This article discusses the philosophy of Alain Badiou from the perspective of a formulation that we believe represents it succinctly: the dialectic of formalization. The main thesis of the article is that Badiou’s doctrine of the four truth procedures can be understood as a doctrine of a dialectical realization of new and universal forms in the world. The dialectic of formalization announces a double procedure – an autonomous and creative procedure for the production of a new true form in the (...) world and a process of the formation of continuity in discontinuity. Moreover, the dialectic of formalization represents a connection between Badiou’s mature work and his early writings from the late 1960s. Even though in the 1960s and 1970s Badiou had not yet introduced the concepts of subject and truth in the sense that he understands them today, it is possible to support the thesis that there is an indisputable connection between Badiou’s early concept of formalization and his later concept of generic truth procedure. We will try to show that the dialectic of formalization designates the continuity between Badiou’s early and mature work. (shrink)

In the present article, we have demonstrated that it is important to understand the equating of mathematics with ontology in Badiou’s philosophy, taking into account the necessary connection between rational materialism and ontological realism. Only in this way can we truly understand Badiou’s fundamental thesis that thinking and being are the same. Philosophy is not ontology and it is not a true procedure, but a thought that arises by being conditioned with the generic thoughts of all four truth procedures (art, (...) politics, science, and love), which in turn does not mean that it cannot speak in the name of truth and ontology. (shrink)

In this article, we discuss Badiou’s concept of the world through the somewhat unusual metaphor of “the anatomy of the world”. The anatomy of the world allows us to approach the concept of the world through the idea of ​​its constitution, architecture, structure – its anatomy. But as we show in the first part of the text, in order to derive the anatomy of the world, we need a corpse of the world – the world must die. Following the philosophy (...) of Alain Badiou, we demonstrate that the world in its objective existence is indifferent to the question of life and death. Whether the world lives or dies depends only on the realisation of the truth procedures in the world on the basis of which the world is subjectivised. The world suffers from mortifying impulses, as the reactive and obscure forms of subjectivity actively work against the realisation of truths in the world. Through the artistic presentations of anatomy by Rembrandt van Rijn and John Donne, we also elaborate the tense relationship between the corpse of the world and the life of the world. Although art often sees science as something that kills the world, our final point is that the world can also come to life through science. (shrink)