Giorgio Agamben

Endast för att sanning och skönhet är ursprungligt åtskilda, endast för att tänkandet inte helt och hållet kan besitta sitt eget föremål, måste det bli till kärlek till vetandet, det vill säga filosofin.

Brugen af kroppene er det afsluttende bind på Giorgio Agambens stort anlagte Homo Sacer-projekt, som har udfoldet sig over 20 år og adskillige bøger. Brugen af kroppene fortsætter projektet med nye og originale fortolkninger af den vestlige filosofi, samtidig med at implikationerne af projektet som helhed afklares. Bogen falder i tre hovedafsnit. Det første er helliget en analyse af slaveri hos Aristoteles som udgangspunkt for radikalt at genoverveje forestillinger om brug og selvet, som det forudgående værk, Den højeste fattigdom, tematisk slog an. Det andet hovedafsnit sigter mod en fuldstændig omarbejdning af vestlig ontologi; og det tredje udforsker det enigmatiske begreb livsform, som på mange måder er den motiverende kraft bag hele Homo Sacer-projektet. Mellem disse hovedafsnit er der indflettet kortere overvejelser om individuelle tænkere (Guy Debord, Michel Foucault og Martin Heidegger), mens epilogen aftegner en ny tilgang til det politiske liv, der bryder med den vestlige tænknings dødvande. Brugen af kroppene er et sandt mesterværk fra en af ??vores tids vigtigste filosoffer.

Kapitalismen er at forstå som en religion. Den er ikke blot et ‘etos’ med rødder i den protestantiske etik, ikke blot en af kristendommen begunstiget samfundsformation, men langt snarere selv et essentielt religiøst fænomen.indholdForord: Mikkel Bolt & Dominique RouthierWalter Benjamin: Kapitalisme som religionRobert Kurz: Offeret og den perverse genkomst af det arkaiskeGiorgio Agamben: En kommentar, i dag

Dalmatian-Austrian philosopher, Roman Catholic priest, and radical cultural critic Ivan Illich is best known for polemical writings such as Deschooling Society and Tools for Conviviality, which decried Western institutions of the 1970s. This collection brings together Illich’s shorter writings from his early publications through the rise of his remarkable intellectual career, making available works that had fallen into undue obscurity. A fervent critic of Western Catholicism, Illich also addressed contemporary practices in fields from education and medicine to labor and socioeconomic development. At the heart of his work is his opposition to the imperialistic nature of state- and Church-sponsored missionary activities. His deep understanding of Church history, particularly the institutions of the thirteenth century, lent a historian’s perspective to his critique of the Church and other twentieth-century institutions. The Powerless Church and Other Selected Writings, 1955–1985 comprises some of Illich’s most salient and influential short works as well as a foreword by philosopher Giorgio Agamben. Featuring writings that had previously appeared in now-defunct publications, this volume is an indispensable resource for readers of Illich’s longer works and for scholars of philosophy, religion, and cultural critique.

Creation and the giving of orders are closely entwined in Western culture, where God commands the world into existence and later issues the injunctions known as the Ten Commandments. The arche, or origin, is always also a command, and a beginning is always the first principle that governs and decrees. This is as true for theology, where God not only creates the world but governs and continues to govern through continuous creation, as it is for the philosophical and political tradition according to which beginning and creation, command and will, together form a strategic apparatus without which our society would fall apart. The five essays collected here aim to deactivate this apparatus through a patient archaeological inquiry into the concepts of work, creation, and command. Giorgio Agamben explores every nuance of the arche in search of an an-archic exit strategy. By the book's final chapter, anarchy appears as the secret center of power, brought to light so as to make possible a philosophical thought that might overthrow both the principle and its command.

Creation and the giving of orders are closely entwined in Western culture, where God commands the world into existence and later issues the injunctions known as the Ten Commandments. The arche, or origin, is always also a command, and a beginning is always the first principle that governs and decrees. This is as true for theology, where God not only creates the world but governs and continues to govern through continuous creation, as it is for the philosophical and political tradition according to which beginning and creation, command and will, together form a strategic apparatus without which our society would fall apart. The five essays collected here aim to deactivate this apparatus through a patient archaeological inquiry into the concepts of work, creation, and command. Giorgio Agamben explores every nuance of the arche in search of an an-archic exit strategy. By the book's final chapter, anarchy appears as the secret center of power, brought to light so as to make possible a philosophical thought that might overthrow both the principle and its command.

