Waste: A Philosophy of Things
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Why are people so interested in what they and others throw away? This book shows how this interest in what we discard is far from new - it is integral to how we make, build and describe our lived environment. As this wide-ranging new study reveals, waste has been a polarizing topic for millennia and has been treated as a rich resource by artists, writers, philosophers and architects.
Drawing on the works of Giorgio Agamben, T.S. Eliot, Jacques Derrida, Martin Heidegger, James Joyce, Bruno Latour and many others, Waste: A Philosophy of Things investigates the complexities of waste in sculpture, literature and architecture. It traces a new philosophy of things from the ancient to the modern and will be of interest to those working in cultural and literary studies, archaeology, architecture and continental philosophy.
opaque spectacle, one that requires the temporal and spatial location of the gallery in order to be inscribed within the series of events found external to it. The balance between the once existent shed and its delicately presented remains is a balance brokered by the narrative techniques we employ to make the necessary leap from one time to another, from one place to another. Narrative is not simply applied to the work like some theory or ointment; narrative is felt to be latent within the
the novel we are invited to assess how Dublin’s sparsely inhabited spaces are connected to the city’s more densely populated areas. It is in the ‘Proteus’ episode that we see where this sewage ends up, all these diverse acts of wastemaking occur after Stephen’s visit to one of Dublin’s many unofficial dumping grounds. In a mocking tribute to Homer’s narrative structure, Joyce represents Reading Joycean Disjecta 111 the destination of Dublin’s waste before we see the act, or acts, of
sequence’.26 Both Rabaté and Lewis understand the act of reading Joyce as a difficulty of designating what does and does not function in the text. The work of reading is seen as an endeavour to recover or ‘extract’ meaning from linguistic objects that seem obsolete; reading is a form of linguistic resuscitation, an optimistic rummage through a ‘middenhide hoard of objects’.27 The great difference between Rabaté and Lewis is that Lewis feels that Joyce’s corpus will remain true to the etymology to
Quartets manuscripts, Eliot reasoned, ‘As a general rule […] it seems to me that posterity should be left with the product, and not be encumbered with a record of the process’.45 But, given the foregoing analysis, we might reasonably question whether the product can be so easily distinguished from the process, especially when process and product foreground the importance of literature’s by-products as a common outcome, fixation and resource. Clearly the examination of so-called ‘textual waste’
determinacy nor flatly contradicts this progression. As Robert’s works demonstrate, there is an implicit relation between the Louvre represented as a functioning space for the public display of objects and its consequent condition as a ruin. In one sense the ruin is always that which comes afterwards; as we have noted before, it is always the ruin of something. In one sense, ruins are the outcome of a linear, progressional transition from use to waste; future ruins are an outcome of the present.