Critique—a program of thought as well as a disposition toward the world—is a crucial resource for politics and thought today, yet it is again and again instrumentalized by institutional frames and captured by market logics. Technologies of Critique elaborates a critical practice that eludes such capture. Building on Chile’s history of dissident artists and the central entangling of politics and aesthetics, Thayer engages continental philosophical traditions, from Aristotle, Descartes and Heidegger through Walter Benjamin and Gilles Deleuze, and in implicit conversation with the Judith Butler, Roberto Esposito, and Bruno Latour, to help pinpoint the technologies and media through which art intervenes critically in socio-political life.
- Cover
- TECHNOLOGIES OF CRITIQUE
- Title
- Copyright
- CONTENTS
- Translation Has Always Already Begun: Translator’s Introduction
- 1 Critique and Life
- 2 Critique and Work
- 3 The Kríno Constellation
- 4 Technologies of Critique
- 5 The Word “Critique”
- 6 Marx’s Critical Turn
- 7 Crisis and Avant-Garde
- 8 Critical Attitude
- 9 Sovereign Critique I
- 10 Hyperbole
- 11 Sovereign Critique II
- 12 The Epoch of Critique
- 13 Critique within the Frame, Critique of the Frame
- 14 Manet: The Kant of Painting
- 15 Heidegger’s Demand
- 16 Critique and Figure
- 17 Thought and Figure
- 18 The Leveling of the Pit
- 19 The Clash of Film and Theater
- 20 Critique’s Loss of Aura
- 21 Critique and Mass
- 22 Nihil and Philosophy
- 23 Jenny
- 24 The Epoch of Nihilism. Nihil as Epoch.
- 25 The Exhausted Age
- 26 The Coexistence of Technologies: Marx
- 27 Referential Illusion
- 28 Critique and Installation
- 29 Critique as the Unworking of Theater
- 30 Destruction
- 31 Sovereign Exception, Destructive Exception
- 32 The Absolute Drought of Critique
- 33 Sorel: Sovereign Critique
- 34 Benjamin: Pure Strike and Critique
- 35 The Destruction of Theater
- 36 Thought Is Inseparable from a Critique
- Notes
- Index
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