This article examines a changing global reality that manifests itself in new forms of social activism. The struggle of the multitude challenges political representation and contemporary art seems to corroborate this observation. Becoming a form of social intervention, it turns into an active force and leaves behind the need to double action with representation, representational practices being the hallmark of classical art. A new theory of the image would have to incorporate this dynamic: it would have to treat and develop (...) the basic categories of action and relation. There are few philosophies of the act, and the existing semiotic models mostly deal with dual structures (signifier/signified; sign/meaning; image/referent, and so on). It is necessary to sketch out a dynamic theory of the image that would: (1) reveal the limitations of the concept of representation; (2) conceive of the image as a set of multiple changing relations. The image would thus be seen as a necessary part of the relations governing the world in its entirety, that is, as part of the movement of matter itself. Which is another way of saying that those relations are actualized, or expressed, in the image. (shrink)

The article analyzes the ongoing Russian–Ukrainian war in terms of a colonial seizure undertaken by a fading but aggressive Russian empire. This highly political adventure is translated into more abstract terms, that is, an irresolvable conflict between existence, which is always the experience of coexistence devoid of any essence whatsoever, and imperial expansion, which is an infinite conquest of space indifferent to all forms of life. The dualism in question is backed up by the writings of two important scholars, namely, (...) the French philosopher Jean-Luc Nancy and the Russian scientist and revolutionary Peter Kropotkin. Nancy’s philosophy of being-in-common is the development of Heidegger’s concept of Mitsein, where the meaning of Mit- (co-, with) is existential and not categorical. Nancy’s philosophy challenges all forms of communal essence, of which empire is one blatant example. For Kropotkin, existence is even more all-embracing, implying a continuity of different life forms. His doctrine of mutual aid is a law that governs both society and nature, as well as evolution itself. Even morality springs from “solidarity” and the joys of social life, while sympathy or love are too narrow a basis for human ethics. Viewed from this perspective, a colonial war would not only be the greatest waste of human lives and natural resources—it would contradict the very order of things. (shrink)

The paper explores the non-institutional potential of the concept of community as it has been formulated in contemporary French philosophy. Special attention is given to historical experience, particularly in a globalizing world. Fantasies of the historical which attest to such experience are treated as constitutive of an anonymous community defined neither by a fixed identity nor by a given substance. Despite its anonymity, community calls for articulation and translation, producing various ‘as-if presentations’, to remember the Kantian term.

In turning to photography the paper explores ways of conveying historical truth. It seems that contemporary art places itself at the very limit of representation in an attempt to remain faithful to historical eventuality. In fact, one is reminded of the type of historical occurrence which can be grasped only through ‘as-if presentations’, to remember the Kantian term. ‘Fiction’, therefore, is no longer opposed to ‘truth’, but becomes its conductor and ally.

This summer, the Russian and international philosophical community suffered an irreplaceable loss, the death of Valery A. Podoroga. Valery was a dear friend and colleague to many of the authors and...

The present article considers the avant-garde as experience, and primarily as the experience of perceiving avant-garde art in terms of interruption, estrangement, and arrest. The focus is on the “internal”—utopian—time of the avant-garde, or the dimension of the social imagination. This is directly related to Walter Benjamin’s concept of history, and his idea of the interruption of time. The article analyzes the connection between the continuing interest in the avant-garde and the problem of representing utopia. Avant-garde art is considered as (...) a “sign of history” according to Kant: it takes on the function of an index in that it delineates space for new social relations. Avant-garde art is a form of mapping out a new community, which precedes any institutionalization. Such an intrusion of the “invisible” into avant-garde imagery is explored with the example of Jean-Luc Marion’s reflections on Rothko and Marie-José Mondzain’s conception of the icon as the forerunner of modern abstract art. (shrink)

This article considers two models of the future based on Jacques Derrida's distinction between le futur and l'avenir. The former is related to technology, including political technology, and the latter involves an experience of participation, which allows for the existence not of “the future”, but of “forthcoming”. L'avenir is on the side of direct democracy and unmediated political action. The future and l'avenir are different kinds of time. The future is projective, l'avenir is event driven. The future is predictable; l'avenir (...) refers to what we might call absolute openness. L'avenir is the experience of encountering the other, including in the field of politics. The author believes that Maidan creates a space for this second conception of time, continuing the line of political philosophy coming from Baruch Spinoza and his idea of multitudo and absolute democracy. (shrink)

The author analyzes the interrelations of the concepts of symbol, sign, image, and consciousness. She establishes connections between the theories of Mamardashvili and his colleagues and those of the French semioticians Derrida and Deleuze.

Processes observable in contemporary Russian aesthetics are the result of the transformation of the very notion of aesthetics following the emergence of a number of new “aesthetic” objects as well as ways of describing them. The scope of questions studied by aesthetics in its broader interpretation concerns not just professional philosophers in academic institutions, but also researchers whose works formally belong to different disciplines, some close to, some quite distant from aesthetics. The present article offers an overview of contemporary aesthetic (...) theory as well as a general prognostic analysis of the latest trends in this field. (shrink)