Eighty years ago, Ettore Majorana, a brilliant student of Enrico Fermi, disappeared under mysterious circumstances while going by ship from Palermo to Naples. How is it possible that the most talented physicist of his generation vanished without leaving a trace? It has long been speculated that Majorana decided to abandon physics, disappearing because he had precociously realized that nuclear fission would inevitably lead to the atomic bomb. This book advances a different hypothesis. Through a careful analysis of Majorana's article "The Value of Statistical Laws in Physics and Social Sciences," which shows how in quantum physics reality is dissolved into probability, and in dialogue with Simone Weil's considerations on the topic, Giorgio Agamben suggests that, by disappearing into thin air, Majorana turned his very person into an exemplary cipher of the status of the real in our probabilistic universe. In so doing, the physicist posed a question to science that is still awaiting an answer: What is Real?

Eighty years ago, Ettore Majorana, a brilliant student of Enrico Fermi, disappeared under mysterious circumstances while going by ship from Palermo to Naples. How is it possible that the most talented physicist of his generation vanished without leaving a trace? It has long been speculated that Majorana decided to abandon physics, disappearing because he had precociously realized that nuclear fission would inevitably lead to the atomic bomb. This book advances a different hypothesis. Through a careful analysis of Majorana's article "The Value of Statistical Laws in Physics and Social Sciences," which shows how in quantum physics reality is dissolved into probability, and in dialogue with Simone Weil's considerations on the topic, Giorgio Agamben suggests that, by disappearing into thin air, Majorana turned his very person into an exemplary cipher of the status of the real in our probabilistic universe. In so doing, the physicist posed a question to science that is still awaiting an answer: What is Real?

Dalmatian-Austrian philosopher, Roman Catholic priest, and radical cultural critic Ivan Illich is best known for polemical writings such as Deschooling Society and Tools for Conviviality, which decried Western institutions of the 1970s. This collection brings together Illich’s shorter writings from his early publications through the rise of his remarkable intellectual career, making available works that had fallen into undue obscurity. A fervent critic of Western Catholicism, Illich also addressed contemporary practices in fields from education and medicine to labor and socioeconomic development. At the heart of his work is his opposition to the imperialistic nature of state- and Church-sponsored missionary activities. His deep understanding of Church history, particularly the institutions of the thirteenth century, lent a historian’s perspective to his critique of the Church and other twentieth-century institutions. The Powerless Church and Other Selected Writings, 1955–1985 comprises some of Illich’s most salient and influential short works as well as a foreword by philosopher Giorgio Agamben. Featuring writings that had previously appeared in now-defunct publications, this volume is an indispensable resource for readers of Illich’s longer works and for scholars of philosophy, religion, and cultural critique.

Proposing an alternative history of the optical image, Picture Industry explores the materiality of images and the technologies that govern their reception. Spanning from the late 19th century to the present with images produced for scientific and artistic contexts, Picture Industry includes the work of more than 70 artists and practitioners. But this is not a typical exhibition catalog; it goes beyond the exhibition, presenting an anthology of texts that reveal the range of methodological approaches to the world of images. Picture Industry brings together essays by, among others, Giorgio Agamben, Cory Arcangel, Ariella Azoulay, Roland Barthes, Georges Bataille, Jean Baudrillard, Ericka Beckman, Walter Benjamin, Georges Didi-Huberman, Thomas A. Edison, Harun Farocki, Morgan Fisher, Vilem Flusser, Coco Fusco, Tristan Garcia, Octavio Getino and Fernando Solanas, Sigfried Giedion, Mark Godfrey, Kenneth Goldsmith, Dan Graham, Friedrich A. Kittler, Boris Mikhailov, Craig Owens, Erwin Panofsky, Seth Price, Siegfried Kracauer, Rosalind Krauss, Bruno Latour, Etienne-Jules Marey, Martha Rosler, Allan Sekula, Hito Steyerl, William Henry Fox Talbot, Gilles de la Tourette and Alan Turing.

