Temporalization as transcendental aesthetics: Avant-garde, modern, contemporary

Nordic Journal of Aesthetics

Volumn 23, Issue 44-45, 2013, Pages 28-49

  Osborne, Peter ^a  

^a NONE

Author keywords

Avant Garde; Contemporary; Modern; Repetition; Subsumption; Temporalization; Transcendental aesthetics

Indexed keywords

EID: 84904245474     PISSN: 20001452     EISSN: 20009607     Source Type: Journal    
DOI: 10.7146/nja.v23i44-45.8179     Document Type: Article

References (65)

1. Ernst Bloch et al, Aesthetics and Politics: Debates Between Ernst Bloch, Georg Lukács, Bertolt Brecht, Walter Benjamin, Theodor Adorno (London: New Left Books, 1977).
2. Karl Marx, Capital: A Critique of Political Economy, vol. 2, trans. David Fernbach (London: Penguin, 1978; 1992), Ch. 17, Pt 2, Accumulation and Expanded Reproduction [erweiterte Reproduktion] pp. 418-24.
3. See Peter Osborne, Theorem 4: Autonomy-Can it be True of Art and Politics at the Same Time? Open: Cahier on Art and the Public Domain, no. 23, Special Issue, Autonomy: New Forms of Freedom and Independence in Art and Culture (Amsterdam: Skor, 2012), pp. 116-26.
4. Jürgen Habermas, The Classical Doctrine of Politics in Relation to Social Philosophy (1963), in Theory and Practice, trans. John Viertel (London: Heinemann, 1974), pp. 41-81. This aesthetic dimension is what Rancière calls the distribution of the sensible.
5. Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible, trans. Gabriel Rockhill (London and New York: Continuum, 2004).
6. Martin Heidegger, Being and Time (1927), trans. John Macquarrie and Edward Robinson (Oxford: Blackwell, 1962), Division Two, Parts III and IV, pp. 349-423.
7. See Jacques-Alain Miller, Action of the Structure (1968), in Concept and Form, vol. 1, Key Texts from the Cahiers pour lAnalyse eds. Peter Hallward and Knox Peden, trans. Christian Kerslake (London and New York: Verso, 2012), chapter 2, pp. 69-83.
8. For an account of the dual (retrospectively prospective) temporality of the subject, associated with this conception, see Alain Badiou, Subjectivizing Anticipation, Retroaction of the Subjective Process in Theory of the Subject, trans. Bruno Bosteels (London and New York: Continuum, 2009), pp. 248-53.
9. See Michel Foucault, The Subject and Power in Power: Essential Works of Foucault, 1954-1984, vol. 3 (London: Penguin, 2000), pp. 326-48;
10. The Hermeneutics of the Subject: Lectures at the Collège de France, 1981-1982, trans. Graham Burchell (New York: Picador, 2005).
11. For the broader historical framework of philosophies of the subject, see Étienne Balibar, Barbara Cassin, Alain de Libera, Sujet in Vocabulaire Européen des Philosophies, ed. Barbara Cassin (Paris: Seuil, 2004), pp. 1233-54;
12. translated by David Macey as Subject Radical Philosophy no. 138 (July/August 2006), pp. 15-41.
13. See Reinhart Koselleck, Critique and Crisis: Enlightenment and the Pathogenesis of Modern Society (1959; Oxford/New York/Hamburg: Berg, 1988).
14. Peter Osborne, The Politics of Time: Modernity and Avant-Garde (London and New York: Verso, 1995; 2011), Ch. 2.
15. François Hartog, Régimes dhistoricité: Présentisme et expériences du temps (Paris: Seuil, 2003).
16. For a critique of the temporality of conventional historical periodization, see Kathleen Davis, Periodization and Sovereignty: How Ideas of Feudalism and Secularization Govern the Politics of Time (Philadelphia: University of Pennsylvania Press, 2008).
17. John Rajchman, The Contemporary: A New Idea? in Aesthetics and Contemporary Art, eds. Armen Avanessian and Luke Skrebowski (Berlin and New York: Sternberg, 2011), pp. 125-44; 126.
