Home > Work > The Omnibus Homo Sacer

The Omnibus Homo Sacer QUOTES

1 " In Aristotle’s warning there comes to light the aporia inherent in the inter- weaving of being and having that has its place in habit. Against the scholastic doctrine according to which “the use of potential belongs to the one to whom habit belongs,” it is necessary to affirm that use does not belong to any subject, that it is situated beyond both being and having. That is to say, use breaks the ambiguous implication of being and having that defines Aristotelian ontology. Glenn Gould, to whom we attribute the habit of playing the piano, does noth- ing but make use-of-himself insofar as he plays and knows habitually how to play the piano. He is not the title holder and master of the potential to play, which he can put to work or not, but constitutes-himself as having use of the piano, independently of his playing it or not playing it in actuality. Use, as habit, is a form-of-life and not the knowledge or faculty of a subject.
This implies that we must completely redraw the map of the space in which modernity has situated the subject and its faculties.
A poet is not someone who has the potential or faculty to create that, one fine day, by an act of will (the will is, in Western culture, the apparatus that allows one to attribute the ownership of actions and techniques to a subject), he decides—who knows how and why—like the God of the theologians, to put to work. And just like the poet, so also are the carpenter, the cobbler, the flute player, and those who, with a term of theological origin, we call professionals— and, in the end, every human being—not transcendent title holders of a capacity to act or make: rather, they are living beings that, in the use and only in the use of their body parts as of the world that surrounds them, have self-experience and constitute-themselves as using (themselves and the world). "

Giorgio Agamben , The Omnibus Homo Sacer

3 " We have evoked the curious presence, in the empty city, of the armed guards and of the two characters whose identity it is now time to reveal. Francesca Falk has drawn attention to the fact that the two figures standing near the cathedral are wearing the characteristic beaked mask of plague doctors. Horst Bredekamp had spotted the detail, but had not drawn any conclusions from it; Falk instead rightly stresses the political (or biopolitical) significance that the doctors acquired during an epidemic. Their presence in the emblem recalls 'the selection and the exclusion, and the connection between epidemic, health, and sovereignity'. Like the mass of plague victims, the unrepresentable multitude can be represented only through the guards who monitor its obedience and the doctors who treat it. It dwells in the city, but only as the object of the duties and concerns of those who exercise the sovereignity.
This is what Hobbes clearly affirms in chapter 13 of De Cive, when, after having recalled that 'all the duties of those who rule are comprised in this single maxim,"the safety of the people is the supreme law"', he felt the need to specify that 'by people we do not understand here a civil person, nor the city itself that governs, but the multitude of citizens who are governed', and that by 'safety' we should understand not only 'the simple preservation of life, but (to the extent that is possible) that of a happy life'. While perfectly illustrating the paradoxical status of the Hobbesian multitude, the emblem of the frontispiece is also a courier that announces the biopolitical turn that sovereign power was preparing to make. "

Giorgio Agamben , The Omnibus Homo Sacer

4 " But the analogy is even stronger and deeper than the image of the “invisi- ble hand” allows us to infer. Didier Deleule has magisterially analyzed the link between Hume and Smith’s thought and the birth of economic liberalism. He opposes the “naturalism” of Hume and Smith to the “providentialism” of the Physiocrats who are direct tributaries, as we have seen, of a theological paradigm. To the idea of an original divine design, comparable to a project developed in the brain, Hume opposes, as we have seen, that of an absolutely immanent prin- ciple of order, which functions instead as a “stomach,” rather than as a brain. “Why,” he makes Philo ask, “can an ordered system not be woven out of a stom- ach rather than a brain”? (Deleule, pp. 259 and 305, note 30). If it is probable that the Smithian image of the invisible hand is to be understood, in this sense, as the action of an immanent principle, our reconstruction of the bipolar machineof the theological oikonomia has shown that there is no conflict between “provi- dentialism” and “naturalism” within it, because the machine functions precisely by correlating a transcendent principle with an immanent order. Just as with the Kingdom and the Government, the intradivine trinity and the economic trinity, so the “brain” and the “stomach” are nothing but two sides of the same apparatus, of the same oikonomia, within which one of the two poles can, at each turn, dominate the other. "

