Jean Luc Nancy Livres

Banal, oui, lantismitisme ltait dans les annes 1930. Aussi ordinaire que la dtestation de la vermine. Eide dun complot mondial des juifs navait pas besoin dtre argumente : elle allait de soi. Cette banalit pour reprendre le mot de Hannah Arendt - soutenait une haine, une condamnation, bientt une extermination. Heidegger a repris les formules les plus violentes de cette doxa en les intgrant un systme de pense : les juifs accomplissaient leffondrement de lOccident. Ctait vident. On savait quil tait, comme tant dautres, antismite. On navait pas lu les notes de ces Cahiers noirs qui entranent dans linfamie tout un pan de sa pense. Non pas la pense de ltre, mais celle dune histoire-destin et du dsir farouche dun nouveau commencement. Inaugurer, fonder, tre dans linitial, vieux prurit mtaphysique... Il faut reprendre la lecture. Il faut affronter ce que recouvre cette banalit hideuse. Non seulement chez Heidegger mais partout.

Avec Hegel, le sens ne se propose plus par le lien religieux d'une communauté et le savoir ne s'ordonne plus à la totalité d'un sens. Depuis Hegel, nous n'avons pas cessé de pénétrer dans cette négativité. Le lire, c'est d'abord penser ceci : le sens n'est jamais donné ni disponible, il s'agit de se rendre disponible pour lui, et cette disponibilité s'appelle liberté.

< > : la conjonction doit être comprise simultanément et alternativement dans ses valeurs disjonctive, substitutive ou conjonctive

The book captures a pivotal discussion among prominent philosophers Hans-Georg Gadamer, Jacques Derrida, and Philippe Lacoue-Labarthe in February 1988, focusing on Martin Heidegger's philosophy and its controversial ties to Nazism. Presented in both transcription and translation, it reveals their insights and the audience's reactions, highlighting the philosophical and political ramifications of Heidegger's ideas. This dialogue not only delves into complex themes of ethics and responsibility but also reflects on the broader implications of philosophy in society.

Originally written for an exhibition Nancy curated at the Museum of Fine Arts in Lyon in 2007, the text addresses the medium of drawing in light of form in its formation, of form as a formative force, opening drawing to questions of pleasure and desire.

"A leading philosopher reflects on how our experience of the world in changing in these crisis-ridden times"-- Provided by publisher

In the past, pandemics were considered divine punishment, but we now understand the biological characteristics of viruses and we know they are spread by social interaction and the movement of people. What used to be divine has become human – all too human, as Nietzsche would say. But while the virus dispels the divine, we are discovering that living beings are much more complex and harder to define than we had previously thought, and also discovering that the nature and exercise of political power are more complex than we may have thought. And this, argues Nancy, helps us to see why the term ‘biopolitics’ fails to grasp the conditions in which we now find ourselves. Life and politics challenge us together. Our scientific knowledge tells us that we are dependent only on our own technical power, but can we rely on technologies when knowledge itself includes uncertainties? If this is the case for technical power, it is much more so for political power, even as it presents itself as guided by objective data and responding to legitimate expectations. The virus is a magnifying glass that reveals the contradictions, limitations and frailties of the human condition, calling into question as never before our stubborn belief in progress and our hubristic sense of our own indestructibility as a species.

Der französische Philosoph Jean-Luc Nancy denkt darüber nach, welche Aufgaben Kunst heute zu erfüllen hat und stellt einige grundlegende Fragen: Wozu braucht man Kunst? Wo fängt Kunst an? Warum ist Kunst so teuer? In einem dichten Text entfaltet Nancy seine Gedanken zum Verhältnis von Kunst und Heiligem, Kunst und Ökonomie, Kunst und Politik, sowie Kunst und Philosophie. Wozu braucht man Kunst? bildet den Auftakt der Schriftreihe Riemschneider Lectures der Staatlichen Akademie der Bildenden Künste Karlsruhe