing that architectural imagination can elevate form from the domain of purpose by creating a sense of space out of materiality and elucidating the complex relations of spatial production. 272 After the disappointments with modernism and postmodernism, heroic architectural visions do not seem feasible. In the contemporary world, the role of the architect, like the role of architecture, has been radically transformed. Today, the critique of architecture regularly revolves around the figure of a star architect, or “starchitect”. Although this critique most obviously refers to spectacular buildings, it can also refer to notable socially engaged projects, which is only one of many symptoms of the contemporary discontent in the field of architecture. One of the high-profile projects to mention in this regard is the Quinta Monroy housing estate by the studio Elemental in Iquique, Chile, built in 2003. The architects were involved in planning a residential neighbourhood on the site of a favela and needed to provide housing for the one hundred families that lived there. The municipality provided the budget for the project, which allowed for the construction of 40 m2-sized houses, while the site on its own was not big FV_02_2021.indd 272 22/12/2021 20:28 architecture and the distribution of the sensible enough to provide space for all the families without building higher than the ground floor. The residents threatened to go on a hunger strike if the plan of the architects was to design multiple-storey buildings, since high rise construction would not allow individual families to extend their apartments.20 The architects conceded that 40 m2 per family was not enough for a decent family life. In a long participatory design process, they negotiated with the future residents that the project would nonetheless be built in three floors, but in a way that would allow the residents themselves to build extensions and double the area of their row houses. The design thus predicted an unplanned intervention, something that was yet to happen. The residents could produce the extensions with their own hands. Their interventions became an integral part of the project and are today visible on the façade. Looking at the Quinta Monroy situation from outside architectural discourse, but through the lens of what Rancière calls the ethical indistinction, one can observe that with the participatory design process a consensus was achieved as regards how to construct the space. Consequently, the final process of participatory construction left no room for political disagreement concerning the most fundamental issue: how to negotiate for the right to a decent place to live. The apparently successful integration of the residents as participants into the construction and design of the new neighbourhood swept under the carpet the question of how to solve the housing problem as regards those excluded from the property market. In short, if we accept the designed solution as an actual solution to a common existential problem, we thereby obscure the inherent difference between politics and justice. In the sense of the space produced by the constructed extensions, one can recognise and understand what the project of the architect was and what the residents made themselves. The image of the façade reveals the process. The extensions vary in colour, size, and material. The image they portray can be associated with the image of a self-made favela, only that here it has become part of an 20 FV_02_2021.indd 273 273 See Alejandro Aravena, “My Architectural Philosophy: Bring the Community into the Process”, TEDGlobal, 2014, https://www.ted.com/talks/alejandro_aravena_my_architectural_philosophy_bring_the_community_into_the_process?language=en, accessed 1 December 2021. 22/12/2021 20:28 nika grabar orchestrated whole and is as such interesting for architectural discourse. What the result brings to the discussion is the inclusion of an unplanned space-time, a process that was not envisioned within the spatial planning strategy; a sense of space this particular community shares and has made visible in materials and in relation to architectural form. Nevertheless, the project has also been subject to criticism, ranging from its problematic financing, the crime that subsequently emerged after life developed in the neighbourhood, to the fact that the municipality did not sufficiently help the residents find proper jobs, which meant that they became a part of corporate society as marginal exploited subjects, and last but not least, that the architect constructed an image of himself as a starchitect through the social problems of a marginalised community.21 Is the Quinta Monroy housing estate relevant as “great” architecture because some kind of emancipatory potential can be discerned in its form, because of the name of the architect, because of the sense of space it creates, the detailing, colours, or materials used? One could discuss all of the above. However, the project caught the attention of the international public due to the social problems it addresses, which can be discerned in its form. The unresolved social conflicts are a part of its aesthetic experience. If this project were to be judged according to conventional architectural criteria abstracted from its social context, it would most probably be regarded as irrelevant. However, in the last decades a certain “type” of architecture has started to be characterised by adjectives such as rebellious, socially engaged, green, sustainable, etc., and has gained a great deal of visibility in architectural discourse. Does this necessarily mean it is great architecture? 274 Regimes of Architecture Modernist aesthetic politics might have failed in its attempt to construct a new fiction, a new sense of reality. Yet in doing so, it created new parameters of architectural discourse. Today, architecture is addressed through different discours- 21 FV_02_2021.indd 274 See Sandra Carrasco, David O’Brien, “Revisit: Quinta Monroy by Elemental”, The Architectural Review, 4 January 2021, https://www.architectural-review.com/buildings/housing/ revisit-quinta-monroy-by-elemental, accessed 1 December 2021. 22/12/2021 20:28 architecture and the distribution of the sensible es, which we will relate to Rancière’s regimes of art to draw conclusions about the political dimension of architecture and the different futures it envisions. According to Rancière, a regime of identification of art is a specific relation between artistic practices, forms of visibility, and modes of intelligibility that make it possible for a certain work to be identified as a work of art. In Aesthetics and its Discontents, among other works, he historically located the three regimes of art as different ways of recognising and defining objects as belonging to art or to a particular art: the ethical, representational, and aesthetic regimes.22 In the ethical regime, a statue, for example, is conceived as an image of the divine. In this regime, images are judged according to their effects on the modus of being of individuals and collectives. The representational regime, on the other hand, considers artworks through the category of mimesis. Here, a statue is a product of a particular art, i.e. sculpture. It enacts a representation through the skill of the sculptor and his or her ability to assign appropriate expressive forms to appropriate figures. In the aesthetic regime, finally, a statue acquires the qualities of a work of art not due to its correspondence to the divine or to the canons of representation, but because of it belonging to an exceptional form of sensory experience based on free appearances. This form of experience opposes the ordinary sensorium, which is permeated with hierarchies and forms of domination.23 In the three regimes of art (which emerged in different historical eras but have since coexisted), works are evaluated by different forms of artistic validity, all of which imply a certain relationship to politics. What all three regimes of architecture have in common is that in each one, architecture has a function linked to the construction of the social space within which architecture is installed and to which it responds. As such, architecture can be imagined within the limits of its own rules (the representational regime), by negating those rules in its own way by creating a sense of space (the aesthetical regime), or by addressing the ethical dilemmas of the contemporary