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Jacques Derrida

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.

My research and writing this year has been primarily focused on completing a draft manuscript of my book, The Outside Not Beyond. This work has been aided tremendously by a 12-month research and study leave, of which I was at the midway point at the beginning of the year, and by a 12-month faculty research fellowship at the Jackman Humanities Institute (University of Toronto) that began this past July. The project also received very generous support beginning this year from the Social Science and Humanities Research Council (SSHRC, the national granting agency in Canada), which will provide funding over the next four years for research, assistants, travel, symposia, etc.

So over the past year I have had the time, solitude and resources to read and write and make significant progress on my projects. I have found my office at the JHI to be a particularly conducive place to work, and I really value the time I have had over the past 18 months, un-interrupted from teaching and university service duties, to focus on my own work and to remain with questions for extended periods of time.

Having submitted a book proposal to the University of Chicago Press in December of last year, by June of this year I finally received two Readers’ Reports, both of which very much endorsed the project and provided valuable feedback. I then turned my official response to these reports into an occasion to write what amounted to a second proposal: 11-pages that further expanded on the first, and represented the project in its current state of development. I found this to be an extremely productive task, one that really enabled me to flesh out both the major and minor scales and dimensions of the project. I walked away from the experience even more an advocate of “the second project outline.”

Topics and themes that have been pursuing in my research this past year include: the relation between poetry and prayer; anonymity and the neutral; edging and drawing; collective afterlives; ethics, politics and aesthetics of the common; drive, pleasure, and slippage; and measure and measurelessness.

The course of my research and reading this year, began with Georges Bataille’s major writings and publications, and then moved to Foucault’s lectures on governmentality and biopolitics; Dardot and Laval’s extension and elaboration of Foucault’s project, in their indispensable book, The New World Order: On Neoliberal Society; Derrida’s final seminar on the beast and the sovereign and his reading of Robinson Crusoe alongside Heidegger’s seminar The Fundamental Concepts of Metaphysics; and Michael Naas’s beautiful reading of Derrida’s seminar in his book,  The End of the World and Other Teachable Moments. I’ve also returned to the political writings of Maurice Blanchot, as well as some of his late-work, in particular The Step Not Beyond, along with Christopher Fynsk’s fantastic book, Last Steps: Maurice Blanchot’s Exilic Writing.

Other books that came out this year that I very much enjoyed, and that have remained with me, include: David Graeber’s book on bureaucracy, The Utopia of Rules; Kristin Ross’s Communal Luxury: The Political Imaginary of the Paris Commune; Elizabeth Kolbert’s, The Sixth Extinction; and McFadden and Al-Khalili’s Life on the Edge: The Coming Age of Quantum Biology. This last title is its own frontline education on one of the most exciting new fields of scientific research.

While writing, “The Art of the Consummate Cruise and the Essential Risk of the Common,” a paper for a panel on sexual risk and barebacking for the American Studies Association conference (Toronto, October 2015), I also returned to the work of William Haver—which remains the most inexhaustible source of inspiration and insight—as well that of Leo Bersani, Tim Dean. I have been in conversation with editors of an online journal, and hope that this paper will be published very soon.

I also continue to try to make fiction and poetry a regular part of my reading list. Books that particularly stood out this year are: Hanya Yanagihara’s A Little Life; Nell Zink’s Mislaid; Michel Houellebecq’s Submission; and Claudia Rankine’s Citizen.

Publications this year included: “The Separated Gesture: Partaking in the Inoperative Praxis of the Already-Unmade,” in the collection Nancy and the Political (Edinburgh University Press); my conversation with Jean-Luc Nancy, “The Existence of the World is Always Unexpected,” in Art and the Anthropocene (Open Humanities Press); my essay, “Drool: liquid fore-speech of the fore-scene,” in the online journal World Picture; and my essay, “Parasol, Setas, Parasite, Peasant,” in, Could, Should, Would, a monograph on architect J. Mayer H. (Hatje Cantz).

The first review of my book, The Decision Between Us, appeared in the January issue of Art in America (by Christa Noel Robbins); and that has since been followed by equally sympathetic, insightful and enthusiastic reviews in Critical Inquiry (by Tom McDonough), New Formations (by Jacques Khalip), and in Parallax (by Matthew Ellison and Tom Hastings).

