Badiou's Inaesthetics and the Modern Dilemma by Cameron MacKenzie

By Cameron MacKenzie

The predominance of post-modern idea within the latter half the twentieth century has
brought philosophy to a problem of self assurance in its skill to enquire and comprehend
our present truth. The complacent relativism that has emerged from post-modern
discourse leaves us unprepared to stand both the dominance of a dis-associative free-market or the emergence of regressive fundamentalist totalitarianism. Alain Badiou initiatives
philosophy with improving the method of logical research into the first forces
which form our lives, and he does so via equipping philosophy with either a method and an
end: philosophy is a mathematical ontology within the never-ending pursuit of fact.
In an try and handle the problems of infinitely relative place and totalitarian
authority, I comprehend Badiou to attract most importantly from Wittgenstein’s concept of
the state of affairs and Heidegger’s proposal of Being, putting either one of those insights in the
mathematical framework of set idea as trained by way of Paul Cohen, doing so within the
distinctly Platonic spirit of an entice fact because the antidote to the sophistry of post-modern notion.
Such issues with the intersection of authority and place are highly
modern ones, and for Badiou we stay stuck at the horns of the trendy issue of
the undisputed grasp and the limitless position. the method of overcoming one of these fake
dichotomy, Badiou indicates, comprises a go back to the scene of its founding within the
century’s mind's eye, the instant of its poetic enunciation. via an research of
the severe and artistic paintings of Ezra Pound and T.S. Eliot among the wars, I current
their amazing knowledge of this challenge and their makes an attempt to beat it, targeting
their respective moments of luck and failure as understood via a critique in response to
Badiou’s ethics and aesthetics.

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Extra info for Badiou's Inaesthetics and the Modern Dilemma

Sample text

This element then straddles the boundaries of the situation, and its inclusion into the situation affects the way all other elements in the situation, previously categorized, are retroactively categorized and thereby understood. Furthermore, the boundaries of the situation have been changed by this inclusion, and the count must then encounter new elements at the new boundary which continue to test its principles. Cohen’s MG model provides Badiou with a mathematical foundation for a dynamic model of Being in which change can be schematized and understood.

Cantor hoped to prove that mathematics could not only grasp and manipulate infinity, but that these infinite infinities were well-ordered. The implication of a well-ordered mathematical universe was, for Cantor, the presence of a higher concept of order than a mathematical one; a uniting Presence behind the multiplicity of Number; a One (Dauben 120). ” CH, unproven by Cantor in his lifetime, came to represent a great deal more than a mathematical question; the existence of CH, for many mathematicians, philosophers and scientists, pointed to an ultimate – a higher – order than Number.

The subject of art is a work, not an artist (E 43). In terms of tragic finitude, Badiou asserts that the subject is identifiable as the finite instance of an infinite truth (BE 523). This statement fails to cohere, however, unless Badiou can explain his conception of the infinite in reference to how a subject can access the infinite and still retain its unique subjectivity. To explain this, in turn, requires a firm conception of an infinite that is not a Beyond or a death or an unknowable Void, forever non-transversible by thought.

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