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. In March 2009, Agamben was invited to speak in Paris’ Notre-Dame Cathedral in the presence of the Bishop of Paris and a number of other high-ranking church officials. His resulting speech, a stunningly lucid and provocative look at the history and state of the Church and its role in society, is presented here. The Church and the Kingdom is at once a pointed attack on the institutional structure of the Catholic Church and a theoretical excursus on the concepts of messianic time and economy. Presenting an exegesis of certain key passages in the New Testament, Agamben examines the philology and philosophy at the root of the Church and of its earthly reign. With its examinations of the foundational texts of the Church, which are also the foundational texts of our modern idea of economy, The Church and the Kingdom reveals significant connections and parallel ideologies which are imperative to understanding the current global situation. This edition of Agamben’s text is accompanied by photographs by artist Alice Attie. Made from folded and twisted reproductions of paintings culled from Christian iconography, these works of art evoke the restless challenge that well-characterizes Agamben’s four decades of philosophy and critique. This book will be welcomed by Agamben’s many readers across the disciplines.

The list of subjects that Giorgio Agamben has tackled in his career is dizzying--from the dangers of our current political moment to the traces of the distant past that inflect the culture around us today. With Pulcinella, Agamben is back with yet another surprising--and surprisingly relevant--subject: the commedia dell'arte character. At the heart of Pulcinella is Agamben's exploration of an album of 104 drawings, created by Giovanni Domenico Tiepolo (1727-1804) near the end of his life, that cover the life, adventures, death, and resurrection of the title character. Who is Pulcinella under his black mask? Is he a man, a demon, or a god? Mixing stories of the enigmatic Pulcinella with his own character in a sort of imaginary philosophical biography, Agamben attempts to locate the line connection between philosophy and comedy. Perhaps, contrary to what we've been told, comedy is not only more ancient and profound than tragedy, but also closer to philosophy--close enough, in fact, that, as happens in this book, at times the line between the two can blur.

What does it mean to be responsible for our actions? In this brief and elegant study, Giorgio Agamben traces our most profound moral intuitions back to their roots in the sphere of law and punishment. Moral accountability, human free agency, and even the very concept of cause and effect all find their origin in the language of the trial, which Western philosophy and theology both transform into the paradigm for all of human life. In his search for a way out of this destructive paradigm, Agamben not only draws on minority opinions within the Western tradition but engages at length with Buddhist texts and concepts for the first time. In sum, Karman deepens and rearticulates some of Agamben's core insights while breaking significant new ground.

What does it mean to be responsible for our actions? In this brief and elegant study, Giorgio Agamben traces our most profound moral intuitions back to their roots in the sphere of law and punishment. Moral accountability, human free agency, and even the very concept of cause and effect all find their origin in the language of the trial, which Western philosophy and theology both transform into the paradigm for all of human life. In his search for a way out of this destructive paradigm, Agamben not only draws on minority opinions within the Western tradition but engages at length with Buddhist texts and concepts for the first time. In sum, Karman deepens and rearticulates some of Agamben's core insights while breaking significant new ground.