Giorgio Agamben , The Omnibus Homo Sacer

6 " The Japanese psychiatrist Kimura Bin, director of the Psychiatric Hos- pital of Kyoto and translator of Binswanger, sought to deepen Heidegger’s anal- ysis of temporality in Being and Time with reference to a classification of the fundamental types of mental illness. To this end he made use of the Latin for- mula post festum (literally, “after the celebration”), which indicates an irreparable past, an arrival at things that are already done. Post festum is symmetrically dis- tinguished from ante festum (“before the celebration”) and intra festum (“during the celebration”).
Post festum temporality is that of the melancholic, who always experiences his own “I” in the form of an “I was,” of an irrecoverably accomplished past with respect to which one can only be in debt. This experience of time corresponds in Heidegger to Dasein’s Being-thrown, its finding itself always already abandoned to a factual situation beyond which it can never venture. There is thus a kind of constitutive “melancholy” of human Dasein, which is always late with respect to itself, having always already missed its “celebration.”
Ante festum temporality corresponds to the experience of the schizophrenic, in which the direction of the melancholic’s orientation toward the past is in- verted. For the schizophrenic, the “I” is never a certain possession; it is always something to be attained, and the schizophrenic therefore always lives time in the form of anticipation. “The ‘I’ of the schizophrenic,” Kimura Bin writes, “is not the ‘I’ of the ‘already been’; it is not tied to a duty. In other words, it is not the post festum ‘I’ of the melancholic, which can only be spoken of in terms of a past and a debt. . . . Instead, the essential point here is the problem of one’s own possibility of being oneself, the problem of the certainty of becoming oneself and, therefore, the risk of possibly being alienated from oneself” (Kimura Bin 1992: 79). In Being and Time, the schizophrenic’s temporality corresponds to the primacy of the future in the form of projection and anticipation. Precisely because its experience of time originally temporalizes itself on the basis of the future, Dasein can be defined by Heidegger as “the being for whom, in its very Being, Being is always at issue” and also as “in its Being always already anticipat- ing itself.” But precisely for this reason, Dasein is constitutively schizophrenic; it always risks missing itself and not being present at its own “celebration. "

Giorgio Agamben , The Omnibus Homo Sacer

12 " The aporia that marks like a thin crack the wonderful order of the medieval cos- mos now begins to become more visible. Things are ordered insofar as they have a specific relation among themselves, but this relation is nothing other than the expression of their relation to the divine end. And, vice versa, things are ordered insofar as they have a certain relation to God, but this relation expresses itself only by means of the reciprocal relation of things. The only content of the transcendent order is the immanent order, but the meaning of the immanent order is nothing other than the relation to the transcendent end. “Ordo ad finem” and “ordo ad invicem” refer back to one another and found themselves on one another. The perfect theocentric edifice of medieval ontology is based on this circle, and does not have any consistency outside of it. The Christian God is this circle, in which the two orders continuously penetrate one another. Since that which the order must keep united is in point of fact irremediably divided, not only is ordo—like Aristotle’s being—dicitur multipliciter (this is the title of Kurt Flasch’s dissertation on Thomas), but ordo also reproduces in its own structure the ambi-guity that it must face. From this follows the contradiction, noticed by scholars, according to which Thomas at times founds the order of the world in the unity of God, and at times the unity of God in the immanent order of creatures (see Silva Tarouca, p. 350). This apparent contradiction is nothing other than the expression of the ontological fracture between transcendence and immanence, which Christian theology inherits and develops from Aristotelianism. If we push to the limit the paradigm of the separate substance, we have the Gnosis, with its God foreign to the world and creation; if we follow to the end the paradigm of immanence, we have pantheism. Between these two extremes, the idea of order tries to think a difficult balance, which Christian theology is always in the pro- cess of losing and which it must at each turn regain. "

Giorgio Agamben , The Omnibus Homo Sacer

18 " The relation between technology and slavery has often been evoked by histo- rians of the ancient world. According to the current opinion, in fact, the striking lack of technological development in the Greek world was due to the ease with which the Greeks, thanks to slavery, could procure manual labor. If Greek mate- rial civilization remained at the stage of the organon, that is, of the utilization of human or animal power by means of a variety of instruments and did not have access to machines, this happened, one reads in a classic work on this argument, “because there was no need to economize on manual labor, since one had access to living machines that were abundant and inexpensive, different from both human and animal: slaves” (Schuhl, pp. 13–14). It does not interest us here to verify the correctness of this explanation, whose limits have been demonstrated by Koyré (pp. 291ff.) and which, like every explanation of that kind, could be easily reversed (one could say just as reasonably, as Aristotle does in the end, that the lack of machines rendered slavery necessary).
What is decisive, rather, from the perspective of our study, is to ask ourselves if between modern technology and slavery there is not a connection more es- sential than the common productive end. Indeed, if it is clear that the machine is presented from its first appearance as the realization of the paradigm of the animate instrument of which the slave had furnished the originary model, it is all the more true that what both intend is not so much, or not only, an increase and simplification of productive labor but also, by liberating human beings from necessity, to secure them access to their most proper dimension—for the Greeks the political life, for the moderns the possibility of mastering the nature’s forces and thus their own. "

Giorgio Agamben , The Omnibus Homo Sacer