Nihil Unbound

Brassier, Ray

doi:10.1057/9780230590823

Cited by 246 publications

(18 citation statements)

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“…The claim that there is a potential act needing to be 'released' in a given musical setting might seem to impute rule-like normativity to the improvising situation: something that ought to be. However, this claim does not cohere with context-sensitivity and underdetermination of expectation described in the previous section or with Brassier's realist metaphysics, which assumes only a material reality outside of any subjective givenness or life (see Brassier 2007).…”

Section: The Alien Time Of Improvisationmentioning

confidence: 89%

Promethean and Posthuman Freedom: Brassier on Improvisation and Time

Roden

2019

Performance Philosophy

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Ray Brassier's "Unfree Improvisation/Compulsive Freedom" (written for the 2013 collaboration with Basque noise artist Mattin at Glasgow's Tramway) is a terse but insightful discussion of the notion of freedom in improvisation. He argues that we should view freedom not as the determination of an act from outside the causal order, but as the reflective self-determination by action within the causal order. This requires a system that acts in conformity to rules but can represent and modify these rules with implications for its future behaviour.Brassier does not provide a detailed account of how self-determination works in improvisation. His text implies that the act of improvisation involves an encounter between rule-governed rationality and idiomatic patterns or causes but does not specify how such rules operate in music, what their nature is or how the encounter between rules and more rudimentary “pattern-governed” behaviour occurs.I will argue that, in any case, there are no such rules to be had. Instead, claims about what is permissible or implied in musical processes index highly-context sensitive perceptual and affective responses to musical events. I develop this picture in the light of recent accounts of predictive processing and active inference in cognitive science.This account provides an alternate way of expressing Brassier’s remarks on the relationship between music and history in “Unfree Improvisation” one that eschews normative discourse in favour of an ontology of social and biological assemblages, their affects, and the processes they entrain.This adjustment is of more than aesthetic interest. Brassier’s text suggests that the temporality of the improvising act models an insurgent relation to time: specifically, the remorseless temporality explored in his writings on Prometheanism and Radical Enlightenment. I will conclude by using use this analogy to elaborate the idea of a posthuman agency adapted to a hypermodern milieu of self-augmenting technological change.

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Section: The Alien Time Of Improvisationmentioning

confidence: 89%

Promethean and Posthuman Freedom: Brassier on Improvisation and Time

Roden

2019

Performance Philosophy

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“…34 Foucault's biopolitics (as well as his analyses of disciplinary power and technologies of the self) should be understood as continuing the corporalization of Kant's transcendental subject, following the work of Martin Heidegger and its influential development in the thought of Morris Merleau-Ponty. The thinking subject is completely embodied, that is to say thoroughly constrained and conditioned by the biological and social systems of which the subject is merely an emergent effect.…”

Section: Problems With the Biopolitical Interpretationmentioning

confidence: 99%

The biopolitics of corpses of mass violence and genocide

Alsheh¹

2017

Human Remains and Mass Violence

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“…Ryškiausi judėjimo atstovai -Quentinas Meillassoux, Ray Brassier 1 , Iainas Hamiltonas 1 Ray Brassier vadinamas "spekuliatyviojo realizmo" termino autoriumi. Savo knygoje Nesusaistytas Niekis (Brassier 2007) jis kritikuoja fenomenologiją, hermeneutiką ir Deleuze'o vitalizmą -t. y. tokias pozicijas, kurios pasaulį suvokia kaip prasmės raiškos sferą. Priešingai, jo transcendentalinio nihilizmo pozicija teigia, kad pasaulis yra beprasmis, o koreliaciją įveikiantis mąstymas yra atpažinti ne savo sąsają su būtimi, o su nebūtimi (non-being).…”

Section: Spekuliatyvusis Realizmas: Meno Ir Filosofijos Santykisunclassified

Quentinas Meillassoux Ir Radikali Meno (Ne)galimybė

Sabolius¹

2014

PRB

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Šiame straipsnyje nagrinėjamas spekuliatyviojo realizmo ir meno santykis. Teigiama, kad nors naujasis judėjimas išpopuliarėjo kuratorių ir menininkų kontekstuose, vieno jo pradininkų Quentino Meillassoux knygoje „Po baigtinybės“ siūloma pozicija nepalieka galimybių paties meno legitimavimui. Spekuliatyvieji realistai stengiasi įveikti koreliacionizmo prieigą, pagal kurią tarp mąstymo ir būties egzistuoja būtinas ryšys. Kartu tokia pozicija nenumato galimybės meninėms praktikoms pasiekti realybės sferą – sukurdamas ką nors nauja, menininkas nuolatos pažeidžia absoliutaus pasaulio autonomiją. Tačiau atmetus spekuliatyvųjį realizmą grindžiantį reduktyvų racionalizmą, Meillassoux postuluojamas „kontingencijos būtinybės“ principas gali tapti meninės prieigos orientyru. Kūrybinėse praktikose įgyvendinamas kontingencijų radikalizavimas gali pasiūlyti nespekuliatyvią akistatą su Hiper-Chaosu, virtualybės plotmėje aktualizuodamas „virsmo kitu“ perspektyvą.Pagrindiniai žodžiai: spekuliatyvusis realizmas, menas, kontingencija, virtualumas. Quentin Meillassoux and Radical (Im)possibility of ArtKristupas Sabolius AbstractThis paper addresses the problematic relationship between Speculative Realism and art. Although the newly-born movement became popular among curators and artists, one finds no space left for legitimization of creative practices in Quentin Meillassoux’s “After Finitude”. By criticizing the so-called correlationism which privileges the necessary binding between being and thinking, Speculative Realism would not grant art a possibility of the access to the reality of things-in-themselves. By creating something new, artistic practices constantly violate the absolute autonomy of the world. On the other hand, if rejected the reductive rationalism of speculation, the principle of “the necessity of contingency”, as postulated by Meillassoux, could provide some guidelines for artistic take on the issue of reality. Through the radicalization of contingency in creative practices and the restitution of the value of the virtual, one could perform the transformation into Otherness and not-speculative confrontation with the realm of Hyper-Chaos.Keywords: speculative realism, art, contingency, virtuality.

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Nihil Unbound

Cited by 246 publications

References 0 publications

Promethean and Posthuman Freedom: Brassier on Improvisation and Time

Promethean and Posthuman Freedom: Brassier on Improvisation and Time

The biopolitics of corpses of mass violence and genocide

Quentinas Meillassoux Ir Radikali Meno (Ne)galimybė

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