Deleuze and the Naming of God Now Available

This is just a quick announcement that my book, Deleuze and the Naming of God: Postsecularism and the Future of Immanence, is now out. Which is to say that physical copies have appeared, that it’s available on Amazon (at least in the US and the UK), and so on.

The introduction is available online. The cost of the book is rather prohibitive, as it’s being published now only in hardback. If you’re able, though, it’d be great if you could ask your library to order a copy. This might aid the eventual publishing of a paperback version. Also, EUP would no doubt distribute review copies.

Forthcoming Book

Just a quick announcement that a book of mine — on Deleuze, in connection with many things, including Adorno, religion/secularism, and metaphilosophy/nonphilosophy — is coming out with Edinburgh UP in December. I’m happy to be able to post the cover at this point. Read the rest of this entry »

Anger’s Nonidentity / Occasion Against Universality

I recently looked back at Judith Butler’s response to her having been awarded a “prize” for writing in an especially non-commonsensical style. She observes that the recipients—or “targets,” as she aptly redescribes—of such a prize “have been restricted to scholars on the left whose work focuses on topics like sexuality, race, nationalism and the workings of capitalism.” This then raises “a serious question about the relation of language and politics: why are some of the most trenchant social criticisms often expressed through difficult and demanding language?” Read the rest of this entry »

Beyond pretension: On the afterlife of culture

In my recent halting quest to delve more deeply into classical music, it occurs to me that I’ve been pretty trusting of people’s advice. For instance, everyone who has an opinion seems to think that Beethoven’s Missa Solemnis is uniquely worthy of attention among his works, and so I got a recording of a performance from Netflix and watched it yesterday afternoon — turns out it’s pretty impressive. Similarly, I’ve eagerly acted on recommendations of books and recordings.

Why am I so trusting? Because basically no one is going to bother even claiming to have an opinion about classical music unless they know what they’re talking about to some degree. It’s totally “voluntary” to know about it — the culture has moved on, so there’s no payoff for pretension. Someone might tell you that The Wire is great just because they feel like they “should” think that; no one’s going to pull a similar move on Missa Solemnis.

In a way, this is a basic Adorno-esque point: previously elite artforms that have lost their accustomed role have a unique potential for “disinterested” uses. I wonder, though, how many other things are like this? Read the rest of this entry »

Stalinism and the Psychoanalysis of Politics

One of the biggest disappointments in the new movie adaptation of Tinker, Tailor, Soldier, Spy comes when the mole explains himself to Smiley upon being found out. The television series had had him launch into an anti-American diatribe, talking about the evils of consumerism and essentially the need to resist the capitalist degradation of all culture. In the film, however, he simply says claims that he had to choose a side and that the West has become “ugly” in some unspecified way. The mole becomes a shallow aesthete, impotently and arbitrarily “acting out,” whereas in the television adaptation, one could see a certain nobility to the character. I think one could read this shift as symptomatic of the historical shift that occurred between the two adaptations: after the fall of the Soviet Union, the appeal of communism, even as an alternative to what is undesirable in the West, has become unthinkable.

It is here that I think Zizek’s obsessive investigations of Stalinism are most important. On a certain level, he is simply following a “psychoanalytic” approach to politics, focusing on the pathological in order to shed light on the so-called normal (in this case, liberal democracy). Yet after reading Adorno for the last few months, I’m increasingly convinced that Zizek’s insistence on the distinction between Stalinism and fascism and his choice of Stalinism as the privileged object of critique — and his criticism of the Frankfurt School for taking the opposite approach on both counts — is justified, at least as a strategic choice. Choosing fascism as the “pathology” that is supposedly revelatory of the real content of the “normal” can fall much too easily into familiar patterns of liberal political analysis: moralism, progressivism (i.e., fascism shows that pre-modern national loyalties “still” hold great power), and the easy dichotomy between Enlightenment reason and its irrational other.

The privileging of Stalinism gets around that, because one can position it specifically as a failure within the Enlightenment tradition, rather than a failure of the Enlightenment to overcome the forces opposed to it. Adorno (and Horkheimer) are much more sophisticated than your normal moralizing critique of “totalitarianism,” yet I do think their work can very easily be appropriated by such discourses — whereas Zizek’s valorization of Stalinism, at least so far, apparently cannot. Another advantage of the emphasis of Stalinism is that it can shed a more interesting light on contemporary power relations. It’s much too “easy” to prove that supposedly “pre-modern” forms of power (patriarchalism, tribalism) are on the loose — and then we get to feel a nice buzz of liberal righteousness denouncing these people for failing to get with the program. It’s a lot more interesting and surprising to hear Zizek say, as he did once in a public lecture I attended (but has unfortunately not followed up on yet to my knowledge), that Stalinism has finally come into its own in contemporary corporate culture.

Posted in Adorno, Communism, fascism, Zizek. Comments Off

DIY Hype

My recent study of Adorno has me looking at popular culture and everyday interactions through Adorno-shaded lenses. One phenomenon that jumps out at me is the tendency toward spurious “ranking,” that is, the expression of personal preference as an objective feature of the work. We don’t hear that our friends really liked a given album, for instance — we hear that it’s probably one of the best albums of the year. Even on purely personal measures, there’s a tendency toward ranking, as when one declares a given film their “favorite movie of all time.”

Why do we talk like this? Read the rest of this entry »

Open thread: Occupy Adorno

I have been reading a lot of Adorno of late, and this morning I just read his essay “Resignation” from The Culture Industry, in which he discusses the relationship of theory and praxis.

This inspired a question in me: if Adorno were alive today, what would he think of the Occupy movement?

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