By Gerhard Richter
Gerhard Richter's groundbreaking examine argues that the idea that of "afterness" is a key determine within the idea and aesthetics of modernity. It pursues questions corresponding to: What does it suggest for whatever to "follow" whatever else? Does that which follows mark a transparent holiday with what got here earlier than it, or does it actually tacitly perpetuate its predecessor by reason of its inevitable indebtedness to the phrases and stipulations of that from which it claims to have departed? certainly, isn't the very act of breaking with, after which following upon, a manner of retroactively developing and fortifying that from which the holiday that set the move of following into movement had occurred?
The e-book explores the concept that and flow of afterness as a privileged but uncanny class via shut readings of writers similar to Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It indicates how the vexed options of afterness, following, and coming after shed new gentle on a constellation of recent preoccupations, together with own and cultural reminiscence, translation, images, desire, and the ancient and conceptual specificity of what has been termed "after Auschwitz." The study's a variety of analyses—across a heterogeneous choice of smooth writers and thinkers, varied ancient moments of articulation, and more than a few media—conspire to light up Lyotard's apodictic assertion that "after philosophy comes philosophy. however it has been altered by way of the 'after.'" As Richter's difficult learn demonstrates, a lot hinges on our interpretation of the "after." in the end, our so much basic assumptions pertaining to sleek aesthetic illustration, conceptual discourse, group, subjectivity, and politics are at stake.
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Extra info for Afterness: Figures of Following in Modern Thought and Aesthetics
To assert otherwise is to fall prey to some kind of theology, even if it comes dressed as scientism. ) 42 Timothy Morton The Mystery of the Cinder Block And so to business. There’s no way to break the object-oriented ontological news gently, so we must perforce commence with a rough and ready version. The proposition that begins the next paragraph says something that is given to me in experience. For this reason alone I find it hard to trust, because as an avid reader of poetry, I am liable to mistrust statements of all kinds.
Clocks run faster in orbit above Earth than they do on Earth’s surface. This congruency is a good sign that an object-oriented theory of causality is on the right track. But it’s not strictly necessary: if anything the necessity goes the other way around. In other words, quantum theory and relativity are valid physical theories to the extent that they are object-oriented. Causality floats in front of objects, figuratively speaking. It doesn’t lie underneath them like some grey machinery. Another way of saying this is Introduction 31 that causality must belong to the aesthetic dimension.
For tens of thousands of years, cultures, peoples, robots study the block, which is now looking pretty gnarly. A hundred thousand years later, a fully enlightened robot sits 54 Timothy Morton monitoring the faint traces of dust hanging in the air where the block used to sit. Still no dice. ” When it comes to knowing about cinder blocks, Buddha is just as badly off as God. Let’s give up. Imagine the cinder block all on its ownsome. A scandalous thought perhaps, maybe even impossible to think. The block is not just a blank lump waiting to be filled in by some “higher” object (overmining).