world (the ethical regime). One can draw conclusions about the political dimension of architecture in relation to the three regimes. All three make visible the tensions between architecture and politics in the field of spatial planning. As Rancière explains: 22 23 FV_02_2021.indd 275 275 Rancière, Aesthetics and Its Discontents, pp. 28–30. Ibid. 22/12/2021 20:28 nika grabar First artworks shape a world of pure beauty, which has no political relevance [the representational regime]. Second, they frame a kind of ideal community, fostering fanciful dreams of communities of sense posited beyond political conflict [the ethical regime]. Third, they achieve in their own sphere the same autonomy that is at the core of the modern project and is pursued in democratic or revolutionary politics [the aesthetic regime].24 Rancière argues that the latter (the modern) paradigm collapsed with the ethical turn due to the new forms of social life and commodity culture, new techniques of production, reproduction, and communication. What are the consequences? First, we will consider the Quinta Monroy housing estate as an example of an architecture of the ethical regime. This does not mean that the project is ethical in itself, nor does it necessarily mean that the architect that designed it is ethical. The architecture of the ethical regime creates a space for a community (of sense) to use according to its temporal and material conditions. It therefore makes visible the temporality of that community in space; but at the same time, the political practice of architecture is weakened. The consensus that comes with the project reconfigures the visibility of the common in a way that objectifies the collective situation of the favela, so that the people involved can no longer take part in a dispute, i.e. the polemical framing of a controversial world within the given world. Its aesthetic politics is consequently dismissed. The architecture of the ethical regime frames space for communities of sense beyond political conflict. This architectural space overlaps with social space and establishes its own spatio-temporal conditions as a reaction to the injustices and malfunctions of the spatial planning strategies recognised as flawed. 276 Second, the representational regime, as transposed into architecture, evaluates constructions through the criteria of beauty, and established rules and conventions. It corresponds to the requirements of architectural codes; that is to say, it is the product of a certain skill on the part of the architect. At the same time, it puts into practice a certain representation that requires architects to assign appropriate expressive forms to their constructions. The representational regime 24 FV_02_2021.indd 276 Jacques Rancière, “Contemporary Art and the Politics of Aesthetics”, in B. Hinderliter, V. Maimon, J. Mansoor, and S. McCormick (eds.), Communities of Sense: Rethinking Aesthetics and Politics, Durham and London, Duke University Press, 2009, pp. 32–33. 22/12/2021 20:28 architecture and the distribution of the sensible considers the canon of architecture and builds on it, whether in terms of style, form, space, or typology, by moving within its rules. Despite its political potential during and after the war period, modernism today is often interpreted as a set of rules, almost as a style, often impoverished of any engaging ideas. In this regime, projects today are often iterated as stylistic/typological solutions, without critical social ambition. As such, the architecture of the representational regime is based on the hierarchies and domination inscribed in the sensible, against which the aesthetic regime is established, and is thus not political in an emancipatory sense. Within this regime, architecture articulates public space as envisioned through different forms of power and consent. The aesthetic regime, finally, is a regime in which architectural works are recognised as part of a specific form of sensory experience, different from the one presupposed by the order of domination. In this regime, sensory experience is situated in the aesthetic experience of the individual, but at the same time it inherently entails a comment on social space. Identified within this regime, works of architecture create an experience that establishes a distance from the social, and at the same time – through the modes of sensory experience and the forms of space they design – opens for reflection the construction of the contemporary world. The aesthetic regime of architecture achieved the same autonomy that was at the core of the modern project. As we have already seen, Rancière claims that this identification between art, autonomy, and modernity collapsed with the ethical turn, which sacrificed emancipatory futures in the name of a catastrophic event in the past. However, imagining the future through a redistribution of the sensible never disappeared from architecture. Experiencing architectural forms can still create a critical sense of space and thereby render visible a specific relation between social space, human life, and its environment. The experience of architectural forms can still establish an aesthetic distance in the sense that Loos’s villas did more than one hundred years ago. 277 One such example is the architecture of the Cartier Foundation for Contemporary Art designed by Jean Nouvel in 1994. This building is situated on Boulevard Raspail in Paris. The location is fenced off with a glass screen that constitutes one of the three glass “curtains” between which the architect developed the project. The interior, with all its functions, is located between two glass structures FV_02_2021.indd 277 22/12/2021 20:28 nika grabar in the centre, while the front “façade” appears to be missing some glass plates. Large tree branches have been growing through those openings since the 1990s. At first glance, the glass screen with missing plates confuses the passers-by, who might wonder if this is an unfinished building or perhaps a ruin. But the design is not accidental. In order to achieve such an effect, the architect had to carefully consider the composition of the glass wall, which was built around a big protected Lebanese cedar, planted on the site by Chateaubriand, thereby making it a part of the experience. Using transparencies and reflections, the architect created a sense of space in and around the building that contrasts with the experience of the boulevard and comes as something of a surprise, even a shock, to the visitor in the dense urban fabric of Paris. Clearly, Nouvel invokes the rules and conventions of modernist architecture, but with the addition of a critical architectural gesture that creates a sense of space based on a critical reflection on the relation between the building, the natural processes on site, and the aesthetic experience of its visitors. His articulation of form first confuses visitors, but then creates an exceptional encounter with the building that challenges the linear temporality of construction by involving the temporality of natural processes in the architectural form. This creates a critical sense of space revealing an aesthetic politics that challenges the established norms and hierarchies of the dominant architectural and planning discourse. It enables a community of sense to envision a new framing of reality, to imagine a new fiction of a common world. Reframing Reality 278 The emergence of the aesthetic regime of art, which Rancière described as an aesthetic revolution, also coincides with the historical context of a new mode of spatial production, to which, for example, both the Viennese Ring as well as Loos’s villas belong. This new form of aesthetic experience intervened in the everyday and made it possible for a new common world and new community of sense to emerge in opposition to the dominant aesthetic order and its political connotations. The context of art and architecture was brimming over with sensory microevents that suggested new possible worlds. While the representational regime of architecture today accelerates temporal processes of spatial planning, the architecture of the aesthetic regime can slow them down through the individual time of the aesthetic experience. The ethical regime, meanwhile, FV_02_2021.indd 278 22/12/2021 20:28 architecture and the distribution of the sensible establishes parallel temporalities by bringing communities together through spatial practices. The effect of Loos’s villas