Symbolic Misery Volume 2
The Catastrophe of the Sensible

1. Auflage Juli 2015
224 Seiten, Hardcover
Wiley & Sons Ltd
In this important new book, leading cultural theorist and philosopher Bernard Stiegler re-examines the relationship between politics and art in the contemporary world. Our hyper-industrial epoch represents what Stiegler terms a 'katastroph of the sensible'. This katastroph is not an apocalypse or the end of everything, but the denouement of a drama; it is the final act in the process of psychic and collective individuation known as the 'West'.
Hyper-industrialization has brought about the loss of symbolic participation and the destruction of primordial narcissism, the very condition for individuation. It is in this context that artists have a unique role to play. When not subsumed in the capitalist economy, they are able to resist its synchronizing tendency, offering the possibility of reimagining the contemporary model of aesthetic participation.
This highly original work - the second in Stiegler's Symbolic Misery series - will be of particular interest to students in philosophy, media and cultural studies, contemporary art and sociology, and will consolidate Stiegler's reputation as one of the most original cultural theorists of our time.
* Notice to the Reader
* Prologue with Chorus
* Sensibility's Machinic Turn and Music's Privilege
* I Sensing through Participation Or the Art of Acting Out
* II Setting Out From Warhol and Beuys
* III Us All Individuation as Trans-formation and Trans-formation as Social Sculpture
* IV Freud's Repression Where the Living Seize the Dead and Vice Versa
* V The Disjunctive Conjunction Mais où est donc Ornicar?
Martin Crowley, Queens' College, Cambridge
"In Symbolic Misery one of Europe's leading contemporary thinkers offers indispensable insights into modern technology and its influence on the ways we come to think and feel. Stiegler does not simply diagnose a collective malaise, however; his writing is a call to arms and a programme for a total rethinking of our relationship to technical objects."
Ian James, Downing College, Cambridge