Categorie: Authors

  • De prestatiemaatschappij – dat ben jij?

    In het kader van 50 jaar Splijtstof reflecteren we in deze editie op hoe het studentenbestaan in de afgelopen decennia is veranderd. Hoe wordt er tegenwoordig tegen studenten aangekeken? Wat karakteriseert het studentenleven van vandaag?

    Er is een onderwerp dat de hedendaagse studententijd als geen ander bepaalt: studentenwelzijn. Dat staat namelijk onder druk. Tijdens de coronapandemie kwam het welzijn van studenten terecht enorm in de aandacht te staan, maar serieuze problemen bestonden al langer. Want vóór alle narigheid rondom eenzaamheid en het leven op een veel te dure kamer van 13 vierkante meter, die ook nog eens te gebrekkig internet heeft om die zoommeeting te kunnen volgen, was er al één en ander aan de hand. Burn-outs, perfectionisme, keuzestress, zorgen om hoge cijfers, zorgen om studieschulden, zorgen om studievertraging, zorgen om een goed CV, zorgen om… Kortom: studenten vandaag de dag dreigen aan prestatiedruk ten onder te gaan.

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  • Philosopher Abroad – Edges of Europe

    In the module ‘Edges of Europe’ students learn about the intersections of citizenship, religion and identity. During our semester together, we explored many relevant problems, including the problem of nationalism and its exclusionary and violent tendencies. This article comprises a fierce debate navigating the problems of nationalism, refugees, inclusion and exclusion which have played a key role in the module.

    Luckily, we had the support of the brilliant academics Evert van der Zweerde, Hans Schilderman, and Joud Al Korani, also specialising as our cartographic, conceptual and gastronomic leaders, respectively. Our gratitude to them for all their hard work in making this module possible. 

    During this time, I, Charlie, was accompanied by my persistent interlocutor, Felix Hohlfeld, who has been a thorn in my side since our first year; the consistent “no” to my “yes,” the idealist to my cultural relativism, and the bright sun to my dark cave. So, when we were both accepted for Edges of Europe, honestly, I thought we were in for another series of debates between two white cishet men, which turned out to be the case. But to be perfectly honest, Felix is a fine philosopher and a worthy interlocutor. 

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  • Some Afterthoughts

    “Without this restlessness, there is no progress”

    Aleksandra Kollontai, 1928

    Friday, 3 June 2022, was the date of a remarkable event. On the occasion of her retirement, Veronica Vasterling had set up a meeting during which, in a first-round, younger staff members of our faculty gave a total of six presentations. They addressed, among others, the persistent phenomena of sexism, racism, elitism and classism, as well as paying attention to eurocentrism, both of the canon and the curriculum, and to the recent deplorable, but also highly instructive episode around topics of ‘social safety’. Next, there was space for questions and discussion, also with and by the ‘older’ staff members who, initially, had formed a silent audience. It was, to my mind, a very good idea to let younger faculty speak first, if only because this really forced older persons such as myself to listen. In this sense alone, we all owe Veronica a big thank you!

    During the meeting, I kept silent, not so much because I had nothing to say, but rather because I did not feel entitled. That said, it should also be noted that I had too many things to think about first. The recent ‘chapter’ in the history of social unsafety has shocked and disturbed me as it has many others, also since, with a history (with interruptions) of some forty-five years at this faculty, I have ample experience with a wide variety of inappropriate and – in a number of cases – unacceptable behavior by staff members. That the long list of cases, the by now infamous twenty-nine, covers several decades, is strongly varied and includes cases of subtle or not-so-subtle bullying, inappropriate remarks concerning somebody’s looks, and of exclusion from discussions. All serious, but not equally so. Besides, there is no ground to believe that other faculties, at Radboud or elsewhere, have been faring much better or worse than this one – which can be regarded both as good or as bad news. In either case, there is still, to use the Dutch saying, “werk aan de winkel”.

    It is important to address and remedy, harder than has been done so far, recognizable forms of unsafety without jumping to the romantic illusion of an environment in which ‘everybody can feel safe’. There is, due to our finitude, vulnerability and fragility as humans, a bottom-line unsafety that is simply an ineradicable part of the human condition, a fact that we better look in the eye than try to ignore. As Judith Shklar put it: “To be alive is to be afraid, […],” adding, however, that

    [T]he fear we fear is of pain inflicted by others to kill and maim us, not the natural and healthy fear that merely warns us of avoidable pain. And, when we think politically, we are afraid not only for ourselves, but for our fellow citizens as well.[1. Judith N. Shklar, ‘The Liberalism of Fear,’ in: Political Thought and Political Thinkers (University of Chicago Press: 1998), 11.]

