Archive

Jacques Derrida

I presented this talk on 15 April 2021, as part of “Thinking Loneliness” the sixth and last instalment in a series on “Loneliness and Technology,” organized by The English Association (UK).

Here is a description of the event:

What is the relationship between loneliness and the history of thought? How have thinkers thought about loneliness through time? The reinvention of aesthetics in eighteenth-century Europe saw an influential upheaval of the relation between solitude and sociality. Whereas aesthetic experience might remain a lonely state in practice, its ability to conjure the human faculties into a state of ‘free play’ was thought to register its inherently communal nature, which Hannah Arendt understood to form the core of an unwritten and arguably still unrealised political philosophy. Like solitude, loneliness has also been a site of philosophical fantasies: of self-presence and self-sufficiency, but also of the possibility of disposing with, or escaping from, markers of identity or difference, including race, class, gender and sexuality.

This event brings together scholars whose work has addressed loneliness at the intersection of philosophy, critical theory, aesthetics, and queer theory. We will be asking: what role has loneliness played in the history of philosophy? How has it structured philosophy’s attempts to establish the foundations, possibilities and limits of both subjectivity and community?

Thinking Loneliness is the sixth event in our series of The English Association’s special interest group on Loneliness and Technology.

What is the relationship between loneliness and the history of thought? How have thinkers thought about loneliness through time? The reinvention of aesthetics in eighteenth-century Europe saw an influential upheaval of the relation between solitude and sociality. Whereas aesthetic experience might remain a lonely state in practice, its ability to conjure the human faculties into a state of ‘free play’ was thought to register its inherently communal nature, which Hannah Arendt understood to form the core of an unwritten and arguably still unrealised political philosophy. Like solitude, loneliness has also been a site of philosophical fantasies: of self-presence and self-sufficiency, but also of the possibility of disposing with, or escaping from, markers of identity or difference, including race, class, gender and sexuality.

This event brings together scholars whose work has addressed loneliness at the intersection of philosophy, critical theory, aesthetics, and queer theory. We will be asking: what role has loneliness played in the history of philosophy? How has it structured philosophy’s attempts to establish the foundations, possibilities and limits of both subjectivity and community?

I will be in conversation with Samantha Rose Hill and Christopher Law. You can register via the Eventbrite link below.

John Paul Ricco outlines a queer ethos of finitude in which both solitude and things affirm time as only ever the time that remains

By looking at the ways in which Denise Riley’s essay, Time Lived, Without Its Flow, and Adania Shibli’s novel, Minor Detail, confront the singularity of death and what of life remains unlivable, and then turning to Dean Sameshima’s photo series, being alone, and zu verschenken(‘to give away’), Ricco begins to outline a queer ethos of finitude in which solitude and things are two principal existential and empirical affirmations of the sense of time as only ever the time that remains.

I will be in conversation with Jean-Paul Martinon (Goldsmiths). You can register via the Eventbrite link below.

In a curious statement several years ago, Giorgio Agamben claimed that “the fundamental ontological-political problem today is not work but inoperativity [inoperosità].” Yet, even if he goes on to unfold “the poetics and politics of inoperativity” in terms of potential and use, the meaning of this term remains elusive. It would seem to translate Maurice Blanchot’s formulations in his literary criticism and fiction of “désœuvrement,” designating at once “worklessness” and “unworking,” as later reelaborated by Jean-Luc Nancy, among others. But it also resonates with a sequence of motifs turning around the problem of nonwork more generally, such as leisure, expenditure, play, erotics, fugitivity, inertia, revolution, sabbath, failure, etc. We could venture that the diffuse semantic field of inoperativity suggests on the one hand varied modes of refusing, undoing, or deactivating given operations and structures. And, on the other hand, it implies another way of doing or being in common—that is, other ways of coexisting or living in the world—no longer captured by the powers of appropriation, re-production, and rational instrumentality otherwise presiding over the work of modern humanity. For this seminar, we invite papers that think through arts, literatures, or theories of inoperativity across the disciplines, with a particular emphasis on its ethical and political stakes.

Fun With Agamben! – The New Inquiry

Michael Krimper and I are organizing this seminar (panel) for the next American Comparative Literature Association (ACLA) conference, which will take place online from 8-11 April, 2021, with Montreal being the host city.

Abstracts are due by October 31st.