can be seen as being similar to the effect of Nouvel’s glass façade or to many contemporary artworks. Recalling Adorno’s comments on Schönberg’s reinvention of the ornament, we could also reflect on how Edgar Varèse’s percussion composition Ionisation (1930), for example, incorporated the sound of high and low sirens, bringing the sound of ports into the musical experience. The sound of a distant place re-emerged here and now in a new light. Similarly, Nouvel’s construction makes pre-existing trees re-emerge differently within the sense of space created by the building. Such microevents were then and are today testimonies of the new emerging worlds that disrupt the established aesthetic codes. If architecture or music wanted then and want today to create a critical sense of reality, the fictions they construct have to reconsider time and time again the future that the emerging conditions of development and its ideologies bring. Loos’s architecture did not change the logic of capitalist investment, nor did it create a socially inclusive space. It did, however, contribute to constituting a sense of space that presented, with its material presence, a critique of the everyday bourgeois environment. The sensory experience it created by reimagining form, craft, material, space, proportion, mass, etc., contributed to establishing a new context in which an emerging community of sense could discuss the critical role of architecture in society. Today, the weakening of the welfare state, the speculative visions of destructive consumerist progress, and the grim environmental prognosis call for a critical evaluation of our planning for the future. This comes at a time when room for critique in architecture is inevitably shrinking. Given the sense of societal urgency, the questions regarding the sense of architectural space and the notion of great architecture might seem insignificant. However, the sense of architectural space is inevitably related to the political distribution of the sensible and the way it frames reality through fiction. According to Adorno, great architecture elevates the sense of space beyond the realm of purposefulness with architectural imagination by carving out different experiences of architectural temporalities. FV_02_2021.indd 279 279 22/12/2021 20:28 nika grabar If spatial planning, as practiced by the dominant order, fails to create a sense of a credible future, different temporalities of architecture can be seen as a terrain on which to explore and trace possible futures for emancipated communities to come. Despite Rancière’s critique of the ethical turn, the future never escaped architecture. The architectural imagination can help elucidate and reconfigure the distribution of the sensible. Through its material processes that establish a link between the built and natural environment, architecture can create new forms of temporal experiences in space, and invent new spatio-temporal landscapes, different than those produced by contemporary capitalist culture. 280 References Adorno, Theodor W., “Functionalism Today”, trans. J. Newman and J. Smith, in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, London and New York, Routledge, 2005, pp. 5–18. Aravena, Alejandro, “My Architectural Philosophy: Bring the Community into the Process”, TEDGlobal, 2014, https://www.ted.com/talks/alejandro_aravena_my_architectural_philosophy_bring_the_community_into_the_process?language=en, accessed 1 December 2021. Carrasco, Sandra, and David O’Brien, “Revisit: Quinta Monroy by Elemental”, The Architectural Review, 4 January 2021, https://www.architectural-review.com/buildings/ housing/revisit-quinta-monroy-by-elemental, accessed 1 December 2021. Jameson, Fredric, Postmodernism, or, The Cultural Logic of Late Capitalism, London and New York, Verso, 1991. Jencks, Charles, The Language of Post-Modern Architecture, New York, Rizzoli, 1977. Rancière, Jacques, “Contemporary Art and the Politics of Aesthetics”, in B. Hinderliter, V. Maimon, J. Mansoor, and S. McCormick (eds.), Communities of Sense: Rethinking Aesthetics and Politics, Durham and London, Duke University Press, 2009, pp. 31–50. Rancière, Jacques, Aesthetics and Its Discontents, trans. S. Corcoran, Cambridge and Malden, Polity Press, 2009. Rancière, Jacques, The Politics of Aesthetics: The Distribution of the Sensible, trans. G. Rockhill, London and New York, Continuum, 2011. Rancière, Jacques, Modern Times: Essays on Temporality in Art and Politics, Zagreb, Multimedijalni institut, 2017. FV_02_2021.indd 280 22/12/2021 20:28 Povzetki | Abstracts Bruno Besana The World: The Tormented History of an Inescapable Para-Concept Part I: The Pre-History of the “World” Keywords: the world, totality, singularity, cosmogony, philosophy of nature, indetermination, infinity, Aristotle, Plato The world has not always been there. At least not in philosophy. This two-part article examines the complex interplay of concepts among which the idea of the world appeared, and analyses the characteristics that allow it to play a central role in the space of philosophy. These are found to be fundamentally two. First, its capacity to identify with the idea of a closed, ordered totality (the classic idea of the cosmos), at the same time as it erodes the consistency of the latter and opens the philosophical space onto a positive use of the idea of indetermination. And second, the way in which it operates inside several well-ordered philosophical systems as a point of confusion: as a blurred point that lacks the type of clarity and distinction normally required of philosophical concepts, and that nonetheless appears to be important enough not to be expelled from philosophy. The first part of the article, published in this issue, reconstructs some of the coordinates within which the problematic notion of the world comes to appear. The planned second part will investigate how the idea of the world comes to play a central role within contemporary philosophy by allowing for a new articulation between the idea of the universal and the idea of totality – which produces a cascade of effects, the most notable of which are a new articulation of the idea of subject, and of the relation between philosophy and praxis. Bruno Besana Svet: mučna zgodovina neizogibnega para-koncepta. Prvi del: predzgodovina »sveta« 335 Ključne besede: svet, totaliteta, singularnost, kozmogonija, filozofija narave, nedoločenost, neskončnost, Aristotel, Platon Svet ne obstaja od nekdaj. Vsaj ne v filozofiji. Članek v dveh delih bo raziskal kompleksen preplet konceptov, sredi katerega se je pojavila ideja sveta, in analiziral njene značilnosti, ki ji omogočajo igrati osrednjo vlogo v prostoru filozofije. Tu gre predvsem za dve potezi. Prvič, njena zmožnost definirati idejo zaprte, urejene totalitete (klasična ideja kozmosa), pri čemer spodkopava konsistenco slednje in odpira filozofski prostor za pozitivno rabo ideje nedoločenosti. Drugič, njena zmožnost vnašati zmedo v nekatere dobro urejene filozofske sisteme. V njih deluje kot nejasna točka brez jasnosti in razločnosti, ki FV_02_2021.indd 335 22/12/2021 20:28 ju običajno zahtevamo od filozofskih konceptov, a obenem pridobi preveliko težo, da bi jo iz filozofije izgnali. Pričujoči prvi del članka rekonstruira nekatere od koordinat, znotraj katerih se pojavi problematični pojem sveta. Načrtovani drugi del bo raziskal osrednjo vlogo, ki jo ideja sveta odigra v sodobni filozofiji, ko omogoči novo artikulacijo med idejo univerzalnega in idejo totalitete. To proizvede cel niz posledic, med njimi pa gre izpostaviti predvsem novo artikulacijo ideje subjekta in razmerja med filozofijo in prakso. Peter Klepec World? Which World? On Some Pitfalls of a Concept Keywords: world, world-view, philosophy, Lévy, Marx, Ruda, Freud, Heidegger, Adorno, povzetki | abstracts Nancy, Badiou “The world” as a concept necessarily involves many difficulties and contradictions. The text presents some of them in a rather circular way, underlining the fact that we are always confronted with the dilemma of what to do with the world, or rather, what, which, and whose world we are dealing with. Beginning with some arguments about the claim that “the world is (out there),” and then moving on to certain dilemmas related to some views on the two-world theory, one inevitably comes across Marx’s thesis that the ultimate goal in relation to the world should be to “change it”. The text also presents some contemporary views thereon of