    The question is whether we can easily distinguish between avoidable and unavoidable fear or, in this case, the unsafety causing it. Uncertainty, insecurity and precarity are not unpleasant side-effects but rather core elements of a late-capitalist society with its neoliberal hegemonic ideology: the logic of opportunities and risks, the split between winners and losers, the dynamics of atomization and responsibilization, the benchmark of win-win (as it were the invisible hand made mensurable), etc. Surely, such a society is contingent, hence avoidable, and it can and should be replaced by a different one. Still, it is important to distinguish between the systemic inequality and unsafety that stem from the present socio-economic and political system at large and the avoidable and reproachable forms of inappropriate behavior within that system that are not only unacceptable in their own right, but also hamper longer-term objectives: fearful people are not prone to think or act politically.

    This is why we learn most from those who did and do think and act in spite of fear. This applies to philosophy generally and to political philosophy in particular. It is far from accidental that, in Western political philosophy, people of Jewish background play such a key role. Suffice it to mention the names of Hannah Arendt, Michael Walzer, Simone Weil, Semyon Frank, Ayn Rand, Isaiah Berlin, Judith Shklar, and Claude Lefort, all of whom were either direct targets of persecution, anti-Semitism, and totalitarianism, or descendants of such targets. Walzer wrote, in the Preface to On Toleration, “As an American Jew, I grew up thinking of myself as an object of toleration. It was only much later that I recognized myself as a subject too, an agent called upon to tolerate others, […]”. [2. Michael Walzer, On Toleration (New Haven & London: Yale UP: 1997), xi.] Personally, I am convinced that Walzer’s situatedness as someone who had reason to be fearful of not being tolerated (if you doubt this, read Philip Roth’s The Plot Against America), or had a family history of not being tolerated, greatly helped him in “thinking politically” (the apt title of a collection of essays by the same Walzer). It is only the privileged who can afford to think apolitically.

    For me personally, i.e. as a white, male, highly-educated, Caucasian (the euphemism for ‘Aryan’ that is now spreading in Dutch society), heterosexual, European, non-handicapped person with full citizenship and a non-suspect family name, who thus happens to be on the ‘safe’ side of all lines of inequality that divide present-day society, this implies philosophical modesty, including the acknowledgement that this indeed happens to be the case. Being ‘part of the problem’ objectively can, if understood and appropriated, subjectively become part of the solution, as some famous earlier philosophers understood:

    Just as […] at an earlier period, a section of the nobility went over to the bourgeoisie, so now a portion of the bourgeoisie goes over to the proletariat, and in particular, a portion of the bourgeois ideologists, who have raised themselves to the level of comprehending theoretically the historical movement as a whole. [Wie daher früher ein Teil des Adels zur Bourgeoisie überging, so geht jetzt ein Teil der Bourgeoisie zum Proletariat über, und namentlich ein Teil der Bourgeoisideologen, welche zum theoretischen Verständnis der ganzen geschichtlichen Bewegung sich hinaufgearbeitet haben. [3. Karl Marx, Friedrich Engels, Manifest der Kommunistischen Partei (Berlin [DDR], Dietz Verlag, MEW 4), 471-2; idem, The Portable Karl Marx [ed. Eugene Kamenka], 215.]

    Far from comparing myself with those classics, the same logic is at play in what is happening right now. There are, however, two differences: the statement applies to any kind of struggle, not only class struggle, and also it remains true if we drop the idea of ‘a whole historical movement’: the point is that class, race, gender etc. equality are conceptually inevitable, irrespective of how history develops. This does not exclude the possibility of major setbacks, which are now taking place in many parts of the world, nor does it exclude the permanence of struggle and discussion: complacency and self-righteousness are among the cardinal political sins.

    It is, therefore, not hard to see how political philosophy as a discipline can only progress if it aligns itself with those who, as it was said of Enrique Dussel, (dare to) think “from the underside of history”,[4. Linda Martín Alcoff and Eduardo Mendieta (eds.), Thinking from the Underside of History (Lanham &c: Rowman & Littlefield, 2000).] aware of the truth expressed by Reinhart Koselleck: “Even if history is made – in the short term – by the victorious, cognitive historical gains come – in the long term – from the defeated [Mag die Geschichte – kurzfristig – von den Siegern gemacht werden, die historischen Erkenntnisgewinne stammen – langfristig – von den Besiegten].”[5. Reinhart Koselleck, Zeitschichten; Studien zur Historik (Frankfurt am Main: Suhrkamp Verlag, 2000), 68.] To which one should add that the defeated are rarely defeated forever, which is both bad and good news. Once one adopts this perspective, thinking along politically from the underside of society, from the subaltern, from the bonded rather than the lords, from the part of no part, one can discover such gems as Gayatri Spivak’s analysis of Hegel’s “benevolent” yet deeply paternalistic attempt to give the Indian “mind / spirit [Geist]” its place in world history,[6. Gayatri Chakravorty Spivak, A Critique of Postcolonial Reason (Cambridge & London: Harvard UP, 1999), 37-45.] or one can start to understand why Achille Mbembe’s recent work on necropolitics and politics of enmity is so instructive, in part, because he is writing “from Africa”.[7. Achille Mbembe, Politiques de l’inimitié (Paris: La Découverte, 2018) and Necropolitics (Duke UP, 2019). In Dutch : Een politiek van vijandschap (Amsterdam: Boom, 2017).] The field I feel most confident in myself, political philosophy in Russia, is interesting in this regard precisely because it is torn by the contrast between a strong sense of inferiority to and submission by a culturally colonizing West while, at the same, militantly claiming its own emancipatory, even missionary potential and, simultaneously, not being able to deal with its own colonizing past. How torn can you be…[8. See my Russian Political Philosophy; Anarchy, Authority, Autocracy (Edinburgh UP, 2022).]