Submission instructions are available here: https://acla.secure-platform.com/a/organizations/main/submissions/details/1113

Jean-Luc Nancy: Poetics, Politics & Erotics of Exscription

Parallax, volume 27, issue 1 (February-March 2021)

Editors: John Paul Ricco, Stefanie Heine, Philippe P. Haensler

This special issue gathers the work of seven scholars writing on Jean-Luc Nancy’s notion of exscription. The essays demonstrate the centrality of this concept in Nancy’s thinking, and its specific relevance to poetics, politics, and erotics—historically and in terms of the contemporary moment. By pursuing various permutations of this concept in Nancy’s work over the past thirty years, the authors move the discussion in exciting new directions and underline the concept’s applicability to questions of community and the commons; sex and sexuality; art and aesthetics; and the human and the animal.

In his essay, “Buccal Intimacies,” Philip Armstrong rethinks the photograph in terms of touch and the pre-orality of the mouth, by looking at Ann Hamilton’s series of “Face to Face” photographs in which the open mouth coincides with the aperture of the camera to become the space of photographic enunciation, exposure and exscription. In her essay on “Beastly Writing” Naomi Waltham-Smith pursues a trail of footprints in the work of Nancy, Jacques Derrida, and Hélène Cixous, and tracks down the animal voice in the vestigial sonorousness of the animal’s retreat. 

Erotic pleasure, sexual desire, and carnal sex are just a few of the more familiar ways in which corporeal existence is exscribed—an irreducible ontological condition of ecstatic exposure that Nancy most recently has named “sexistence.” John Paul Ricco’s essay, “Drawing the Edge of the Commons,” explores these themes in Nancy’s work, in terms of the relations between the sex practice of edging and the aesthetic practice of drawing in the work of Francisco-Fernando Granados, Sarah Kabot, and Shaan Syed—three contemporary artists that in various respects articulate what Ricco theorizes as an “erotic aesthesis” and edge of the common.

In his essay, “The Dis-Appearance of Desire,” Philippe P. Haensler reads Nancy’s writing alongside Jacques Lacan’s seminar on The Ethics of Psychoanalysis, charting remarkable affinities between the two thinkers and their respective notions of exscription and sublimation. 

The poetics of exscription is the focus of Charles de Roche’s essay on fragmentary writing and the moment when Friedrich Hölderlin scratches a manuscript page with a pen devoid of ink. And Michael Krimper aligns Nancy’s notion of literary communism with the thinking of Maurice Blanchot, Marguerite Duras, and Achille Mbembe, all within sight of current political concerns regarding plural configurations of assembly, the people, and the commons. 

Ginette Michaud provides the “Afterword” to the journal issue, as she reads each of the essays in terms of Nancy’s overall philosophical project, and alongside of and against other recent engagements with his work. 

Sleep and the Interior

SATURDAY, MARCH 10, 2018 AT 4:30 PM to 6:00 PM

Aronson Gallery 66 Fifth Avenue, New York 10011

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From the bedroom to the psychiatrist’s couch, Pillow Culture presents an evening of dialogue exploring notions of “interior” with philosopher John Paul Ricco and psychiatrist Nathan Kravitz.

Organizers:

Natalie Fizer & Emily Stevenson co-founders of Pillow Culture

Speakers:

John Paul Ricco works on social-sexual ethics & aesthetics at the intersection of contemporary art and architecture, queer theory, and continental philosophy. He is the author of The Logic of the Lure (University of Chicago Press, 2003)—the first queer theory monograph in art history—and The Decision Between Us: art & ethics in the time of scenes (Chicago, 2014). He is currently completing a third book, The Intimacy of the Outside. He has edited issues of Parallax and Journal of Visual Culture, and recent essays have been included in Nancy and the Political, Porn Archives, and W.J.T. Mitchell’s Image Theory; as well as in the journals Qui Parle, Culture Machine, Scapegoat, Feedback, World Picture, and L’Esprit Créateur. His essay, “Drool: Liquid Fore-speech of the Fore-scene,” addresses the rarity of excessive and inassimilable forms of pre-verbal liquidity in continental philosophy from Descartes to Nancy. He is Professor of Contemporary Art, Visual Culture and Comparative Literature at the University of Toronto, where he is currently leading a Research Working Group on “Sex, Ethics and Publics.”  www.utm.utoronto.ca/dvs/john-paul-ricco