Badiou, Nancy, and Ruda. Taking into account all these arguments and adding insights from Freud, Husserl, Heidegger, and Adorno as to the world and one’s worldview, we can only agree with Badiou’s statement about the only true goal of philosophy: “Philosophy has no other legitimate aim except to help find the new names that will bring into existence the unknown world that is only waiting for us because we are waiting for it.” Peter Klepec Svet? Kateri svet? O pasteh nekega pojma 336 Ključne besede: svet, svetovni nazor, filozofija, Lévy, Marx, Ruda, Freud, Heidegger, Adorno, Nancy, Badiou Pojem »sveta« je nujno izpostavljen številnim zagatam in protislovjem. Tekst na krožen način predstavi nekatere izmed njih, pri čemer poudari dejstvo, da smo vedno pred dilemo, kaj s svetom storiti oziroma s kakšnim, katerim in čigavim svetom imamo opravka. Začenši z nekaterimi argumenti v zvezi s trditvijo, da je »svet (tam zunaj)«, prek dilem, povezanih z nekaterimi pogledi na teorijo dveh svetov, neizogibno trčimo ob Marxovo tezo, da bi se morala poanta v zvezi s svetom na koncu glasiti »spremeniti ga«. Ob tem predstavimo nekaj sodobnih pogledov na obravnavano temo Badiouja, Nancyja in Rude. Če k tem argumentom in spoznanjem dodamo še poglede Freuda, Husserla, Heideggerja FV_02_2021.indd 336 22/12/2021 20:28 in Adorna na svet in na svetovni nazor, potem se lahko le strinjamo z Badioujevo tezo o edinem resničnem cilju filozofije: »Edini legitimni cilj filozofije je pomagati najti imena, ki bodo pripeljala do obstoja še neznanega sveta, ki čaka le na nas, ker mi čakamo nanj«. Roland Végső On Acosmic Realism Keywords: Weltschmerz, Weltliteratur, Benjamin, acosmism, speculative realism, In order to be able to raise the question of the “world” today in an effective way, we have to reactivate the Goethean categories of Weltliteratur and Weltschmerz for a critique of our own historical moment. We need to understand the phenomenon of Weltschmerz as a symptom of the impossibility of Weltliteratur. Going beyond the context of the original formulation of these categories, we could argue that something akin to the historical phenomenon of Weltschmerz emerges every time the ideological constitution of the world threatens to fail. Today, we live in an age of a generalised state of cultural disorientation that has produced its own Weltliteratur, which includes a wide range of discourses about the “world” – from officially endorsed theories of economic globalisation, to scientific treatises on the Anthropocene, environmental protest movements, philosophical pamphlets, all the way to world-historical conspiracy theories. Yet, an anxiety concerning the impossibility of world-formation in general is also recorded in these documents. In order to be able to capture our contemporary Weltschmerz, the article turns to the young Walter Benjamin’s suggestion that the task of this age is to produce an “objective” (rather than subjective) Weltschmerz. However, the most effective tools to conceptualise this objective Weltschmerz come from the traditions of philosophical acosmism. It is a notable philosophical development of our times that some elements of the acosmic tradition have recently resurfaced in speculative realism. Thus, speculative realism could be described as a possible site of our contemporary Weltschmerz: its acosmic metaphysics is repeatedly tamed by a mournful longing for the world. povzetki | abstracts Meillassoux, Harman 337 Roland Végső O akozmičnem realizmu Ključne besede: Weltschmerz, Weltliteratur, Benjamin, akozmizem, spekulativni realizem, Meillassoux, Harman Da bi lahko smiselno postavili vprašanje »sveta« danes, se moramo spomniti na Goethejevi kategoriji Weltliteratur in Weltschmerz, ki nam omogočata kritiko našega lastnega zgodovinskega trenutka. Pojav Weltschmerz moramo razumeti kot simptom nemožnosti Weltliteratur. Če ti kategoriji uporabimo izven konteksta njune izvorne formulacije, lahko FV_02_2021.indd 337 22/12/2021 20:28 ugotovimo, da se nekaj podobnega zgodovinskemu pojavu Weltschmerz pojavi vsakič, ko se zdi, da bo ideološka konstitucija sveta zatajila. Danes živimo v dobi posplošenega stanja kulturne dezorientacije, ki je proizvedla svojo lastno Weltliteratur, vključno s širokim razponom diskurzov o »svetu« od uradno privzetih teorij ekonomske globalizacije prek znanstvenih traktatov o antropocenu, okoljskih protestnih gibanj, filozofskih pamfletov pa vse do svetovno-zgodovinskih teorij zarote. Toda v teh dokumentih je moč prepoznati tudi splošno tesnobo ob nezmožnosti formacije sveta. Da bi lahko zajel sodobni Weltschmerz, se članek obrne na zgodnjega Walterja Benjamina in njegovo pripombo, da je naloga naše dobe proizvesti »objektivni« (namesto subjektivni) Weltschmerz. Vendar najbolj učinkovito orodje za konceptualizacijo takšnega objektivnega Weltschmerz najdemo v filozofski tradiciji akozmizma. Z zanimanjem lahko opažamo, da se nekateri elementi akozmističnih tradicij danes vračajo v spekulativnem realizmu. Slednjega bi lahko torej opisali kot možno mesto sodobnega Weltschmerz: njegovo akozmično metafiziko vedno znova ukroti žalujoče hrepenenje po svetu. Ruth Ronen The Actuality of a World: What Ceases Not to Be Written Keywords: actuality, possible worlds, impossibility, Aristotelian modalities, Lacan and the povzetki | abstracts sexual relationship 338 “There is no longer any world,” wrote the late philosopher Jean-Luc Nancy in 1993, and in this paper, the sense of this loss of world is analysed in terms of the modal notions of necessity, impossibility, and possibility. Modal differentiation can illuminate what constitutes the sense of actuality in a world, and hence, what it is that has been lost regarding this actuality of being in a world. Modal thinking does not rely on knowledge of the true state of affairs, nor on having a constant grasp on necessity: modal thinking enables us to discern the actual by way of the relations between necessity, possibility, and impossibility. It is on the basis of these relations that a mode of rethinking actuality is suggested. In order to pursue this line of thought, I rely on Jacques Lacan’s understanding of modalities as writing operations, concentrating mostly on certain sections from his Seminar XXI (1973–1974), wherein he refers to Aristotelian modal logic and mentions the analytic philosopher Jaakko Hintikka (as one of Aristotle’s commentators). This ternary relation between Aristotle, Hintikka, and Lacan suggests a different outlook on the actual being-such of a world. The being-such of a world, its actuality, is understood as a contingency (what ceases not to be written), a possibility emerging from the relation between what is declared necessary and what is impossible. The paper shows the implications of such a modal understanding of actuality, as demonstrated in Lacan’s view of human sexuality and sexual difference. FV_02_2021.indd 338 22/12/2021 20:28 Ruth Ronen Aktualnost sveta: kar se preneha ne zapisovati Ključne besede: aktualnost, možni svetovi, nemožnost, Aristotelove modalnosti, Lacan, spolno razmerje Jan Völker The End of Life Is Not the Worst: On Heidegger’s Notion of the World Keywords: Heidegger, world, earth, truth, anthropocene The article proposes to reconsider the late Heidegger’s examination of the concept of the world, as for Heidegger the eradication of all life on planet earth is not the most horrible thing that could happen. It is the impossibility of thinking the world that exposes us to something worse: the loss of our link with being. Following Heidegger, to think the world is not only necessary to prevent the extinction of life on earth, but, moreover, the loss of thinking the world lies at the beginning of the crisis we are living through. povzetki | abstracts »Ni več sveta,« je zapisal pokojni filozof Jean-Luc Nancy leta 1993. V tem članku je občutek izgube sveta analiziran z vidika modalnih pojmov nujnosti, nemožnosti in možnosti. Modalna diferenciacija lahko osvetli problem dejanskosti v svetu in s tem tisto, kar je bilo izgubljeno v povezavi z dejanskostjo biti v svetu. Modalno mišljenje ne temelji na vednosti o resničnem stanju stvari ali stalnem razumevanju nujnosti. Omogoča nam razločiti dejansko na podlagi razmerij med nujnostjo, možnostjo in nemožnostjo. S pomočjo teh relacij predlagamo nov pogled na modalnost. To storimo s pomočjo razumevanja modalnosti kot operacij zapisa pri Jacquesu Lacanu, pri čemer se osredotočamo predvsem na njegov XXI. seminar (1973–1974), v katerem se sklicuje na Aristotelovo modalno logiko in omeni analitičnega filozofa Jaakka Hintikko (kot enega Aristotelovih komentatorjev). To trojno razmerje med Aristotelom, Hintikko in Lacanom sugerira drugačen pogled na dejansko biti-takšno sveta. Biti-takšno nekega sveta, torej njegovo dejanskost, razumemo kot kontingenco (kar se preneha ne zapisovati) – možnost, ki vznika iz razmerja med tem, kar je razglašeno za nujno, in tem, kar je nemožno. Članek razišče implikacije modela razumevanja dejanskosti, kakršno je predstavljeno v Lacanovem pogledu na človeško seksualnost in spolno razliko. 