    One way or another, there is every reason to address, again and again, the aforementioned phenomena – sexism, racism, et cetera – because they concern us all. As Anya Topolski aptly put it, we want to have a safe faculty in order to have brave ‘classrooms’, where a wide variety of points of view can be discussed and critically scrutinized, which is what philosophy is all about. Address them again: one thing that struck me during that particular Friday afternoon was that much of it was highly reminiscent of, at times verbatim identical to discussions and struggles that I have been witness and participant of in the past when I was a student at this same faculty. There are differences, too, one of them being that, at the time, the philosophy faculty of the then Catholic University of Nijmegen was one of the places of radical, critical discussion in the midst of a society that seemed, to us at least, lagging way behind, whereas now these discussions are all over the place in many societies and the racist, supremacist, sexist etc. positions are in the defensive corner of the arena — hurt though not defeated.

    The period I am referring to is the late 1970s and early 1980s, when this faculty housed, as it does today, many politically aware students and several ‘supportive’ members of staff. However, during that period, the university was organized in a much more democratic way than it is now, and time schedules were less tight, which created a space for both politics and philosophy now hard to imagine. This equally affected curriculum and staff, and it also concerned topics like feminist and non-Western philosophical thought. To give two examples: one of the lecturers at the time, Ton Lemaire, included non-Western thinkers in his courses, for example, Frantz Fanon. This occasioned us, as students, to start an extra-curricular reading group that, apart from Fanon, focused on Che Guevara, Paolo Freire, Ivan Illich and Mao Zedong.[9. The basis for that activity was an edited volume by Hans Achterhuis, Filosofen van de derde wereld (Baarn: Ambo, 1975).] Indeed, as the reader will not fail to notice, they were all men, as were the members of the reading group. Luckily, however, the relentless effort of a group of female students, who found support among students and staff, led to the appointment of a lecturer in – as it was called at the time – “women’s studies in philosophy”, Rina van der Haegen, whose brilliant course introduced us to the confronting and eye-opening work of Luce Irigaray and others. Unfortunately, her teaching did not become part of the mandatory curriculum – its status remained similar to present-day courses in intercultural philosophy. Even more, unfortunately, Van der Haegen’s untimely death meant the end of her presence at our faculty.

    This brief memoir is not to suggest a déjà vu, nor is it about nostalgia. Quite the opposite: I am among those who welcome the revival of these debates and also among those who have tried to do something with them in their work as academic philosophers. In fact, if I look back, those two topics, non-Western philosophy and feminist philosophy, have remained on the retina of several members of staff, including myself. Including other philosophers in one’s teaching than the stereotypical ‘canonical’ dead white European / Western men has become a matter of course. In my case, this includes thinkers like, obviously, Hannah Arendt, but also Nancy Fraser, Kwame Gyekye, Chantal Mouffe, Cornel West, Aleksandra Kollontai, Souleymane Bachir Diagne and Wendy Brown. With living authors, this is relatively easy, but when it comes to earlier periods, it can be more difficult: standard resources like Marit Rullmann’s two-volume Philosophinnen or Ursula I. Meyer’s four-volume Die Welt der Philosophin have not been translated into either English or Dutch, and the excellent Dutch overview by, among others, Veronica Vasterling, contains mostly fragments.[10. Marit Rullmann (Hrsg.), Philosophinnen; 2 Bände (Berlin: Suhrkamp, 1998); Ursula I. Meyer, Die Welt der Philosophin; 4 Bände (Aachen: ein-FACH-verlag, 1995-1998); Carolien Ceton (hoofdred.), Ineke van der Burg, Annemie Halsema, Karen Vintges, Veronica Vasterling (red.), Vrouwelijke filosofen; een historisch overzicht (Amsterdam & Antwerpen, Atlas Contact, 2017).] Other than Western philosophical traditions are often transmitted orally rather than in written form, and translations are not always reliable, which also limits access.

    Surely, it is always possible, and also desirable, to do more in these fields. Moreover, these changes only take place as a result of permanent ‘peer pressure’ and they come with a dose of excess — it’s too easy to slip back into comfortable old-European habits. At the same time, one also has to feel competent: my own field of non-Western philosophy, i.e., Russian philosophy, constantly reminds me of the non-self-evident nature of such competence, and one should avoid, to my mind, benevolent amateurism. It may, therefore, take a while before we get completely rid of the situation in which non-European or non-male philosophers ‘also’ get some attention, as if they were some kind of ‘extra’ (Annabelle Dufourcq’s point) or appendix.

