Is all technological? Global power and aesthetic forces

New Centennial Review

Volumn 2, Issue 3, 2002, Pages 139-168

  Ziarek, Krzysztof ^a  

^a UNIVERSITY OF NOTRE DAME   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949868431     PISSN: 1532687X     EISSN: 15396630     Source Type: Journal    
DOI: 10.1353/ncr.2002.0057     Document Type: Review

References (13)

1. Peter Sloterdijk, Sphären: Mikrosphärologie, vol. 2, Globen (Frankfurt am Main: Suhrkamp, 1998), 13-32.
2. Jean-Luc Nancy, "Is Everything Political?" trans. Philip Adamek. In this volume.
3. I elaborate this critical relation between technē and poiēsis in "Powers to Be: Art and Technology in Heidegger and Foucault," Research in Phenomenology 28 (1998): 162-94; in particular, 179-86.
4. Friedrich Nietzsche, The Birth of Tragedy, trans. Shaun Whiteside (Harmondsworth: Penguin, 1993), 4.
5. Michael Hardt and Antonio Negri, Empire (Cambridge: Harvard University Press, 2000).
6. Jean-Luc Nancy, La Création du monde ou mondialisation (Paris: Galilée, 2002).
7. Paradoxically, the most rational form of order in the epoch of globalization becomes the one of global flows, hybridity constant mixing, and shifting borders. Differences, hybrid formations, and flexible borders and identities no longer constitute a challenge to global forms of power, but on the contrary, become themselves circuits of the dissemination and intensification of power in the age of global capital. Writing about contemporary telematics and social "flowmations," Timothy Luke argues that "the most rational form of global order will be one of un-stated (b)orderlessness." Luke, "'Moving at the Speed of Life?' A Cultural Kinematics of Telematic Times and Corporate Values," Cultural Values 2, no. 2 (1998): 334.
8. Martin Heidegger, Nietzsche, vol. 1
9. The Will to Power as Art, trans. David Farrell Krell (San Francisco: Harper and Row, 1979). I show the importance of Heidegger's analysis of the difference between increase and enhancement for critically reformulating the question of power in "Powers to Be," 181-82.
10. Martin Heidegger, Nietzsche (Pfullingen: Neske, 1961), 120.
11. ("Das Wesen der Macht als Machenschaft vernichtet die Möglichkeit der Wahrheit des Seienden. Sie ist selbst das Ende der Metaphysik"; Die Geschichte des Seyns, 71).
12. "No matter how much spirit may exert domination in art, its objectivation frees it from the aims of domination. . Through spiritualization, the radical domination of nature - its own - art corrects the domination of nature as the domination of an other." And later: "Through the domination of the dominating, art revises the domination of nature to the core. In contrast to the semblance of inevitability that characterizes these forms in empirical reality, art's control over them and their relation to materials makes their arbitrariness in the empirical world evident. As a musical composition compresses time, and as a painting folds spaces into one another, so the possibility is concretized that the world could be other than it is." Theodor W. Adorno, Aesthetic Theory, trans. Robert Hullot-Kentor (Minneapolis: University of Minnesota Press, 1997), 113 and 138.
13. I discuss this notion of forcework in much more detail in "Art as Forcework," Existentia 11 (2001): 355-71.