339 Jan Völker Konec življenja ni tisto najhujše: o Heideggerjevem konceptu sveta Ključne besede: Heidegger, svet, zemlja, resnica, antropocen Članek predlaga razmislek o Heideggerjevem poznem razumevanju koncepta sveta. Po Heideggerju namreč izginotje življenja na zemlji ni najbolj grozna stvar, ki se lahko zgo- FV_02_2021.indd 339 22/12/2021 20:28 di. Naša nezmožnost misliti svet nas izpostavi nečemu hujšemu: izgubi naše povezave z bitjo. Na Heideggerjevi sledi ugotavljamo, da misliti svet ni le nujni pogoj za preprečevanje izumrtja življenja na zemlji, ampak je izguba mišljenja sveta prav začetek krize, ki jo trenutno preživljamo. Magdalena Germek Anatomy of the World povzetki | abstracts Keywords: Badiou, world, anatomy of the world, truth, Rembrandt, Donne In this article, we discuss Badiou’s concept of the world through the somewhat unusual metaphor of “the anatomy of the world”. The anatomy of the world allows us to approach the concept of the world through the idea of its constitution, architecture, structure – its anatomy. But as we show in the first part of the text, in order to derive the anatomy of the world, we need a corpse of the world – the world must die. Following the philosophy of Alain Badiou, we demonstrate that the world in its objective existence is indifferent to the question of life and death. Whether the world lives or dies depends only on the realisation of the truth procedures in the world on the basis of which the world is subjectivised. The world suffers from mortifying impulses, as the reactive and obscure forms of subjectivity actively work against the realisation of truths in the world. Through the artistic presentations of anatomy by Rembrandt van Rijn and John Donne, we also elaborate the tense relationship between the corpse of the world (from the perspective of the scientific procedure of truth) and the life of the world (from the perspective of the artistic procedure of truth). Although art often sees science as something that kills the world, our final point is that the world can also come to life through science. Magdalena Germek Anatomija sveta Ključe besede: Badiou, svet, anatomija sveta, resnica, Rembrandt, Donne 340 V članku se Badioujevega koncepta sveta lotevamo skozi nekoliko nenavadno metaforo »anatomije sveta«. Anatomija sveta nam omogoča pristop h konceptu sveta skozi idejo njegove konstitucije, arhitekture, strukture – torej anatomije. Da pa bi lahko izvedli anatomijo sveta – kot pokažemo v prvem delu besedila – potrebujemo truplo sveta, svet mora namreč umreti. Izhajajoč iz Badioujeve filozofije pokažemo, da je svet v svojem objektivnem obstoju indiferenten do vprašanja življenja in smrti. Ali svet živi ali umre, pa je odvisno od realizacije resničnostnih postopkov v svetu, na podlagi katerih se svet subjektivira. Svet mortificirajo reaktivne in obskurne forme subjektivnosti, ki aktivno delujejo proti realizaciji resnic v svetu. Skozi umetniške primere prikaza anatomije pri Rembrandtu van Rijnu in Johnu Donnu odpremo tudi vprašanje napetega odnosa med FV_02_2021.indd 340 22/12/2021 20:28 truplom sveta (s perspektive znanstvenega postopka resnice) in življenjem sveta (s perspektive umetniškega postopka resnice). Čeprav umetnost pogosto vidi znanost kot nekaj, kar svet ubije, je naša zaključna poanta v tem, da lahko svet zaživi tudi skozi znanost. Nick Nesbitt Capital, Logic of the World Despite his longstanding silence regarding Marx’s Capital, I wish here to argue that Badiou has in fact, in the three volumes of Being and Event, produced the materials for a contemporary logic of the capitalist social form. He has done so, however, in the form of an arsenal of abstract concepts that have yet to be precisely measured against Marx’s critical and formal reproduction of capitalism, the systematic exposition of which consumes the three volumes of Capital. I first argue that Badiou’s general disinterest in the logic of capitalism and Marx’s Capital specifically takes on a strongly symptomatic, spectral presence in the 1994-1995 seminar Lacan: Anti-philosophy 3. Secondly, while it is true that Badiou’s Logics of Worlds never discusses the logic of appearance that governs all capitalist things (i.e. commodities), it is possible nonetheless to read Logics as an abstract translation and formalisation of Marx’s Capital. In this view, Capital should quite simply be read as a systematic demonstration of the logic of what Marx calls the capitalist social form, which is to say, in Badiou’s jargon, the logic or science of the appearance of things in the capitalist world. In a sense, then, this means nothing more, though nothing less, than subjecting the Logics of Worlds to a Marxian torsion: in order to demonstrate that which Badiou has neglected, Marx has in fact already accomplished (with his own specific formal, conceptual, and discursive means), i.e. the systematic, synthetic demonstration of the necessary forms of the appearance of commodities in the capitalist social form. povzetki | abstracts Keywords: Badiou, Marx, Logics of Worlds, Capital, Lacan, logic Nick Nesbitt Kapital, logika sveta 341 Ključne besede: Badiou, Marx, Logike svetov, Kapital, Lacan, logika Kljub njegovi vztrajni tišini v zvezi z Marxovim Kapitalom, bom tu postavil tezo, da je Badiou v treh delih Biti in dogodka dejansko postavil osnove za sodobno logiko kapitalistične družbene formacije. Toda to je storil v obliki abstraktnih konceptov, ki jih moramo šele natančno oceniti z vidika Marxove kritične in formalne reprodukcije kapitalizma v sistematični ekspoziciji, ki obsega tri zvezke Kapitala. Najprej trdim, da ima Badioujevo splošno nezanimanje za logiko kapitalizma v Marxovem Kapitalu posebej močno simptomatično in fantomsko vlogo v seminarju Lacan: antifilozofija 3 iz let 1994-1995. Nato pravim, da je mogoče kljub temu, da Badioujeve Logike svetov sploh ne razpravljajo o logiki pojavljanja FV_02_2021.indd 341 22/12/2021 20:28 kapitalističnih reči (torej blag), Logike vendarle razumeti kot abstrakten prevod in formalizacijo Marxovega Kapitala. S tega vidika bi morali Kapital razumeti preprosto kot sistematičen prikaz logike, ki jo Marx imenuje kapitalistična družbena formacija in bi jo v Badioujevem žargonu lahko poimenovali logika ali znanost pojavnosti reči v kapitalističnem svetu. To pa pomeni nič več in nič manj kot izpostaviti Logike svetov marksovski torziji: demonstrirati, da je tisto, kar Badiou zanemari, dejansko s svojimi specifično formalnimi, konceptualnimi in diskurzivnimi sredstvi že uresničil Marx. To pa je sistematičen in sintetičen prikaz nujnih oblik pojavnosti blag v kapitalistični družbeni formaciji. Marina Gržinić World(s) Keywords: colonialism, financial capitalism, necro-capitalism, racial/colonial divide, povzetki | abstracts imperial/colonial divide 342 The main thesis of this text is that for a critical evaluation of the institutions built on the foundations of colonialism that preserve the worlds of neoliberal global capitalism, financial capitalism, and necro-capitalism, we need to rethink the two main divisions mediated by decolonial theory and decolonisation as analytical tools: the racial/colonial divide and the imperial/colonial divide. This text attempts to analyse the relation between capitalism and colonialism in order to determine the implications for the theoretical and philosophical thought of two historical forms of capitalism, which are not historical at all because they are fully functional in the present: racial capitalism and settler capitalism, or racial-settler capitalism, as it is called in its joint formation. In order to get to this point, we must first see the place of colonialism in capitalism and how theory is reflected in its relationship to the past and present. Last but not least, the question this article is occupied with is: “What kind of world is this where a trans person, a woman, or a man is treated like garbage?” Marina Gržinić Svet(ovi) Ključne besede: kolonializem, finančni kapitalizem, nekrokapitalizem, rasna/kolonialna delitev, imperialna/kolonialna delitev Glavna teza tega besedila je, da moramo za kritično oceno institucij, zgrajenih na temeljih kolonializma, ki ohranjajo svetove neoliberalnega globalnega kapitalizma, finančnega kapitalizma in nekrokapitalizma, ponovno premisliti dve glavni delitvi, ki jih kot analitični orodji posredujeta dekolonialna teorija in dekolonizacija: gre za rasno/kolonialno delitev in za imperialno/kolonialno delitev. Besedilo analizira odnos med kapitalizmom in kolonializmom z namenom ugotoviti, kakšne posledice za teoretično in filozofsko misel imata FV_02_2021.indd 342 22/12/2021 20:28 dve zgodovinski obliki kapitalizma, za kateri pa se izkaže, da sploh nista zgodovinski, ker sta v celoti funkcionalni v sedanjosti: rasni kapitalizem in naseljenski kapitalizem, oz. rasno-naseljenski kapitalizem, kot se imenuje njuna skupna tvorba. Da pa bi sploh prišli do tega, moramo najprej razumeti mesto kolonializma v kapitalizmu in njun odnos tako v preteklosti kot v sedanjosti. Nenazadnje odgovarjamo tudi na naslednje vprašanje: »Kakšen svet je svet, v katerem je trans/ženska/moški izenačen s smetmi?