Nathan Kravis is Clinical Professor of Psychiatry at Weill Cornell Medical College where he is also Associate Director of the DeWitt Wallace Institute for the History of Psychiatry at Cornell, Training and Supervising Analyst at the Columbia University Center for Psychoanalytic Training and Research, and an Associate Editor of the Journal of the American Psychoanalytic Association. He is the author of On the Couch: A Repressed History of the Analytic Couch from Plato to Freud (MIT Press, 2017). Other recent publications include “The Analyst’s Hatred of Analysis” (Psychoanalytic Quarterly, 2013) and “Fuck Redux” (Journal of the American Psychoanalytic Association, 2013). His latest paper, “The Googled and Googling Analyst,” appeared in the October 2017 issue of the Journal of the American Psychoanalytic Association. He is the recipient of teaching awards from the psychiatry residents at Cornell and psychoanalytic candidates at Columbia, the George E. Daniels Merit Award of the Association for Psychoanalytic Medicine (2011), and the George S. Goldman Award of the Columbia Psychoanalytic Center (2015). He delivered the Liebert Memorial Award Lecture in New York in 2015. He has been in private practice in New York since 1987.

Hosted by MFA Interior Design, Parsons, The New School.

 

“On Queer Forgiveness,” the paper that I recently presented at “The Ethics of Apology” conference, held at the Centre for Ethics, University of Toronto, October 20, 2017, is now available at the online, open-access journal C4E: Perspectives on Ethics.

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I am so pleased to have my essay “The Commerce of Anonymity,” published in the latest issue of Qui Parle. Here’s the abstract, followed below by a short excerpt. You can access and download a copy of the entire article here: Ricco, “The Commerce of Anonymity” (Qui Parle, June 2017)

 

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Always “within distance of” oneself and others: this is our place,

and to write or to draw is to discover and sustain (to varying degrees

of duration) that distance. In its proximity this distance is the source

of pleasure and the mark of intimacy—but it is also the measure of

the exact equality between one passerby and another. No longer

even in terms of the being-other of the stranger, this is more a matter

of the spacing of passage in its passing, the place that is abandoned

by and that abandons the passerby, in his or her passing, to the outside,

including the outside of identity.

 

There, where the studio meets the street and the street meets

the study, and the desk meets the drawing table and the drawing table

meets the urban signboard, “each face has value and refers—or

leads—to one human identity that is equal to another” (Genet). To which

we might add: each face leads toward an exact and absolute equality

that renders each of us not identical but incommensurable. Each

time with each other, it is an experience that affirms the essential anonymity

of being-together and the risks and pleasures of our ethical

and aesthetic commerce.

 

…in a forthcoming issue of the journal L’Esprit Createur.

Irving Goh. The Reject: Community, Politics, and Religion after the Subject. Bronx, NY: Fordham University Press, 2015.

There is no better indication of the failure of the actual practice of critical theory in the academy today than the extent to which those who claim to be theorists remain wholly attached to “the subject” and “subjectivity.” Regardless of the ways and the extent to which poststructuralism and deconstruction have fundamentally put into question its ontological, political, and ethical status over the past fifty years, the subject remains incredibly resilient to critique; it is central to queer and affect theory; to disability, gender, and race studies, and it is undeniably present in the work of the most revered and cited of contemporary thinkers.

In The Reject: Community, Politics, and Religion after the Subject, Irving Goh not only traces the persistent presence of the subject in the work of Badiou (“the faithful subject of the event”), Rancière (“the uncounted subject”), Étienne Balibar (“the citizen-subject”), Rosi Braidotti (“the critical post-human subject”), and Katherine Hayles (“the flickering post-human subject”), he also provides clear and reasonable arguments as to why, in each case, this presence poses serious problems for their respective attempts to think community, democracy, religion, love, friendship, the post-secular, and the post-human in wholly new ways. More important, through his brilliant theoretical conceptualization of “the reject,” Goh offers one of the most rigorous and carefully articulated responses to the question “who comes after the subject.” Jean-Luc Nancy posed that question thirty years ago in a letter to fellow continental philosophers. Their responses were published two years later in the journal Topoi, and subsequently in Who Comes After the Subject (1991). Reading this book during my first year of graduate study, I distinctly remember the excitement I felt by the gauntlet thrown down by Nancy’s question. Over the past 25 years, I have consistently recommended the book, always a bit surprised to realize how little known it has become. Goh is thus owed a debt of gratitude for returning us to this groundbreaking volume and the seismic critical theoretical question it inaugurated.