    This takes me to a positive note. Despite the striking similarities between the discussions of the 1970s and those of the present day, a lot has changed, not only in curricula but also in the composition of faculties. It will be a matter of time until we can no longer imagine philosophy without the names of, say, Judith Butler and Donna Haraway. For many among us, this already is the case. Besides, less than ten years ago, the department where I work consisted of six staff members whose main difference from the canonical white European male philosophers was that we were still alive. Now, the department has a female head, a fair gender balance, and has become more diverse in many respects. This cannot fail to have effects on the curriculum and on the ways in which people relate to each other and to students. A completely ‘socially safe’ environment is surely an illusion, but increasing diversity implies distribution of unsafety itself and a situation in which nobody can feel immune is anyway preferable. This may also contribute to putting an end to sexism, racism, and other -isms, both at the faculty and, through students in particular, in society more broadly. Finally, the meeting set up by Veronica was attended by an audience that, forty years ago, would have simply been unthinkable. It was said, at one point, that full professors should do more about these matters — I counted nine of them in total, one-third of the silent audience. I also counted, among the audience, both the current, the previous and one past dean of our faculty. Again, this cannot remain without effect — not least of all because the audience did remain silent so that the younger generation was listened to and heard.

    Yet, to end on a negative note, there is one thing which disturbs me, and that made me think of the well-known debate between Nancy Fraser and Axel Honneth about recognition vs redistribution (in which I side with Fraser).[11. Nancy Fraser, Axel Honneth, Umverteilung oder Anerkennung? (Frankfurt a.M.: Suhrkamp, 2003) / Redistribution or Recognition (London & New York: Verso, 2003).] During his intervention, Simon Gusman addressed the issue of classism, which is certainly an important topic at a university with so many first-generation students and also a recognizable topic for someone who, like myself, comes from a lower middle-class background (with peasant ancestors), and who, moreover, could not fall back on a shared Catholic identity. However, the problem is not classism itself but socio-economic inequality covered up by classism. What disturbs me, therefore, is not the attention paid to class, sex, gender, race, et cetera, but the emphasis on -isms, which, in my understanding, are the variegated forms of legitimization of much more material differences. Sexism is not just a matter of bad male attitudes; it is also about socio-economic conditions, glass ceilings, care facilities, unequal pay, etc. Racism is not simply a matter of some people thinking they are superior to other people; it is also about rights, housing, jobs, and resources. Such -isms are often already of a defensive character, those positions have already lost all credibility, and the Jordanites (reference is to Jordan Peterson) of this world already know they are fighting a lost battle. There is no good reason to just mimic their emphasis on recognition and constructed identities. In fact, I think there is every reason not to mimic it, to partly shift the focus and to acknowledge that politics of recognition and identity is a diversion if it forgets about redistribution. There is no battle without losses, just as there is no change without excess. Undoing real-life injustice requires power and politics, not just talk or noble idea(l)s.

    Therefore, I fully agree with Annabelle Dufourcq that an ‘ideal’ faculty would be everything but ideal, implying that a claim to be an ideal faculty that has fixed all major issues would be a case of ideology. I think this also is so because a faculty is not an isolated entity but part of a much wider socio-economic and political, and even ecological, reality that it reflects and that it can have an impact on by addressing it critically. I am not suggesting a neo-Marxist economism here: Marxism has been rightly accused of a tendency to reduce all struggle to class struggle. Yet, present-day philosophy may have swayed too far in the opposite direction. As Rahel Jaeggi, after quoting Max Horkheimer, recently put it:

    My sense is we haven’t yet arrived at a conception that would be wide enough, and part of the tendency to abandon the topic of capitalism comes from this “fear of economism” that we’ve been internalizing since the early days of the Frankfurt School.[12. Nancy Fraser, Rahel Jaeggi, Capitalism; A Conversation in Critical Theory (Cambridge: Polity, 2018), 8.]

    Our starting point has to be the question not if, but how an exclusive focus on inclusion, identity, and recognition, as well as an emphasis on the plethora of -isms, is part of the reproduction of the existing order of things. Indeed, to end with a phrase by Veronica, a faculty is not about coziness. It is about struggle, and a faculty is one out of many arenas. Ideally, a faculty does foster friendly relations, yet friendship is never about friendship itself but about something ‘out there’ in a torn and twisted world that, to vary Peter Berger, is “as ferociously political as it ever was”.

  • Off the Record – Veronica Vasterling

    Voor deze jubileumeditie van Splijtstof interviewden we Veronica Vasterling. Zij is een lange tijd verbonden geweest aan de FFTR en hield zich in die tijd bezig met politieke filosofie, genderstudies en wijsgerige antropologie. Afgelopen jaar ging Veronica met pensioen — een uitgelezen kans om nog eens terug te blikken op meer dan 30 jaar FFTR.

    (meer…)
  • Becoming-Cyborg

    Feminist and Postmodernist Metamorphoses Reconsidered

    The cyborg is a bad girl […] Maybe she is not so much bad as she is a shape-changer, whose dislocations are never free. She is a girl who’s trying not to become Woman, but remain responsible to women of many colors and positions.[1. Donna Haraway, Constance Penley, and Andrew Ross,  “Cyborgs at Large: Interview with Donna Haraway,” in: Social Text, No. 25/26 (1990): 23.]