« Rok Benčin Worlds as Transcendental and Political Fictions By examining the idea found in the works of several contemporary philosophers that the multiplicity of worlds is no longer merely possible – as it was for Leibniz – but actually determines our experience of reality, the article proposes an understanding of worlds as transcendental structures that frame the ontological multiplicity. The article argues that such a proliferation of actual worlds implies that the concept of world should be seen today as a category that belongs to the order of fiction, making the world-building devices of literature relevant for understanding the contemporary experience of reality. The first part examines the conceptions of multiple worlds of Leibniz, Deleuze, and Badiou through the structural differences and similarities between possible and fictional worlds. While Deleuze actualises possible worlds, Badiou actualises fictional worlds. The second part explores worlds as political fictions, revisiting Kant’s conception of cosmopolitanism via Rancière’s definition of politics as a conflict of worlds. Rancière’s formulation of political dissensus in fictional and narrative terms sheds a new light on Kant’s description of cosmopolitanism as a perspective that presents history as a novelistic narrative. povzetki | abstracts Keywords: multiplicity of worlds, possible worlds, fiction, Badiou, Deleuze, Kant, Rancière Rok Benčin Svetovi kot transcendentalne in politične fikcije Ključne besede: mnoštvo svetov, možni svetovi, fikcija, Badiou, Deleuze, Kant, Rancière 343 Članek na podlagi raziskave ideje, ki jo najdemo pri nekaterih sodobnih filozofih, da mnoštvo svetov ni več zgolj možno, kot je bilo za Leibniza, ampak dejansko določa naše izkustvo realnosti, predlaga razumevanje svetov kot transcendentalnih struktur, ki uokvirjajo ontološko mnogoterost. V članku trdimo, da takšna pomnožitev dejanskih svetov implicira, da moramo danes koncept sveta dojemati kot fikcijsko kategorijo, s čimer svetotvorni mehanizmi književnosti postanejo relevantni za razumevanje sodobne izkušnje realnosti. Prvi del besedila razpravlja o Leibnizevem, Deleuzovem in Badioujevem pojmovanju mnogih svetov skozi strukturne razlike in podobnosti med možnimi in fiktivnimi svetovi. Medtem ko Deleuze aktualizira možne svetove, Badiou aktualizira fiktivne. FV_02_2021.indd 343 22/12/2021 20:28 Drugi del raziskuje svetove kot politične fikcije, ko se skozi Rancièrovo definicijo politike kot konflikta med svetovi vrača h Kantovem pojmovanju kozmopolitizma. Rancièrova artikulacija političnega disenza v fikcijskih in narativnih terminih meče novo luč na Kantov opis kozmopolitizma kot vidika, ki nam kaže zgodovino kot romaneskno pripoved. Jean-Jacques Lecercle Dispersed Are We: The Novel of Worlds and the World of the Novel in Virginia Woolf ’s Between the Acts Keywords: ideological apparatus, Benčin, transcendental framework, literary canon, dialectic, dispersion, national history, world, distribution of the sensible, Rancière, novel, povzetki | abstracts subjectivity, unification, Woolf Drawing on a forthcoming book by Rok Benčin on the concept of world (the multiplicity of real worlds as transcendental frameworks and the fictional structure thereof), the article proposes a reading of Between the Acts by Virginia Woolf that focuses on the dialectic of dispersion and unity. The novel presents a multiplicity of dispersed and fragmented transcendental frameworks that tend towards – an attempt that is always doomed to fail, but always begins anew – unification within the ideological apparatuses (family, religion, national history, literary canon). In this endless dialectic, literature occupies a singular place, for the fictional structure of these frameworks makes of it a transcendental-abyss, which enables passage from the novel of worlds to the world of the novel. Jean-Jacques Lecercle Dispersed are we: roman svetov in svet romana v Med dejanji Virginie Woolf Ključne besede: ideološki aparati, Benčin, transcendentalni okvir, literarni kanon, dialektika, razpršitev, nacionalna zgodovina, svet, delitev čutnega, Rancière, roman, subjektivnost, poenotenje, Woolf 344 Na podlagi prihajajoče knjige Roka Benčina o konceptu sveta (mnoštvo resničnih svetov kot fikcijsko strukturiranih transcendentalnih okvirov) članek predlaga interpretacijo romana Between the Acts Virginie Woolf, osredotočeno na dialektiko razpršitve in enotnosti. Roman predstavlja mnoštvo razpršenih in fragmentiranih transcendentalnih okvirjev, ki se – zmerom neuspešno, a vedno znova – poskušajo združiti znotraj ideoloških aparatov (družina, religija, nacionalna zgodovina, literarni kanon). V tej neskončni dialektiki književnost zaseda edinstveno mesto, saj fikcijska struktura teh okvirjev ustvari transcendental-brezno, ki omogoča prehod od romana svetov v svet romana. FV_02_2021.indd 344 22/12/2021 20:28 Nika Grabar Architecture and the Distribution of the Sensible Keywords: architecture, art, aesthetics, politics, space, form, regimes of art, world, fiction, Adorno, Rancière Following Theodor W. Adorno’s reading of architecture as a purposeful art, the article explores how the social dimension is inscribed into the purposes ascribed to architecture by establishing a relation between what Adorno calls a sense of architectural space and the distribution of the sensible as defined by Jacques Rancière. Considering Rancière’s understanding of the political dimension of different “regimes of art”, the article attempts to show how similar observations can be made regarding architecture. What implications do these regimes of architecture have for the constitution of a common world, given architecture’s vast spatio-temporal presence? Nika Grabar Arhitektura in delitev čutnega Ključne besede: arhitektura, umetnost, estetika, politika, prostor, forma, režimi Na podlagi razumevanja arhitekture kot uporabne umetnosti pri Theodorju W. Adornu članek raziskuje, kako se v arhitekturne smotre vpisuje družbena razsežnost. V ta namen Adornovo opredelitev občutka za arhitekturni prostor naveže na definicijo delitve čutnega pri Jacquesu Rancièru. Upoštevajoč Rancièrovo razumevanje politične razsežnosti različnih »režimov umetnosti«, članek pokaže, da je mogoče podobna opažanja prenesti tudi na arhitekturo. Kakšne implikacije imajo ti režimi arhitekture za konstitucijo skupnega sveta glede na neizogibno časovno-prostorsko prisotnost arhitekture? povzetki | abstracts umetnosti, svet, fikcija, Adorno, Rancière Anna Longo How the True World Finally Became Virtual Reality 345 Keywords: virtual reality, information, knowledge, metaphysics, becoming As David J. Chalmers claims, “virtual reality is a sort of genuine reality, virtual objects are real objects, and what goes on in virtual reality is truly real.” In this paper, I will suggest that the philosophical hypothesis that we might live in a simulation can be considered to be the last and most nihilistic episode in the series of narrations about the true and apparent worlds that Nietzsche sketched in The Twilight of the Idols. I will argue that Nietzsche’s prediction about the obliteration of the apparent world has actually been fulfilled by Chalmers, and I will show