El objetivo del artículo es desarrollar y proponer una línea de interrogación para la teoría literaria contemporánea alrededor de los conceptos de «archivo» e «intertextualidad». En primer lugar, se ...reconstruye el panorama actual de los estudios interdisciplinarios sobre la cuestión del archivo, para proponer un «giro archivístico» de la crítica artística contemporánea. En segundo lugar, se recupera la conceptualización de Juan José Mendoza alrededor de los «hiperarchivos», interrogando sus compromisos ontológicos (en particular, de la ontología orientada a objetos) y su relectura de la noción de «intertextualidad». Por último, continuamos tal importación teórica para afirmar que la intertextualidad es, en sus rasgos fundamentales, una relación de causalidad, por lo que cualquier interrogación sobre el archivo y la intertextualidad depende de la teoría de la causalidad que ella supone y pone en acto.
Rock is Dead, Long Live Rock Legendre, Thomas
Journal of skyscape archaeology (Online),
07/2023, Letnik:
9, Številka:
1
Journal Article
Recenzirano
Kilmartin Glen’s rock art and built structures suggest activities dedicated to decentring human individuality and agency, paradoxically through heightened sensory experience. This process of “losing ...oneself” in time and place may be understood in terms of Object-Oriented Ontology (OOO), rejecting subject–object relationships in favour of a “flat ontology” of object–object relations in which life or sentience receives no privileged status. OOO’s explication of metaphor, rooted in a schema of essence and appearance, and further supported by cognitive linguistics, serves as a basis for erasing not only the distinction between the literal and metaphorical but also, with additional consideration of the implicate order as described by physicist David Bohm, the organic and inorganic. Taken together, these approaches allow us to understand ritual activity involving music and contact with “dead” stone at astronomically significant moments as a method of “attunement” to the continuity between terrestrial/celestial and animate/inanimate, consistent with contemporary efforts to reconcile classical and quantum physics as it confronts the subjunctive nature of reality itself.
Abstract
In this paper, I will discuss the need for a theory of essences within Object-Oriented Ontology (OOO) and then formulate one. I will do so by drawing on Graham Harman’s work on OOO and ...Martin Heidegger’s thought on the essence of being, presented in his
Introduction to Metaphysics
. Harman touches on essences, describing them as the tension between a withdrawn object and its withdrawn qualities, but fails to distinguish between essential and inessential qualities within this framework. To fill in the gaps, I will turn to Heidegger’s explication of
phusis
in order to show that an essential aspect of being is how one enters into causal relations and continually reveals oneself to other beings. In bringing OOO and Heidegger together, I will find that each object has a unique way of exerting itself in the world and that the domestic relations that make up this unique profile are essential to it, while other domestic relations, those that do not influence its particular way of exerting itself, are inessential. Thus, the essence will be found to be the set of domestic relations that make up the determinate form, or unique causal profile, of the object.
Graham Harman's Object-Oriented Ontology prioritises aesthetics as first philosophy, and finds increasing interest from those working across art, architecture and the humanities in general. This ...article tests the application of Harman's ideas by applying them to a thorny issue related to the domain of serial art, and serially developed drawing in particular. The issue concerns the productive role of the beholder in constituting the serial artwork as a unified thing, wherein it appears manifestly deeper than the sum of its physical parts. Referring to an artwork produced by contemporary artist Stefana McClure, I build upon prior propositions on serial art put forward by Christy Mag Uidhir and Nicolas de Warren to make the case for seeing serially. This uses Harman's understanding of aesthetics to claim that imagined iterations constitute an integral element to serial drawing, brought into play when the beholder reflects upon the loose relationship between the array of qualities the artwork palpably presents and its withdrawn reality as a unified object.
At the turn of the twentieth century, the debate between supporters of internal and external relations showed how our assumptions on the nature of relations result in ontological, epistemic, and ...ethical commitments. In this debate, Alfred North Whitehead provided the most articulated and satisfying account through his “philosophy of the organism,” which holds relations to be internal yet vectorial, without excluding completely external relations. Today, the debate has become once again topical and constitutes a core issue for speculative realism. This paper aims to show how the theory of external relations endorsed by some leading figures of speculative realism (Meillassoux, Harman, Bryant) does not suffice to preserve the desiderata it was designed for, and how a more serious consideration of Whitehead’s theory would have beneficial effects on the ontological and ethical issues of this rejuvenated metaphysical discourse.