Goh structures his discussion according to three distinct valences (or “turns” as he calls them) of the reject, which can be defined as follows: “passive rejects” are those who are rejected (e.g. refugees, sex workers, black bodies, the indigenous, et al.); “active rejects” are those who reject others; and “auto-rejects” are those who ‘self-reject,’ by rejecting the a priori subjective autonomous self and its hypostatization. While the first two rejects will be familiar to any reader, the originality of Goh’s argument – and hence the potential un-familiarity of its figure or image – lies in his conceptualization of the auto-reject. Not to be confused with any form of auto-critique, de-subjectivation or the nihilism of the abject, the auto-reject is predicated upon the a priori abandonment that is the originary force of existence. Singularities are born out of this abandonment of being to existence, thereby becoming the rejects that they are in relation to others. In its rejection of self, the auto-reject sustains this infinite abandonment, perhaps right up to the point at which neither the auto- nor the reject can be sustained, where they are abandoned and rejected, and some other unforeseeable form of being-in-common is generated.

Without being immune to being a passive or active reject, according to Goh, the auto-reject breaks their dialectical cycle of rejection by “keeping in mind that there is always the possibility that one is a reject in the eyes of others” (8), and thus in doing so, at times “sidestep[s] to an adjacent space” as a way to abandon any asserted self-positioning and effectively ‘getting over itself.’ However, lest this be confused with some liberal acquiescence toward the other, Goh further specifies that this “shift or sidestepping to an adjacent space further requires that the auto-reject respect the other’s desire to not fill the space left by the auto-reject.” In that respect, “the auto-reject rejects in itself the demand for the other to arrive. It recognizes that it is always possible that the other rejects coming to presence, that is to say, rejecting appearing in the presence of the auto-reject” (8). The auto-reject is the one that abandons itself to the possibility of the other’s non-response; of the other departing and walking away, and without explanation, rapprochement, reproach or even resentment. Indeed, the auto-reject is the rejection of these very responses and imperatives. Thus Goh has outlined what might be described as a non-imperative ethics, one that is without demand (or obligation, responsibility, mutuality), or even an ethics conceived as infinitely demanding.

For one of his scenes, Goh turns to contemporary digital-network technologies and social media platforms in order to underline the extent to which the reject is the exact opposite of the subjective self or “selfie” produced by Instagram, Facebook, and the like. As he notes, the selfie subject as inward-solipsistic-me is the subject that is in constant need of approval, exposure, notoriety, trackability, and the immediacy of connection, gratification and addictive ‘updating.’ In terms of queer theory, it is interesting to note how Goh’s conception of the ethics of the reject resembles the rejection at play in the impersonal erotics of cruising and anonymous sex spaces, where it is not assumed that others will always respond or be attracted, and where the art of the consummate cruise partly lies in the subtle and at times seductive techniques of the auto-reject.

Based upon his close reading of Jacques Derrida, Gilles Deleuze and Félix Guattari, along with Catherine Clément and Luce Irigaray, Goh identifies the friend who leaves town, the syncopic lover, the nomadic war machine, the animal-messiah, and the becoming-animal as various figures and trajectories that traverse the inoperative community of the reject. In our reading of Goh, we might not only begin to acknowledge ourselves to be the rejects that we are, but, in doing so, share in the impossibility of a single totalizing social unity or community ever being possible – or desirable. It is this shared impossibility (or “incompossible” as he terms it, drawing from Deleuze) of any common measure or commensurability of incommensurables, that distinguishes Goh’s uncommonly ethical and political sense of community, friendship, and the post-human. At which point we are left to ask: what comes after the reject?

 

I was invited to deliver one of the Keynote Lectures at the 26th Annual International Comparative Literature conference, by the graduate students in Comp Lit at the University of Toronto. The other Keynote speakers were Linda and Michael Hutcheon, and W.J.T. Mitchell. My talk, “Edging, Drawing, the Common,” took place on March 5th, 2016.

John Paul Ricco, “Edging, Drawing, the Common,” Keynote Address at the 26th Annual International Comparative Literature conference, University of Toronto, March 5, 2016.

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