why his theory must be considered one of the many fables that humans have been producing in order to organise the world according to their own ends. FV_02_2021.indd 345 22/12/2021 20:28 Anna Longo O tem, kako je resnični svet končno postal virtualna resničnost Ključne besede: virtualna realnost, informacija, vednost, metafizika, postajanje Kot pravi David J. Chalmers, je »virtualna resničnost vrsta prave resničnosti, virtualni objekti so pravi objekti, in kar se dogaja v virtualni resničnosti, je zares resnično«. V tem članku bom trdila, da lahko filozofsko hipotezo, po kateri morda živimo v simulaciji, razumemo kot zadnjo in najbolj nihilistično epizodo v seriji pripovedi o resničnih in navideznih svetovih, ki jo je orisal Nietzsche v Somraku malikov. Pokazala bom, da je Nietzschejevo napoved izginotja navideznega sveta dejansko izpolnil prav Chalmers. Njegovo teorijo moramo tako razumeti kot eno od mnogih zgodb, ki jih proizvedemo ljudje, da bi svet uredili v skladu z lastnimi cilji. Noa Levin Spectres of Eternal Return: Benjamin and Deleuze Read Leibniz Keywords: apokatastasis, philosophy of history, repetition, modernity, baroque, povzetki | abstracts multiverse, fold, virtuality 346 The late reflections of G.W. Leibniz on eternal return have often been dismissed as insignificant as regards his wider philosophy. This may be due to the prevalent championing of his optimistic views on the continual progress of humanity, which seem to contradict the notion of eternal return. Walter Benjamin and Gilles Deleuze both put forward concepts of eternal return that form part of their respective critiques of historical progress, yet these have rarely been read in conjunction with their views on Leibniz. This article argues, first, that for Leibniz progress and return are not contradictory, and second, that Benjamin’s and Deleuze’s concepts of return were informed, in different ways, by their readings of Leibniz, and specifically by his conception of multiple worlds as the spatial equivalent of eternal return. In doing so I will shed light on the contribution of Leibniz’s philosophy not only to the progressive theories of history put forward during the Enlightenment, but also to the critique of these very visions. Noa Levin Duhovi večnega vračanja: Benjamin in Deleuze bereta Leibniza Ključne besede: apokatastasis, filozofija zgodovine, ponavljanje, modernost, barok, multiverzum, guba, virtualnost Pozne refleksije G. W. Leibniza o večnem vračanju komentatorji pogosto označujejo za nepomembne z vidika širšega konteksta njegove filozofije. To je mogoče pripisati velikemu poudarku, ki ga dajejo na njegove optimistične poglede na človeški napredek, kateremu FV_02_2021.indd 346 22/12/2021 20:28 povzetki | abstracts pojem večnega vračanja na videz nasprotuje. Walter Benjamin in Gilles Deleuze razvijeta vsak svoj koncept večnega vračanja v okviru njune kritike zgodovinskega napredka, kar pa redko povezujejo z njuno recepcijo Leibniza. Članek trdi, prvič, da si po Leibnizu napredek in vračanje ne nasprotujeta, in drugič, da je na Benjaminov in Deleuzov koncept vračanja na različne načine vplivalo njuno branje Leibniza, posebej pa njegovo pojmovanje mnogih svetov, prostorskega ekvivalenta večnega vračanja. S tem bomo osvetlili ne le prispevek Leibnizeve filozofije k razsvetljenskim progresivnim teorijam zgodovine, ampak tudi h kritiki teh vizij. 347 FV_02_2021.indd 347 22/12/2021 20:28 FV_02_2021.indd 348 22/12/2021 20:28 Obvestilo avtorjem Prispevki so lahko v slovenskem, angleškem, francoskem ali nemškem jeziku. Uredništvo ne sprejema prispevkov, ki so bili že objavljeni ali istočasno poslani v objavo drugam. Citiranje delov monografij Cf. Charles Taylor, »Rationality«, v M. Hollis, S. Lukes (ur.), Rationality and Relativism, Oxford, Basil Blackwell, 1983, str. 87–105. Prispevki naj bodo pisani v programu Microsoft Word (.doc ali .docx format), če je mogoče v pisavi Times New Roman. Priložen naj bo izvleček (v slovenščini in angleščini), ki povzema glavne poudarke v dolžini do 150 besed in do sedem ključnih besed (v slovenščini in angleščini). V opombi pod črto se navaja celoten obseg strani dela monografije, če gre za referenco na celoten del monografije, če gre za citiranje samo določenega mesta v delu monografije, se navede samo navedena stran. V Literaturi se navede celoten obseg strani dela monografije. Prispevki naj ne presegajo obsega ene in pol avtorske pole (tj. 45.000 znakov s presledki) vključno z vsemi opombami. Zaželeno je, da so prispevki razdeljeni na razdelke in opremljeni z mednaslovi, ki naj ne bodo oštevilčeni. Za označitev novega odstavka se ne uporabi zamik prve vrstice, temveč se uporabi prazna vrstica. V besedilu se dosledno uporabljajo dvojni narekovaji (tj. »«), npr. pri navajanju naslovov člankov, citiranih besedah ali stavkih, tehničnih in posebnih izrazih, razen pri citatih znotraj citatov. Naslove knjig, periodike in tuje besede (npr. a priori, epoché, élan vital, Umwelt, itn.) je treba pisati ležeče. Citiranje člankov v revijah Friedrich Rapp, »Observational Data and Scientific Progress«, Studies in History and Philosophy of Science, 11 (2/1980), str. 153. oz. pri revijah, ki imajo številke numerirane od začetka izhajanja: Michel Aglietta, »European Vortex«, New Left Review, 75 (2012), str. 36. Opombe in reference se tiskajo kot opombe pod črto. V besedilu naj bodo opombe označene z dvignjenimi indeksi. Citiranje v opombah pod črto naj sledi spodnjim zgledom: Citiranje monografij Gilles-Gaston Granger, Pour la connaissance philosophique, Pariz, Odile Jacob, 1988, str. 57. Immanuel Kant, Kritika razsodne moči, prev. R. Riha, Ljubljana, Založba ZRC, 1999. Citiranje dela, ki je že bilo citirano Ko se ista enota istega avtorja pojavi naslednjič se citira: priimek avtorja, naslov dela do ločila [pike, vejice, dvopičja], str., npr.: Granger, Pour la connaissance philosophique, str. 31. Uporaba Ibid. Uporablja se, ko se nanaša na delo, citirano v predhodni opombi, npr.: Granger, Pour la connaissance philosophique, str. 31. Ibid., str. 49 FV_02_2021.indd 349 V opombi pod črto se navaja celoten obseg strani članka, če gre za referenco na celoten članek, če gre za citiranje samo določenega mesta v članku, se navede samo navedena stran. V Literaturi se navede celoten obseg strani članka. Citiranje spletnih strani Spletno citiranje mora vsebovati podatek o zadnjem dostopu do spletne strani, npr.: Zadnji dostop 4. maj 2021. Spletno mesto se navaja v opombi pod črto in Literaturi, DOI se navaja samo v Literaturi. V Literaturi se ne navaja podatka o zadnjem dostopu. Spletno mesto oz. DOI je navedeno na koncu citirane enote. E-knjige Pri citiranju elektronskih izdaj knjig se za letnico izdaje navede format datoteke ali bralnik, ki je potreben za uporabo datoteke. Če ni mogoče ugotoviti številke strani, ki velja v vseh formatih knjige, se navede namesto strani številko poglavja oz. drugega prepoznavnega dela knjige. Številke lokacij, ki veljajo le za določen format oz. bralnik se ne navajajo. Če je citirana spletna izdaja knjige, se navede URL. Če obstaja, se navede DOI. Če ni mogoče navesti strani, se navede n. p. Jacques Rancière, Les bords de la fiction, Pariz, Seuil, 2017, EPUB, 2. pogl. 22/12/2021 20:28 William James, A Pluralistic Universe, Project Gutenberg, 2004, https://www.gutenberg.org/cache/ epub/11984/pg11984.html, predavanje III, dostopano 4. maj 2021. Slike Slike se ne vstavljajo v prispevek, označi se samo približna mesta, kjer bodo objavljene. Slike se pošilja v jpg formatu, ločljivost 300 dpi. Navajanje literature na koncu prispevkov Na koncu prispevka je navedena celotna literatura, urejena po abecednem redu. Enote literature so zapisane enako kot v opombah, razen imena in priimka avtorja: najprej priimek,vejica, ime. Kjer so navedena dela istega avtorja, naj bodo ta razvrščena po časovnem redu izdajanja. Pri vsaki enoti morata biti navedena priimek in ime avtorja, t. j. ni dovolj samo ob prvi enoti navesti priimek in ime avtorja, zatem pa ob naslednjih enotah istega avtorja navesti delo z uporabo črtice na začetku. Če obstajata, se navedeta DOI oz. URL, prav tako se navede URL, če je citirana spletna izdaja monografije. Ostale informacije avtorjem Avtorji lahko po želji dodajo svojo ORCID številko. Prispevki bodo poslani v recenzijo. Avtorji se strinjajo s pogoji objave, navedenimi v Obvestilu o avtorskih pravicah, ki je objavljeno na spletni strani revije. Avtorjem bodo poslane korekture. Pregledane korekture je treba vrniti v uredništvo čim prej je mogoče. Upoštevani bodo samo popravki tipografskih napak. Aglietta, Michel, »European Vortex«, New Left Review, 75 (2012), str. 15–36. Granger, Gilles-Gaston, Pour la connaissance philosophique, Pariz, Odile Jacob, 1988. James, William, A Pluralistic Universe, Project Gutenberg, 2004, https://www.gutenberg.org/cache/ epub/11984/pg11984.html, predavanje III. Kant, Immanuel, Kritika razsodne moči, prev. R. Riha, Ljubljana, Založba ZRC, 1999. Rancière, Jacques, Les bords de la fiction, Pariz, Seuil, 2017, Kindle. Rancière, Jacques, Les mots et les torts: Dialogue avec Javier Bassas, Pariz, La Fabrique, 2021. Taylor, Charles, “Rationality”, v M. Hollis, S. Lukes (ur.), Rationality and Relativism, Oxford, Basil Blackwell, 1983, str. 87–105. 