Det åbne er et helt centralt værk for forståelsen af Giorgio Agambens forfatterskab og desuden smukt i sin nærmest minimalistiske komposition. Bogens indledes og er oversat af Søren Gosvig Olesen. Bogens tema er forfatterskabets hovedtema: antropogenesen, eller hvordan man bliver menneske. Men Agamben går længere her end i andre af sine tekster. Han spørger, hvorvidt det stadigvæk er muligt at blive menneske, at gøre den bevægelse, gennem hvilken mennesket hæver sig ud af den øvrige natur for at opnå sin status af menneske. El­ler kort sagt – da »menneske« ikke straks betyder »enkeltmenne­ske« – han spørger, om menneskeheden stadig findes. Værket består af 20 kapitler, som hovedregel korte og fulde af citater, og som alle forsøger sig med definitioner af mennesket i forhold til dyret, alle sammen problematiske, på en eller an­den måde utilstrækkelige og uholdbare, viser det sig. Mennesket er et dyr, men det er ikke et dyr som de andre, det er også andet og mere. Men hvordan er det ‘andet og mere’ forbundet med det dyri­ske? Hvor går grænsen? Er det overhovedet muligt at trække en grænse? Hvis det er muligt, så er det i hvert fald ikke muligt med en streg, med lineal. Det er bare lige så kunstigt. Hver gang der viser sig en faktisk grænse, viser den sig at være et artefakt, i virkeligheden på én gang metafysisk og politisk. Mennesket er det væsen, der skal genkendes og anerkendes som sådan for at være, hvad det er. »Kend dig selv!« er, hvad Linné skriver til definition af mennesket i sit store klassifikationssystem. Men hvordan kan et imperativ udgøre en definition? spørger Agamben. For at afprøve det spørgsmål – om et væsen, hvis væsen aldrig er fastlagt – retter han det også til Kojève, Bataille, Uexküll og (især) Heidegger. I alt 20 korte kapitler, 20 plancher med citater og kommentarer til belysning af; hvordan mennesket bliver menneske. Giorgio Agamben (f. 1942) er en af vor tids mest markante og kontroversielle filosoffer. Hans tænkning er inspireret af bl.a. Heidegger, Benjamin, Nietzsche, Aristoteles, Marx og Derrida. For Agamben hænger sprog, litteratur, metafysik, politik og etik nøje sammen. Søren Gosvig Olesen (f. 1956), filosof, oversætter og forfatter. Han er dr.phil.habil fra Université de Nice og lektor i filosofi ved Københavns Universitet.

”Varje diskurs om erfarenheten måste i dag ta sitt avstamp i konstaterandet att det inte längre är möjligt för oss att göra en erfarenhet.” Med dessa ord ­inleder Giorgio Agamben titelessän i Barndom och historia, en bok som ursprungligen publicerades 1978. Denna undersökning av förhållandet mellan erfarenhet och vetenskap förgrenar sig snabbt till en mångfacet­terad reflektion över så skilda ämnen som lek och rit, semantiskt och semiotiskt, fabelns värld och krubban. Samtidigt knyter Agamben det heterogena materialet till ett antal centrala språk- och historiefilosofiska frågeställningar, i vilkas ljus Barndom och historia fram­träder som en radikal kritik av den västerländska metafysikens grundläggande kategorier, från det ”punktuella” tidsbegreppet till föreställningen om människan som det ”djur som har språk”. I Agambens filosofi om barndomen är människan tvärtom det djur som saknar språk och som därför måste hämta det utifrån, i historien. Giorgio Agamben är filosof född i Rom 1942. Han är författare till ett fyrtiotal böcker om vitt skilda ämnen som samtidigt kännetecknas av en stark tematisk koherens. Boken rymmer också ett efterord av dess översättare, Gustav Sjöberg.

Agamben charts a journey that ranges from poems of chivalry to philosophy, from Yvain to Hegel, from Beatrice to Heidegger. An ancient legend identifies Demon, Chance, Love, and Necessity as the four gods who preside over the birth of every human being. We must all pay tribute to these deities and should not try to elude or dupe them. To accept them, Giorgio Agamben suggests, is to live one's life as an adventure-not in the trivial sense of the term, with lightness and disenchantment, but with the understanding that adventure, as a specific way of being, is the most profound experience in our human existence. In this pithy, poetic, and compelling book, Agamben maps a journey from poems of chivalry to philosophy, from Yvain to Hegel, from Beatrice to Heidegger. The four gods of legend are joined at the end by a goddess, the most elusive and mysterious of all: Elpis, Hope. In Greek mythology, Hope remains in Pandora's box, not because it postpones its fulfillment to an invisible beyond but because somehow it has always been already satisfied. Here, Agamben presents Hope as the ultimate gift of the human adventure on Earth.

Our taste buds are a powerful way for humans to know beauty and experience beautiful things. In Taste, Italian philosopher Giorgio Agamben takes a close look at why the sense of taste has not historically been appreciated as a means to know and experience pleasure or why it has always been considered inferior to actual theoretical knowledge. Taste, Agamben argues, is a category that has much to reveal to the contemporary world. Taking a step into the history of philosophy and reaching to the very origins of aesthetics, Agamben critically recovers the roots of one of Western culture's cardinal concepts. Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and with Taste he turns his critical eye to the realm of Western art and aesthetic practice. This volume will not only engage the author's devoted fans in philosophy, sociology, and literary criticism, but also his growing audience among art theorists and historians.