    Some differences are playful; some are poles of world historical systems of dominations. “Epistemology” is about knowing the difference. [2. Donna Haraway, “A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s,” in The Haraway Reader (New York and London: Routledge, 1985/2004), 20.] 

    Introduction

    The relationship between postmodernism and feminism is one of debate. Often, postmodernism is taken as the “assumed reference point in a debate that has largely taken place within feminism and has authorized feminism’s reflection on itself through either disavowal or disapproval”.[3. Sara Ahmed, Differences that Matter: Feminist Theory and Postmodernism (Cambridge: Cambridge University Press, 1998), 3.] Against this background, Ahmed wonders how we, as feminists, might be able to read postmodernism differently — “as feminist and for feminism”.[4. Ahmed, Differences that Matter, 2.] Put differently, can we reconsider the relationship between feminism and postmodernism — generating some sort of metamorphosis? Is it possible that this relationship is not marked by authority, hierarchy, and exclusion, but, instead, might be understood as being one of mutual and reciprocal productivity?

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  • The Becoming of Art: A Cocreative Process

    Introduction

    One of the most unexpected but gravest pains I have perhaps experienced in this lifetime thus far is when a piece of music got, according to me, violently interrupted by applause. The musical performance consisted of a group of people playing large drums. The deep drumming sounds drilled through my bones, and when the last drum had sounded, I was caught off guard by the audience around me that broke out into a loud applause. I remember literally screaming ‘nooo, what did you do’, but no one else seemed to be as bothered as I was. For me, there was a silence needed after the drumming. The frequencies of the drums were still vibrating in my bones. The silence afterwards was part of the piece of music, it was a critical part necessary to process the intensity that I had just experienced. Until this day I grieve that experience that got ripped out of my body, yet at the same time never had a chance to leave it or calmly die out. It may sound a bit dramatic, but I am sure that there are people that recognize the violation of a piece of music because it got interrupted by applause or screaming before the last notes had sounded, or before a necessary silence sounded. To what extent does silence, as in the absence of played notes, form a part of a music piece? Silences during a music piece are an integral part, there is little ambiguity about that, but how about after a music piece ends?

    The question of when and how an artwork is completed is one that various thinkers have written about and forms part of the wider question of what art is. What remains understudied, however, is the role the various senses might have in answering the question of where an artwork begins and where it ends. Based on the five senses, it might seem clear where an artwork begins or ends – a music piece starts with the first sound and ends with the last sound, a painting begins when something becomes visible and ends when the visible object no longer changes, or the painting begins where you can physically touch the canvas and ends where that canvas physically stops for example. If you would regard culinary practices as an artwork, you could say the same for taste and smell. However, these senses do not account for the anecdote mentioned above, or for the fact that an artwork can be interpreted or experienced in various ways by different people. In that sense, an artwork can take different shapes for different people depending on the emotional experience or interpretation that the artwork evokes.

    Considering only the five senses of sight, hearing, touch, taste and smell, these emotional experiences cannot be accounted for as part of an artwork. However, whereas in the West we recognize five senses, this is far from universal. On top of that, the specific ordering in which senses are considered and used differs. Some strands of Hinduism, for example, recognize ten senses or Indiryas. That is, in addition to the five sense organs (eyes, ears, nose, tongue, and skin) they also recognize the five so-called motor organs (hands, feet, mouth, anus, and genitals) that help humans interact with the world. In many Western African cultures, the heart is recognized as an additional sense based on the belief that the heart has the ability to sense and perceive emotions and spiritual energies in a distinctive way from the other senses. The heart is considered the center of emotion and intuition. The idea of a ‘sixth sense’ is also recognized in traditional Chinese culture where this sense is associated with ‘qi’, the vital energy that flows through all living things. Even in Western cultures the term ‘sixth sense’ is sometimes used to refer to intuition of a psychic ability. With regards to the ordering of the senses, in the West sight and sound are generally seen as the ‘higher senses’ that are most important since they are most closely related to the mind (Howes 2009, 22-23; Howes 2013, 8-9). However, this is not universal. Songhay shamans in Niger, for example, prioritize taste, smell and hearing over sight and can “taste kinship, smell witches, and hear the ancestors” (Elliott and Culhane 2017, 48).

    In this essay, I will look at the beginning and completion of an artwork by focusing on the bodily sensual experience of it as a body of art. In the first section I will look at the ambiguity of the beginning of an artwork by looking at two examples, that of a painting and a piece of music. In the second section I will explore the ambiguity of the completion of an artwork, here I will also discuss the concept of Death of the Author (cf. Barthes 1967). In the third and final section, then, I will discuss who should be considered the artist or creator given the ambiguity of an artwork’s beginning and completion. In the conclusion I will shortly summarize the arguments in this essay.

