when the idea of alterity is increasingly unstable.

As contributors to this wide-ranging book reveal, Haiti has long been marginalized as an embodiment of alterity, as the other, and the idea of a new Haiti is actually nothing new. An investigation of the notion of newness through the lenses of history and literature, urban planning, religion, and governance, The Idea of Haiti illuminates the politics and the narratives of Haiti’s past and present. The essays, which grow from original research and in-depth interviews, examine how race, class, and national development inform the policies that envision re-creating the country.

Does 'alterity' mean alienation of an individual from himself or an expression of the ..

To find radical alterity we must look towards Derrida and Levinas who right posit radical alterity in the realm of otherwise-than-being. Although I have neither the space nor the ability to writes x’s over words such as “is” to fully explicate this thought, I encourage interested readers to reference Derrida’s or Levinas’ . Baudrillard and Guillaume would be much privileged to look at God, Infinity, and absence in search of radical alterity.

Recent theories and pedagogies of alterity such as ..

In Mimesis and Alterity Taussig undertakes and eccentric history of the mimetic faculty

We need to be clear about this – uselessness is not about denying the use value of art per se, but rather of conceiving a non-appetitive and non-exploitative relation to things. Rather than perceiving something as desirable or instrumentally useful – as something that can serve your own interests – it is perceived in terms of its capacity to enable an experience of recognition (an alignment of the apriori and the sensible world). Unlike ordinary cognition, the particular thing is not subsumed beneath a general concept/idea. Unlike ordinary social action, the particular thing is not engaged with in terms of purposive, means-end action. In this manner the notion of the aesthetic – of aesthetic uselessness – is profoundly about trying to conceive a non-destructive relation to the world. The difficulty, of course, is that this can only be conceived in terms of a necessary disengagement from anything conventionally conceptual or practical. A non-exploitative relation to particularity and otherness is envisaged, but only in the basis that interaction is suspended in a moment of recognition.

Some Notes on Heidegger’s Question Concerning …

Of course, the majority of these “revelations” are absolutely overblown and reason is all but left at the door and traded for a banner of blustery eschatology. In addition, though, to all this Chicken-Littling, the major flaw in this work and much of Baudrillard complementary philosophy on the subject of alterity is his ideal of radical alterity. Frequently, Baudrillard and Guillaume are found slapping the label of absolute otherness on machines because, so they claim, they are indifferent to subjects, to man. While such a thesis fits nicely into the hysterical model of the tech-apocalypse, it neglects that such alterity is still bound up in being. To the extent that objects, inanimate or otherwise, they cannot be radically other than us. As humans also , the two genera (machines and man) may be incorporated or thematized under the label of Being and are the same.

Mimesis and Alterity: A Particular ..

In my view, the articles that are open to the alterity of 18th C aesthetics are much more interesting. Very informative article, for instance, by Jeffrey Barnouw on how Baumgarten’s notion of aesthetics as the field concerned with aspects of sensible experience (rather than conceptual understanding) was informed by earlier notions of the value of the sensible intuition of inexpressible qualities and particularly by Leibniz’s conception of sensation as a sphere of clear but indistinct ideas (a transitional space between the confused flow of sense data and higher order aspects of cognition). Within this context, it becomes evident that 18th C aesthetics had wider interests than simply art or the experience of beauty (or the sublime). It was fundamentally about conceiving the mediation between lived reality and dimensions of imagination, memory, coherent action and understanding.