:: Interviews

Poise Is Everything… Surfing Uncertainty published 05/01/2018

The core idea is that what matters is not where stuff is encoded, or in what medium, but the uses to which it can readily be put. Poise is everything. Just as it doesn’t really matter, when working online, whether some piece of information is stored on your hard drive or in the cloud, as long as it’s usually ready for access when the need is there.

Continuing the End Times series, Richard Marshall interviews Andy Clark.

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Spinoza’s Metaphysics and His Relationship To Hegel and the German Idealists published 30/12/2017

The “every determination is negation” formula was extremely important for Hegel, as he considered it an important precedent of his own dialectic. I have mentioned earlier that Hegel viewed Spinoza’s monism as a modern reemergence of Eleatic philosophy. Hegel – just like Della Rocca – was truly enchanted by the Sirens of Elea. He thought that philosophy must begin with Spinozist or Eleatic monism, but that it also must proceed beyond this standpoint, and he considered dialectic – the formation and implosion of contradictions – as the primary vehicle for the unfolding of philosophy. Thus, for Hegel, Spinozism was not only the proper point of departure for philosophy, but it also contained the tool – i.e. dialectic – which allowed philosophy to develop and move ahead.

Continuing the End Times series, Richard Marshall interviews Yitzhak Melamed.

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Credence: What To Do When We’re Not Certain published 23/12/2017

When I say it’s as likely as not that Ngugi will win next year’s Nobel Prize for Literature, and about time, I’m saying that my credence that Ngugi will win is the same as my credence that he’ll lose. And again when I say I’m 95% confident it will rain tomorrow. So credences are graded doxastic states that a subject like you or me or Ngugi or a robot can be in. They are doxastic states because, like our beliefs and unlike our desires, we use them to represent the way the world is. And they are graded because they come in degrees: I can have high credence it will rain tomorrow, low credence, middling credence, quite high credence, vanishingly small credence, and so on.

Continuing the End Times series, Richard Marshall interviews Richard Pettigrew.

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Existentialists In Love published 16/12/2017

Lovers can be the best mirrors because they tend to know us more intimately than anyone else. This is a curse too, though, because the more we care about another person, the more we want to know what they think of us, the more power they have over us, the more dependent we are on their views of us, and the more we want to try to control that view. There are two main strategies we use to try to find out the other’s views – their secrets – about us: possession and being possessed. That’s the sadism and masochism. We try to force the other person to reveal what they think of us, or we try to be subservient, to assimilate into the other.

Continuing the End Times series, Richard Marshall interviews Skye C. Cleary.

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… Or, ‘On the Novel’ – An Interview with Agustín Fernández Mallo published 14/12/2017

I believe that research for a novel is like a stone tied round the writer’s foot, it doesn’t allow him or her to move forward, he or she sinks. You have to be brave, imaginative and suggest nonsense which nevertheless has to be credible. This is the challenge: verisimilitude, not truth. 

John Trefry interviews Agustín Fernández Mallo.

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Performative Trance Trauma published 10/12/2017

My work often hangs out in the discomfort, the simultaneous alienation and implication of the viewer. Show them something raw, show them a trauma and show them a trance, amplify the calamity of being a woman, let them think what they want but make. them. think.

[Image: Antoine S. Lutens]

Continuing the States of Anxiety series, Jana Astanov interviews Leah Aron.

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Refer published 09/12/2017

I think it matters, and should matter, to a lot of Americans whether Trump is lying to us or whether he’s just full of shit. Likewise for the Brexiteers. Maybe it’ll only matter for the history books—well, at least until Trump finally gets around to banning those. Still, it matters. If we’re going to do better, we’ve got to start holding people to account, and hopefully in the right sorts of ways. My vague hope is that learning to attend to the various different ways in which our politicians lie to us, mislead us, and otherwise use language to manipulate us might one day help us to start making better, more informed decisions. I just don’t know how we can possibly hope to move forward in the complex, rather fucked-up world we live in if we’re basing our collective decisions not on good information, but on some bullshit that Trump decides to put in a tweet or that Boris Johnson decides sounds good on the side of a bus.

Continuing the End Times series, Richard Marshall interviews Eliot Michaelson.

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End Times Philosophy Interviews: The First 302 published 08/12/2017

As we hit the 300 mark I thought it might be a good idea to organise them in one place for readers who might find it useful. So here is the whole series so far. The categories used are pretty rough and ready but should help orientate people.

The End Times Catalog – all 302 of the interviews in one place!

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Diana Arterian in Conversation with Vi Khi Nao published 07/12/2017

Personally I would halt all suffering if I were bestowed with that power—even at the cost of art. Art can be a powerful and an exacting tool against oppressive systems, but often at great expense to the artist themselves (either prior to, during, or following artistic production). I wish I knew of an opening into great art without pain, but thus far that falls outside my own experience. My work feels so deeply entwined with my pain at times. I think, to begin, we must fight mythologising the aura surrounding the pain/great art link—the idea one must suffer for art as that is what endures after the artist is long dead, or has an impact on a larger community. I fence with this idea a lot. Is an artist’s short life, full of suffering, per se, worth the “sacrifice” for a painting that profoundly touches someone two centuries later? Has the impact that Rilke describes in “Archaic Torso of Apollo,” where the viewer realizes she must change her life? I don’t know.

Vi Khi Nao interviews Diana Arterian.

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Niconomicon: A Conversation With Lutz Graf-Ulbrich published 05/12/2017

If The Velvet Underground was the first “alternative” rock band, Nico—the Andy Warhol Superstar and original art house chanteuse most famous for her contributions to 1967’s The Velvet Underground & Nico, the band’s debut—was the first alternative to alternative music. Warhol essentially imposed the German supermodel on the band, as though she were an art installation. The result, arguably, was the advent of contemporary pop culture.

JJ Brine and Cat Marnell interview the musician Lutz Graf-Ulbrich about his relationship with The Velvet Underground’s Nico.

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