The article aims to explore the ways in which scholars from Poland and Ukraine engage with Graham Harman’s philosophical work1 . The introductory part briefly describes Harman’s ontology and ...demonstrates the link connecting Harman with Polish and Ukrainian intellectual environments. Harman’s object-oriented ontology (OOO) states that objects are the fundamental building blocks of reality and cannot be reduced either to what they are made of or to what they do, that is, either to their constituents or to their effects. The connection with Poland and Ukraine goes back to the theory of objects suggested by the Polish philosopher Kazimierz Twardowski, whom Harman names among the predecessors of his ontology and who influenced both Polish and Ukrainian intellectual milieus. The next part of the article examines the history of the reception, identifying its key events and publications. The reception in Poland proves to be much more substantial than in Ukraine. A common tendency is determined: a conflation of Harman’s OOO and speculative realism by mistakenly ascribing the features of the former to the latter (broader concept), which suggests that speculative realism is being received through the lens of Harman’s project. The next part establishes the key discursive points that are used to map Harman’s ideas within the contemporary philosophical landscape. They can be summarised by the terms antianthropocentrism and antireductionism. The final part analyses the strategies for applying Harman’s theory showing that it can become the lens for interpretation and direct our attention to nonhumans and the hidden, inexplicable dimension of things or provide an ontological grounding for semi-literary and literary discourses. The methodology of this application, though, needs further development and clarification. Overall, in Poland, two of Harman’s books and two articles have been translated, and at least two books, one Ph.D. dissertation, and around two dozen articles discuss or apply his ideas. Apart from philosophy, his OOO is used for discussing literature, video games, films, humanities in general, education, management processes, antique studies, and ecocriticism. In Ukraine, one of Harman’s articles has been translated, and around ten articles and one collective monography engage with his philosophical project. Some of the Ukrainian works also apply Harman’s OOO in contexts that are not strictly philosophical, namely, in literary criticism, urban studies, film studies, and humanities in general. This paper can be of use to researchers studying OOO and its reception in different countries. In addition, it can help Ukrainian and Polish scholars who want to discuss or use OOO to familiarize themselves with the previous reception in their countries, thus facilitating domestic philosophical interaction.
This article reassesses of the role of military technologies both in normative strategic thought and in the critical geopolitics literature by problematising their shared tendency towards ...representing the power of military technologies in a binary and sometimes hyperbolic way in relation to the complexity of terrain and the emergent intensity of war. In order to do so, it borrows theoretically from Object-Oriented-Ontology, using Harman's concept of “duomining” in dialogue with other understandings of material agency from assemblage theory and Actor-Network-Theory. This interstitial epistemology is applied to analyse the political implications for the State of Israel of its military's decisions on the use of weapons in urban warfare during the 2014 Gaza War. Through this framing, the paper argues that technological agency is ambivalent to the project of state stabilisation, and can act across spatial and temporal boundaries in ways unanticipated by political and strategic decisionmakers. It also demonstrates, counterintuitively, that technological objects can exercise agency as much by their absence as their presence in an event. These findings foreground the need for a more accurate accounting of what technological objects are, not just what they do, alongside a more nuanced consideration of the contingency of their power to shape politics in relation to the complex milieu of human and non-human factors that comprise geopolitical phenomena.
Inspired by Graham Harman's philosophy of human access, and within the 'flattening ontology' of Object Oriented Ontology, Ring o' Roses is speculated about as a finite object with ontological ...independence from humans, repertoire, song, utility, and cultural context. Ring o' Roses playfully dances us through an introduction to OOO, and on to the idea of young children's early musical play as something different from its qualities and benefits. Indeed, the reality of musical play can be speculated about as ontologically irreducible, and as having a weird and vast, yet fragile, interior which is announced by allure. Allure is composed of charm, courage, and humour, and is responsible for causation.
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