    The beginning of the artwork

    To understand where an artwork begins, we must ask the question of when the process of creating art begins. To illustrate the ambiguity of the answer to this question and to move beyond an inevitable abstractness when writing about art, I will briefly examine two examples of what are commonly considered artworks: a painting and a piece of music.

    The conventional painting is mostly a visible experience; hence one might assume that a painting starts with the paintbrush touching the canvas. This moment signifies the first visible sign of the shapes or colors that will eventually comprise the artwork. But as many people who have made a painting will recognize even this is not a self-evident moment of beginning. Sometimes you first make a sketch before using paint or colors on your canvas. This means that in questioning when the creation of art begins, the sketching would have to be included. Now suppose that the sketch is not done on the eventual canvas, but on a separate piece of paper. The sketching on this paper is included in the process of creating the eventual painting, but does it also form part of the painting?

    Whether we decide to include the paper sketch in the eventual artwork or not, even the sketches or paint might not actually be the first visible aspect of the artwork. Without a canvas there would be nothing to hold the paint together, which means that the canvas forms an integral part of the eventual artwork. The creating of the canvas, then, would have to be included in the creation of the painting – stretching a canvas, cutting the wooden frame. But we can go one step further. Suppose that we are talking about a landscape painting. The visible experience of the painting is based on a visible landscape, or some aspects of it. This could mean that the process of creating a painting, as a primarily visible experience of art, might even start with the painter looking at landscapes. Or, even more radically, one might argue that the painting as a visual representation of a landscape (or aspects of it) is already somehow present in the landscape itselfin the same way Michelangelo famously said that every block of stone has a statue inside it, and it is the task of the sculptor to discover it. This reflects Michelangelo’s belief that the job of a sculptor was to reveal something that already existed rather than create something from scratch. But, in the case of the landscape painting, can we then say that the physical landscape forms part of the artwork?

    We might come up with different answers to these questions and undoubtedly various people will have different opinions and feelings about them. The point, however, is not to answer all these questions but rather to illustrate in how many ways they can be answered. This means that the beginning of a painting is far from self-evident. I will give another brief example to show this.

    Whereas a painting is mostly a visible experience, a music piece is mostly an audible experience. Hence, similar to the painting, we might first assume that the music starts when the first note sounds. But suppose the music piece is played by an orchestra. Would not the first movement of the conductor then form the beginning of the music piece? After all, without the conductor lifting their hands, no sounds would follow. Now suppose that a group of people, perhaps the orchestra, is practicing a piece of music. You might say that musical practice as an expression of music is art, but when people practice a music piece,is the practice then also part of the artwork? And if the music piece is constantly played differently, whether that is with slightly different improvisations, or the same notes but with a whole different emotionality to it, does that mean that there is a dynamic range of what the artwork is? And when, with what level of adaptations, does it become a new artwork altogether?

    When philosophizing where the painting and the music piece start, I focused primarily on one sense at a time. However, as you may have already thought while reading these examples, neither a painting nor a music piece are solely visible or audible experiences. Some paintings are less of a direct representation of a visible experience in the world (such as a landscape), but rather an expression of a non-visible experience such as an emotion, or they combine visible impressions and invisible emotionality. Similarly, a music piece is not solely an audible experience but also an expression of emotions or a state of being or even thinking (whether that is in lyrics or rhythm). So, taking this into account we might wonder whether these artworks start with the emotionality they are based on or inspired by. And if that is the case, if the same emotional experience creates several artworks, are they truly separate?

    What I have attempted to illustrate in this section is that artworks, and thereby the creation of an artwork, cannot be said to have an unambiguous beginning to them. However, this might not be a problem as long as we can say when an artwork is finished: perhaps with the last brushstroke on the canvas, or the last note that has sounded. In the next section I will discuss to what extent an artwork can be considered finished when we consider interpretation of an artwork as integral to the artwork itself.

    The completion of the artwork

    Whereas on the issue of the beginning of art there is little literature, on the issue of the completion of art there is much more. In this section, I will discuss several authors and point out what I argue is their biggest flaw, namely that they seem to consider an artwork as a merely material, physical object. Instead, I will argue that a crucial aspect of what constitutes an artwork is that it evokes a certain response. This response goes beyond the five senses (seeing, hearing, touching, smelling, tasting) – it evokes emotions, bodily sensations or a thinking process. In other words, the experience of the artwork creates or comprises the artwork. Since the evocation of such responses keeps happening as long as people experience the artwork, I will then conclude that an artwork is never completed.

    In his text ‘When is a work of art finished?’ Hudson Hick (2008) discusses contemporary philosophers Monroe Beardsley and Paisley Livingston’s works in aesthetics literature. Hick’s discussion focuses on how Beardsley and Livingston consider the issue of art completion by attempting to formulate necessary conditions for a work being finished. Hudson Hick concludes that such necessary conditions are impossible to define, but we should instead look for sufficient conditions. Regardless of the sufficient or necessary conditions, both Beardsley, Livingston and Hudson Hick (2008) contend that a state of being finished can be attributed variously to the artist with respect to a particular work, and to the work itself. This means that “an artist might not be done until they have decided that the work is done, but if nothing further has been done to the work it seems that the work was finished when the last change was made” (Hudson Hick 2008, 70). I am interested in the latter, namely when an artwork itself is finished. However, I would argue we have to ask to what extent an artwork itself can be finished.