As part of a conference seminar on Bataille that I co-organized with Etienne Turpin for the American Comparative Literature Association conference (Seattle), I presented a new paper titled, “A solvent for ‘poetry’s sticky temptation.'” It was a first attempt to consider the relation between poetry and prayer as it can be fashioned through a reading of Bataille’s A-Theological Summa. A keynote lecture at a conference on aesthetics and ethics at The Royal College of Art in London, gave me an opportunity to return to and to expand upon my paper, “The Commerce of Anonymity” which is on the art of mourning, and artist Shaan Syed’s “The Andrew Project.” An invitation to present some of the my current research at the Comparative Literature Emerging Research Lecture Series, here at the U of T this past fall, was yet another opportunity to further expand and develop the “Anonymity” paper into what I now feel is pretty much a completed chapter for the new book. Finally, last spring at Poetic Research Bureau in L.A. I read from and discussed my book, The Decision Between Us, along with readings by Etienne Turpin and Nadrin Hemada from collections that they have recently edited on the library and the prison, respectively.

Currently, I am preparing two keynote lectures in March 2016, one for the annual Comparative Literature conference, here at the University of Toronto, and the other for “Aisthesis & The Common: Reconfiguring the Public Sphere,” at McGill University. Also in March, I have been invited to speak at the Society for Philosophy and Culture at McMaster University.

Research travel this year included time in NYC in February in order to visit the National 9-11 Memorial and Museum at Ground Zero; and to Sicily in late-August to attend a week-long seminar on “sex and philosophy” taught by Jean-Luc Nancy.

This was also the year when I revived my performance art practice. It had been close to 7 years since I last presented my work and I have been wanting to return to performance for some time now. Since the late-summer I have been in conversation with Johannes Zits, and along with him and three other artists we have been developing a new work together. Many details will be posted here in the months to come, but for now I can say that at the end of January 2016 I will be part of a five-person, 6-hour durational performance at Katzman Contemporary, here in Toronto; and in February, I will be participating in a five-day workshop with artist Doris Uhlich, on dance, sound, and the naked body. All of this work is deeply connected to my thinking and writing on the peri-performative; naked image and naked sharing; exposure, risk, touch and trust. I am really excited to be able to translate this work into various forms of performance.

I will end this post by saying how grateful I am for those of you who have subscribed to this blog, and who take the time to be its readers. Happy New Year 2016!

Published in the latest issue of the online, open-access journal World Picture, on the theme of abandon. You can read and download my essay and the others in the volume, here: World Picture 10: Abandon

I am re-reading some of Maurice Blanchot’s essays on Marx, Marxism and communism; partly prompted by Derrida’s own reading of these texts in Specters of Marx, but also as part of my ongoing thinking about the work of Georges Bataille and the forms of sociality and being-together that find their structure in what I refer to as “the intimacy of the outside.”

At the very end of “Slow Obsequies” (Friendship), Blanchot’s review essay of Henri Lefebvre’s La Somme et la reste (1959), M.B. says something about “measurelessness” that immediately brought me back to a blog post of mine from last summer, around the question of fraternity in and for Derrida and Nancy, prompted by my engaging with some recent work by my friend Philip Armstrong. Specifically, my having taken issue with Derrida’s inability (in his book Rogues) to understand how Nancy can argue that the incommensurable is the only measure that we share in common.

For Blanchot, philosophy’s claim of the end, including the end of philosophy (as by Lefebvre, but so many others in France in the 1950s), is always a claim for a measureless end. As he goes on to say, it is through this claim that philosophy reintroduces “the exigency in it for a new measure beyond all measure. In this way, measurelessness [his emphasis] would be the last word of a philosophy ready to be silent but still continuing to say to us: Measurelessness is the measure of all philosophical wisdom.”

What is all the more remarkable however, is that as I might want to rush back with this in order to further indict Derrida, Blanchot’s very last sentence, quoted above, carries a footnote which reads: “It must be said here, even in a very brief note, that in his writings Jacques Derrida poses the question of the ‘end of philosophy’ in a new—different (posing it without exposing it)—way.” This in and around 1959!

Derrida was of course completely aware of this text, especially at the time that he was writing about Nancy in Rogues (2003), a book that follows Specters by ten years (1993). So it is curious that Derrida does not draw upon this passage from Blanchot on the measureless, when he grapples with this concept in his reading of—and friendship with–Nancy. Is the measureless what Derrida will refer to (in Specters) as the “undeconstructible”? And as I tried to suggest awhile back, is Nancy’s assertion of this measurelessness (or incommensurabilty) as that which we share in common, the way in which we might say that he deconstructs deconstruction AND radically re-thinks friendship?For as Blanchot asserts in the quoted passage above, measurelessness is the measure of all philosophical wisdom, but it may also be the wisdom that is experienced as friendship.

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