350 Daljši citati Citate, daljše od štirih vrstic, se loči od glavnega teksta z zamikom celotnega citata. Pred citatom in po citatu se pusti prazna vrstica. Izpuščanje Pri citiranju teksta, katerega del je izpuščen, se izpuščeni del označi s tremi pikami v oglatih oklepajih, tj. […]. Na začetku citata se prej navedeno ne uporablja. Začetnico v citatu, ki ne ustreza začetnici v tekstu (velika/mala), se zapiše v oglati oklepaj, tj. »[Z]ačetnica«. FV_02_2021.indd 350 22/12/2021 20:28 Information for Contributors Manuscripts in Slovenian, English, French, and German are accepted. should begin on the same page that they refer to. Citations in footnotes should be presented as follows: Manuscripts sent for consideration must not have been previously published or be simultaneously considered for publication elsewhere. Monographs Gilles-Gaston Granger, Pour la connaissance philosophique, Paris, Odile Jacob, 1988, p. 57. Alain Badiou, Being and Event, trans. O. Feltham, New York, Continuum, 2006. Authors are required to provide the text in Microsoft Word format (.doc or .docx), and preferably in Times New Roman font. The manuscripts should be accompanied by an abstract (in the language of the manuscript and in English) summarizing the main points in no more than 150 words, with up to seven keywords (in the language of the manuscript and in English). All subsequent citations of the same work: Granger, Pour la connaissance philosophique, p. 31. An immediate citation of the same work just cited: Ibid., p. 49. A brief biographical note indicating the author’s institutional affiliation(s), works published, and main subject of professional interest should also be enclosed. Part of a monograph Cf. Charles Taylor, “Rationality”, in M. Hollis, S. Lukes (eds.), Rationality and Relativism, Oxford, Basil Blackwell, 1983, pp. 87–105. Manuscripts should not exceed 8,000 words (45,000 characters with spaces) including notes. Manuscripts should be sectioned with clearly marked subheadings, which should not be numbered. The manuscript title and subheadings should be fully capitalized. Paragraph breaks should be marked with single line spacing rather than paragraph indentation. Use double quotation marks throughout the text (e.g. for titles of articles, quoted words or phrases, technical terms), except for quotes within quotes. With regard to the final punctuation of text in double quotes, full stops and commas should be within the closing double quote if the text in double quotes is from a source, while full stops and commas should be outside the closing double quote if the text in double quotes is more like a term. All other punctuation should be outside the closing double quote unless it is originally part of the quoted text. Example: The full extent of a part of a monograph should be cited in the footnote if it is a reference to a whole part of a monograph; however, if it is a reference to a particular passage in a part of a monograph, only the particular page or pages in question should be cited. The full extent of the part of the monograph should be cited in the References. It is precisely at such points that there emerges what William Walters termed the “humanitarian border”. The term “humanitarian border” designates “the reinvention of the border as a space of humanitarian government.”1 Titles of books and periodicals, and foreign words (e.g. a priori, epoché, élan vital, Umwelt, etc.) should be in italics. Note numbers should be referred to in the text by means of superscript numbers; footnotes FV_02_2021.indd 351 Journal articles Friedrich Rapp, “Observational Data and Scientific Progress”, Studies in History and Philosophy of Science, 11 (2/1980), p. 153. Journals numbered continuously should be cited in the following manner: Michel Aglietta, “European Vortex”, New Left Review, 75 (2012), p. 36. 351 The full extent of an article should be cited in the footnote if it is a reference to the whole article; however, if it is a reference to only a particular passage in an article, only the page or pages in question should be cited. The full extent of the article should be cited in the References. Citing web publications Citing web publications must include the date/ time of the last access, e.g.: accessed 4 May 2021. The webpage should be cited in the footnote and in the References, but the DOI only in the References. 22/12/2021 20:28 Information on the last access should not be cited in the References. The webpage or DOI should be cited at the end of the cited unit. E-books When citing e-books, add the file format or the name of the device required to read it. If no page number is available, the number of the chapter or other recognizable part of the book should be used. The numbers or locations specific to one format or device should not be quoted. If the web publication of a book is cited, the URL or DOI, if available, should be given. If the page(s) cannot be given, this should be noted as n. p. Jacques Rancière, Les bords de la fiction, Paris, Seuil, 2017, EPUB, Chap. 2. William James, A Pluralistic Universe, Project Gutenberg, 2004, https://www.gutenberg.org/cache/ epub/11984/pg11984.html, Lecture III, accessed 4 May 2021. Bibliography Detailed bibliographical information should be given in a separate alphabetical list at the end of the manuscript. The literature should be cited fully, as in the footnotes, with a reversed order of the name and surname (surname first). Units by the same author should be ordered by the date of their publication. Every unit should contain all information, despite repetition; the surname and name should be listed and not substituted by any sign. If the web publication of a book is cited, the URL or DOI, if available, should be given. 352 Longer quotes Quotes longer than four lines should be separated from the main text by a paragraph break before and after, and fully indented on the left margin. Eliding parts of quotes Elision of parts of quotes should be marked by three dots in square brackets: […]. A letter that does not correspond to the capitalization of the original quote should be appropriately marked by a square bracket (i.e. [c]apital or [C]apital). Pictures Pictures should not be inserted in the file; the place of their subsequent insertion should be marked. Pictures should be in jpg format, with at least 300 dpi. British/American spelling British or American spelling is acceptable, but the text must be internally consistent. Furthermore, consistent use of the S or Z form of words such as organise/organize, summarize/summarise, etc., is required. A comma follows e.g. and i.e. in American English, but not in British English. Other Authors can add their ORCID number, if available. Articles will be externally peer-reviewed. Authors agree to the terms of publication, which are posted on the journal’s website under Copyright Notice. Proofs will be sent to authors. They should be corrected and returned to the Editor as soon as possible. Alterations other than corrections of typographical errors will not be accepted. Aglietta, Michel, “European Vortex”, New Left Review, 75 (2012). Granger, Gilles-Gaston, Pour la connaissance philosophique, Paris, Odile Jacob, 1988. James, William, A Pluralistic Universe, Project Gutenberg, 2004, https://www.gutenberg.org/cache/ epub/11984/pg11984.html, Lecture III. Rancière, Jacques, Les bords de la fiction, Paris, Seuil, 2017, Kindle. Rancière, Jacques, Les mots et les torts: Dialogue avec Javier Bassas, Paris, La Fabrique, 2021. Taylor, Charles, “Rationality”, in M. Hollis, S. Lukes (eds.), Rationality and Relativism, Oxford, Basil Blackwell, 1983. FV_02_2021.indd 352 22/12/2021 20:28

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