18. Heidegger, Being and Time, p. 374;
19. Temporality and Historicality Division Two, Part V, pp. 424-55.
20. Peter Osborne, The Fiction of the Contemporary: Speculative Collectivity and Transnationality in The Atlas Group in Aesthetics and Contemporary Art, pp. 101-123;
21. Global Modernity and the Contemporary: Two Categories of the Philosophy of Historical Time in Breaking Up Time: Negotiating the Borders Between the Present, the Past and the Future, eds. Chris Lorenz and Berber Bevernage (Göttingen: Vandenhoeck & Ruprecht, forthcoming 2013).
22. An extended version of the former appears as Chapter 1 of Peter Osborne, Anywhere or Not at All: The Philosophy of Contemporary Art (London and New York: Verso, 2013).
23. Walter Benjamin, Surrealism: The Last Snapshot of the European Intelligensia in Selected Writings, vol. 2.1, 1927-1930 (Cambridge, MA and London: Belknap Press of Harvard University Press, 1999), p. 210.
24. See Peter Osborne, Small-scale Victories, Large-scale Defeats: Walter Benjamins Politics of Time in Walter Benjamins Philosophy: Destruction and Experience, eds. Andrew Benjamin and Peter Osborne (London and New York: Routledge, 1994), pp. 59-109.
25. Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA and London: Belknap Press of Harvard University Press, 1999), [N7, 6], p. 470.
26. Theodor W. Adorno, Aesthetic Theory, trans. Robert Hullot-Kentor (London: Athlone Press, 1997), p. 21.
27. Walter Benjamin, Central Park in Selected Writings, vol. 4, 1938-1940 (Cambridge, MA and London: Belknap Press of Harvard University Press, 2003), p. 175;
28. Adorno, Aesthetic Theory, p. 27.
29. Étienne Balibar, Citizen Subject in Who Comes After the Subject?, eds. Eduardo Cadava et al. (New York and London: Routledge, 1991), p. 33-57.
30. See also the Introduction to Étienne Balibar, Citoyen Sujet et autres essais danthropologie philosophique (Paris: Presses Universitaires de France, 2011), pp. 1-31.
31. Karl Marx, Capital: A Critique of Political Economy, Volume 1, trans. David Fernbach (London: Penguin, 1976; 1990), Appendix, Results of the Immediate Process of Production pp. 1019-38.
32. See Osborne, Anywhere or Not at All, Ch. 6, Art Space.
33. Osborne, The Fiction of the Contemporary pp. 108-14, 120-22.
34. Serge Guilbaut, How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom and the Cold War, trans. Arthur Goldhammer (Chicago: University of Chicago Press, 1985)
35. See Benjamin H. D. Buchloh, Cold War Constructivism in Reconstructing Modernism: Art in New York, Paris, and Montreal, 1945-1964, ed. Serge Guilbaut (Cambridge, MA and London: MIT Press, 1990), pp. 85-112;
36. Hal Foster, Some Uses and Abuses of Russian Constructivism in Art into Life: Russian Constructivism, 1914-1932, ed. Richard Andrews (New York: Rizzoli, 1990), pp. 241-53.
37. Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984).
38. Benjamin H. D. Buchloh, The Primary Colours for the Second Time: A Paradigm Repetition of the Neo-Avant-Garde October, 37 (Summer 1986), pp. 41-52;
39. Hal Foster, Whos Afraid of the Neo-Avant-Garde? in The Return of the Real (Cambridge MA and London: MIT Press, 1996), pp. 1-34;
40. Benjamin H. D. Buchloh, Conceptual Art, 1962-1969: From the Aesthetic of Administration to the Critique of Institutions October, 55 (Winter 1990), pp. 105-43.
41. Boris Groys, Repetition of Revolution: Russian Avant-Garde Revisited paper to the conference, Russian Avant-Garde Revisited, Van Abbe Museum, Eindhoven, 13 March 2010, part of the Former West project, www.formerwest.org.
