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Science-Art: Neuronaturalism Beyond the Decentred Spectator

100%

Klee S.

Eidos. A Journal for Philosophy of Culture

2017

tom 1

nr 2

78–93

Science-art collaborations are a growth area. An example is the Wellcome Collection exhibition “States of Mind”. I focus on one work yellowbluepink by Ann Veronica Janssens. As framed within the exhibition this piece is understood to present a model of spectatorship in which the art-encounter prompts an awareness of the p o s s i b i l i t y of neuroscientific self-understanding. I take it that science-art projects want to spread this celebration of “objective thought”; this is their realist agenda. The scientific framing of yellowbluepink fails in this regard because of a striking contradiction at its heart. The dominant art historical interpretation of this piece includes a spectator who is “decentred”, u n a b l e to know him or herself. This contradiction creates a methodological problem for the project, one that negatively impacts its ability to a m b i t i o u s l y promote its agenda. On the basis of this analysis I sketch out the conditions for an ambitious project. It would need to acknowledge the “artworld” and it would require the invention of a new model of spectatorship, one that promoted (self)-awareness of humankinds’ impressive epistemic capacity. This anti-phenomenological figure is formulated with reference to the nemocentric subject.

Speculative sons of Ulysses and the inhuman “worlds without people”

80%

Váša O.

nr Special_issue_1

112-140

The paper focuses on the repeated and systematic references to the figure of Ulysses in the work of Quentin Meillassoux, Ray Brassier, Eugene Thacker, and Reza Negarestani. These are not random occurrences; Ulysses represents a key figure in the mutually interconnected visions and reflections related to the idea of a “world without people” that binds the named authors implicitly and explicitly to the originally Dantean imagery. Through a detailed exposition of the Ulyssean positions of the philosophers in question, the essay demonstrates twofold: first, that the “nihilistic branch” of speculative realism can be read as a specific inversion of the Dantean agenda, and second, that in light of the arguments of “transcendental nihilism” and the logical radicalization of the Ulyssean figure, Dante’s Divine Comedy can be read as an anachronistic speculative project.