    Beardsley, Livingston and Hudson Hick all implicitly assume an artwork to be a merely material object. Hudson Hick (2008) mentions examples of when the last word is written, or when the last brushstroke has been made. An artwork seems to be considered as a physical material body. However, the experience of an artwork goes beyond its physical materiality: at the very least, the physical materiality evokes an experience in the person experiencing the artwork (by hearing it, seeing it etc.). I think we can all agree that one of the most important attributes of art is that it does something in our bodies. A work of art can move people, evokes emotions, or other sensations in the body – the frequencies of music even influence our own bodies brainwaves/frequencies (a phenomenon that is known as ‘entrainment’).

    This experience is one that goes beyond the five senses commonly recognized in the West as explained in the introduction (Elliott and Culhane 2017, Chapter 3; Howes 2009; Howes 2013). We do not merely hear a song; the song evokes a certain emotion and/or internal bodily response. I argue that this experience of the artwork is essential to what constitutes art. Hence, if we look at the sensual experiences of art (beyond the five senses), we understand that what constitutes an artwork goes beyond its material physicality and includes the responses it can evoke. This means that an artwork is changed and created also after its assumed material physicality (last brushstroke painted, last word put on the page) seems ‘finished’. The extent to which an artwork will keep being experienced and hence createdmeans that it may never be completed. But then, if an artwork is constantly being created, who is the artist?

    Who is the artist?

    Intuitively, an artwork is created by an author or someone I will call the ‘original artist’. As we have seen in the last section, however, part of what constitutes the artwork is the internal responses it evokes in human beings experiencing the artwork in whatever way. In that sense, we can say that the person experiencing the artwork is also at least partly creating it. This concept is often referred to as ‘death of the author’. In this section, I will explore the concept of ‘death of the author’ by looking at its use by various thinkers. Specifically, I will contend with several thinkers that an artwork is determined neither solely by the ‘original artist’, nor solely by the art-experiencer. Then, I will go a step further and discuss the extent to which the artwork itself participates in the process of creation through the practice of agency.

    The concept ‘death of the author’ refers to a literary theory that was introduced by French philosopher Roland Barthes in 1967. According to Barthes, the idea of the author as the sole source of meaning in a literary work is problematic. Instead, he argues that the meaning of a text is not determined by or limited to the author’s intentions, but rather by the reader’s interpretation. Therefore, Barthes suggested that the focus of a literary work should be solely on the text itself and how it is interpreted by the reader. The theory is referred to as ‘death of the author’ because it suggests that once a literary work, or a work of art, is created, the author no longer has control over its meaning or interpretation (Barthes 2016).

    In his book, The Space of Literature, Maurice Blanchot (originally written in 1955) even argues that the author’s disappearance is a necessary condition for the creation of literature. The act of writing involves a kind of self-erasure in which the author must release control over the text and allow it to live a life of its own (Blanchot 2015). Gilles Deleuze made a similar argument when stating that the painter must ‘destroy’ themselves and allow the painting to take on a life of its own in order to create a powerful and impactful artwork (Deleuze & Bacon 1981). Although I indeed find it evident that an artist has to release control over their artwork in order for it to be created, or at least shown, I disagree with Barthes, Blanchot and Deleuze that the original artist (or author in his context) has to completely erase or destroy themselves.

    There are thinkers who offer more nuanced perspectives. In his 1969 essay ‘What is an author?’, Michel Foucault critiques the author as a singular, fixed identity and argues that the idea of an author as the sole originator of a text is a relatively recent development in Western culture. He challenges the idea that the author is the source of meaning of a text and instead argues that this meaningis shaped by a complex network of discourses and practices extending beyond the individual author (Foucault 2013). Hence it seems that Foucault does not necessarily erase the author, but rather includes it in a network of creating factors. Jacques Derrida’s work on the notion of ‘deconstruction’ challenges traditional notions of language and meaning. He, for example, states that the meaning of a text is not fixed, but is instead in constant flux based on its context and the various interpretations that arise from it (Bass 2020). Italian semiotician and philosopher Umberto Eco (1979) suggests that the meaning or interpretation of an artwork is not determined solely by the artist or the reader, but rather by the interaction between the two. He states that the reader of a text, for example, brings their own knowledge and experiences to the interpretation of the text, but that the interpretation is always also mediated by the text itself. I agree with this latter approach that is more nuanced: both the author or ‘original artist’, as well as the person who experiences art, are the ones creating an artwork.

    As argued in the previous section, the experience of art is a subjective one, which means that the artwork stretches out into many people. Since an artwork can be experienced years, decades or even centuries after the last brushstroke has been put on a painting, or the last note has been recorded,  the artwork is never completed. But does, then, the artwork in itself also have a sort of agency?