42. Barbarism lurks in the very concept of culture-as the concept of a fund of values which is considered independent not, indeed, of the production process in which these values originated, but of the one in which they survive. In this way, they serve the apotheosis of the latter... barbaric as it may be. Benjamin, The Arcades Project, [N5a, 7], pp. 467-68.
43. Who We Are: Manifesto of the Constructivist Group in Aleksandr Rodchenko, Experiments for the Future: Diaries, Essays, Letters, and Other Writings (New York: Museum of Modern Art, 2005), p. 145; Slogans Rodchenko, 22 Feb. 1921, ibid., p. 142.
44. Who We Are in Rodchenko, Experiments, p. 145.
45. Costas Douzinas and Slavoj Zizek, eds, The Idea of Communism (London and New York: Verso, 2010).
46. Benjamin, Surrealism p. 212.
47. See Éric Alliez and Peter Osborne, Philosophy and Contemporary Art, After Adorno and Deleuze: An Exchange in Gest: Laboratory of Synthesis, eds. Robert Garnet and Andrew Hunt (London: Bookworks, 2008), pp. 35-64.
48. Cf. Walter Benjamin, Eduard Fuchs, Collector and Historian in Selected Writings, vol. 3, 1935-1937 (Cambridge, MA and London: Belknap Press of Harvard University Press, 2002), pp. 267-68.
49. Hans-Georg Gadamer, Truth and Method (London: Sheed and Ward, 1975), pp. 112-13, emphases added;
50. Wahrheit und Methode, Gesammelte Werke, 1 (Tübingen: J. C. B. Mohr, 1986), p. 132.
51. Cf. Søren Kierkegaard, Philosophical Fragments, Ch. 4, in Kierkegaards Writings, vol. 7, trans. Howard V. Hong and Edna H. Hong (Princeton: Princeton University Press, 1985).
52. The next draw upon, Peter Osborne, Look Beneath the Label: Notes on the Contemporary in Eileeen Daly and Rebecca Heald, eds., Bloomberg New Contemporaries 2011 (London: Bloomberg/ICA, 2011), pp. 4-8.
53. Osborne, Anywhere or Not At All, Ch. 1, section 1, Togther in time?.
54. See Tony Judt, Postwar: A History of Europe Since 1945 (2005; London: Vintage, 2010), Part 1.
55. Matei Calinescu, Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism (Durham: Duke University Press, 1987), p. 92.
56. Cf. Raymond Williamss 1987 lecture, When was Modernism? in his The Politics of Modernism: Against the New Conformists (London and New York: Verso, 1989, pp. 31-35, p. 32
57. Since 1990, Jameson has co-edited a series for Duke University Press entitled Post-Contemporary Interventions.
58. See Terry Smith, Contemporary Art and Contemporaneity Critical Inquiry 32, no. 4 (Summer 2006), pp. 681-707
59. Introduction: The Contemporary Question in Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity, eds. Terry Smith, Okwui Enwezor and Nancy Condee (Durham: Duke University Press, 2008), pp. 1-19-along with the essays in Part 1 of that collection;
60. Giorgio Agamben, What is the Contemporary? in his What is an Apparatus? and Other Essays (Stanford: Stanford University Press, 2009), pp. 39-54;
61. John Rajchman, The Contemporary: A New Idea? in Aesthetics and Contemporary Art, eds. Armen Avanessian and Luke Skrebowski, pp. 125-44
62. In this respect, there seems to be something like a social actualization of the insights of Heideggers critique of the ordinary time consciousness of within-timeness and Fabians critique of anthropologys denial of the coeval, respectively. Martin Heidegger, Being and Time (1927), trans. John Macquarrie and Edward Robinson (Oxford: Blackwell, 1962), pp. 456-72;
63. Johannes Fabian, Time and the Other: How Anthropology Makes its Object (New York, Columbia University Press, 1983), pp. 156-65.
64. Cf. Osborne, The Politics of Time, pp. 62-8, 17 and 28.
65. See Three Periodizations of Contemporary Art in Anywhere or Not at All, Ch. 1.