    I am not the first to suggest that art has some sort of agency. In anthropological literature, there have been discussions on this for decades. In his book Agency and Art, anthropologist Alfred Gell (1998) argues that an anthropological study of art means studying the social contexts in which artwork is produced, circulated, and received. According to him, an artwork mediates social agency. Gell defines agency as being attributable to ‘those persons (and things) seen as initiating causal sequences … caused by acts of mind or will or intention’ (Gell 1998, 16). According to this definition, art objects cannot be agents in themselves, but act merely as extensions of their maker’s or user’s agency (2004, 541). Gell further denies the intrinsic agency of art objects by suggesting that what a person sees or experiences is a function of their previous experience, their mindset, their culture etc. (Gell 1998, 33). In anthropology agency often refers not to people’s intentions but their ability to act and make a choice of action. In this sense, agency cannot be attributed to an artwork as it cannot be said to have intentions.

    Contrary to these definitions of agency, I would say that an artwork in itself, without being necessarily intended in that way by the artist, has agency in the sense that it has the power to evoke emotions or reactions for both the artist and the audience of an artwork.  This agency cannot be separated from the agency of the other artists (the ‘original artist’ and the people experiencing the artwork). What I mean by this is that the agency of an artwork is still tied to the context in which it is produced.For example, a painting of a red square will evoke different emotions for people that live in a communist regime and hence have certain associations with the color red than those who do not. At the same time, the agency of an artwork is also still dependent on a person’s history of experiences, emotions when experiencing the artwork, cultural background, etcetera (Gell 1998) – someone who has experienced a breakup will feel different emotions from hearing a love song than someone who just got engaged. To an extent, then, the agency of an artwork is cocreated by the context and the person experiencing the artwork, and this only becomes clear when we take into account the sensuality of an artwork beyond the five senses.

    Conclusion

    To summarize, to understand where an artwork begins, I first asked when the process of creating art begins. The answer was that the creation of an artwork cannot be said to have an unambiguous beginning, especially when looking beyond the five senses commonly recognized in the West. This would not be a problem as long as we could say that an artwork can be finished. However, that question too is ambiguous. When we consider an artwork as more than a merely material, physical object and contend that a crucial aspect of what constitutes it is that it evokes a certain response,) we see that the experience of the artwork cocreates or comprises it. This means that an artwork is changed and created also after its assumed material physicality seems ‘finished’. I then asked the question ofwho the artist is. On the one hand there is the ‘original artist’, but on the other hand we can also say that the person experiencing the artwork is at least partly creating the artwork – a concept that is sometimes called ‘death of the author’. I contended that there does not have to be a complete death of the original author, but rather that an artwork is a constant cocreative process. In this cocreative process, the artwork itself participates in the process of creation through the practice of agency. The artwork in itself has agency in the sense that it has the power to evoke emotions or reactions for both its ‘original artist’ and its audience . However, this agency cannot be separated from the agency of the other artists (the ‘original artist’ and the people experiencing the artwork). Instead, the agency of an artwork is still tied to the context in which it is produced. Based on this argumentation we can then conclude that the making of an artwork is a cocreative process. In this cocreative process there is not one artist, but rather that the artist is an interwoven network of the ‘original artist’, the audience, and the artwork itself. The role of each of these cocreators can only be understood when considering the bodily sensation of an artwork beyond the five (Western) senses. In that sense an artwork might be best seen not as a noun that has a beginning and an end, but rather as a verb: work that is constantly in creation.


    Bibliography

    Barthes, Roland.  2016. “The death of the author.” Readings in the Theory of Religion, 141-145. London: Routledge.

    Bass, Alan. 2020. “‘Signature Event Context’: Margins of Philosophy (Derrida 1982 [First Published 1972])”. In Jacques Derrida: Basic Writings, 105-134. Routledge.

    Blanchot, Maurice. 2015. The Space of Literature: A Translation of” l’Espace Littéraire”. University of Nebraska Press.

    Culhane, Dara. 2017. “Sensing” In A Different Kind of Ethnography: Imaginative Practices and creative Methodologies, edited  by Denielle Elliott and Dara Culhane. North York: University of Toronto Press: 45-67.

    Deleuze, Gilles, and Francis Bacon. 2003. Francis Bacon: The logic of sensation. University of Minnesota Press.

    Eco, Umberto. 1979. The role of the reader: Explorations in the semiotics of texts (318). Indiana University Press.

    Foucault, Michel. 2017. “What is an Author?” Aesthetics (4), 284-288. Routledge.

    Hick, Darren Hudson. 2008. “When is a work of art finished?” The Journal of Aesthetics and Art Criticism 66(1), 67-76. DOI: 10.1111/j.1540-594X.2008.00288.x.  

    Howes, David, ed. 2009. The Sixth Sense Reader. Oxford: Berg.

    Howes, David. 2013. “The Expanding Field of Sensory Studies.” Sensory Studies. http://www.sensorystudies.org/sensational-investigations/the-expanding-field-of-sensory-studies/.

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