Unfortunately, a career in academic philosophy never materialised the way I hoped... I now write in a much more informal way, often verging into fiction and poetry. I enjoy editing and writing for exhibition catalogues and artist publications, and I am always keen to collaborate or discuss anything. Please get in touch. I also take photographs, or rather, perhaps it is better to say I accept them when the world offers and try not to take anything...
Published in: Memories of the Future: On Countervision. Stephen Wilson & Deborah Jaffé (eds). Ber... more Published in: Memories of the Future: On Countervision. Stephen Wilson & Deborah Jaffé (eds). Bern: Peter Lang AG, 2017.
Pamphlet produced in collaboration with artist Linda Persson during a series of residencies in Be... more Pamphlet produced in collaboration with artist Linda Persson during a series of residencies in Berlin over the course of 2012.
Note: As the file was originally a printed pamphlet with a front and back cover the formatting does not translate well to a pdf. I have attempted to maintain some of the original layout with this orientation, although it is not always perfect.
Catalogue essay for the exhibition 'Lydhørt II: Room Tone', at Lydgalleriet, Bergen 05/09/2014 - ... more Catalogue essay for the exhibition 'Lydhørt II: Room Tone', at Lydgalleriet, Bergen 05/09/2014 - 28/09/2014. Victoria Skogsberg, Magnus Oledal, curated by Julie Lillelien Porter.
http://www.lydgalleriet.no/?page_id=1168
Errata: This not the final version of the paper, footnotes 6 and 7 should read 'Place and Experience'
Starting from the end of history, the end of art and the failure of the future set out by such en... more Starting from the end of history, the end of art and the failure of the future set out by such ends, Nuclear Futurism reinvigorates art, literature and philosophy through the unlikely alliance of hauntology and the Italian futurists. Tracing the paradoxes of the possibilities of total nuclear destruction reveals the terminal condition of culture in the time of ends, where the logic of the apocalyptic without apocalypse holds sway. These paradoxes also open the path for a new vision of the future in the form of experimental art and literature. By re-examining the thought of both Derrida and Heidegger with regards to the history of art, the art of history and their responses to the most dangerous technology of nuclear weapons the future is exposed as a progressive event, rather than the atrophied and apocalyptic to-come of the present world. It is happening now, opening up through the force of art and literature and charting a new path for a futural philosophy.
This is my complete PhD thesis. Awarded by Kingston University London in 2017. It addresses the c... more This is my complete PhD thesis. Awarded by Kingston University London in 2017. It addresses the criticism of the philosophy of Immanuel Kant put forward by Quentin Meillassoux under the charge of ‘correlationism.’ It uses Meillassoux’s interpretation of Kant as a starting point to develop an alternative interpretation in which space plays a central role within Kant’s thought, thus contributing to the wider philosophy of space.
The argument progresses through an analysis of the three stages of dogmatism, skepticism and Criticism, which are central to Kant’s thought and which Meillassoux attempts to circumvent. It demonstrates how Kant develops his Critical philosophy through a rejection of dogmatism as a commitment to the principle of sufficient reason, which is reconfigured using the insights of Hume’s skepticism. Thus the system outlined in the Critique of Pure Reason is at heart a temporal philosophy, in which the principle of sufficient reason is reconceptualized in terms of the issue of time- determination. Meillassoux’s alternative system of ‘speculative materialism,’ it is argued, proceeds along the same path: Criticizing the principle of sufficient reason and reconfiguring it through the insights of Hume’s skeptical problematization of induction, in order to assert a temporal philosophy based upon the ‘hyper-chaos’ of the ‘principle of unreason.’ However, with this unexpected parallel between Kant and Meillassoux in regard to the issue of time, the problematic role of space also becomes apparent. Meillassoux’s temporal philosophy is disrupted by his use of the spatial metaphor to fully express the features of time that he sets out, and thus space becomes a point of tension within his temporal system of ‘speculative materialism.’ Working back through the parallel between Meillassoux and Kant reveals that the role of space and its connection to time is also a problematic point of tension within Kant’s Critical philosophy and one that is central to his reworking of the Critique of Pure Reason for the 1787 B-Edition. Thus, through a detailed interpretation of the Critical philosophy, and especially its role in the Refutation of Idealism added to the B-Edition, the centrality of space within Kant’s system is reasserted and evaluated. This recognition of the importance of space and its relation to time within Kant’s system also provides the means to reassess Meillassoux’s criticism of Kant as a ‘correlationist’ and recast the debate between idealism and realism in the history of post-Kantian philosophy terms of the roles and relations of time and space.
Published in: Memories of the Future: On Countervision. Stephen Wilson & Deborah Jaffé (eds). Ber... more Published in: Memories of the Future: On Countervision. Stephen Wilson & Deborah Jaffé (eds). Bern: Peter Lang AG, 2017.
Pamphlet produced in collaboration with artist Linda Persson during a series of residencies in Be... more Pamphlet produced in collaboration with artist Linda Persson during a series of residencies in Berlin over the course of 2012.
Note: As the file was originally a printed pamphlet with a front and back cover the formatting does not translate well to a pdf. I have attempted to maintain some of the original layout with this orientation, although it is not always perfect.
Catalogue essay for the exhibition 'Lydhørt II: Room Tone', at Lydgalleriet, Bergen 05/09/2014 - ... more Catalogue essay for the exhibition 'Lydhørt II: Room Tone', at Lydgalleriet, Bergen 05/09/2014 - 28/09/2014. Victoria Skogsberg, Magnus Oledal, curated by Julie Lillelien Porter.
http://www.lydgalleriet.no/?page_id=1168
Errata: This not the final version of the paper, footnotes 6 and 7 should read 'Place and Experience'
Starting from the end of history, the end of art and the failure of the future set out by such en... more Starting from the end of history, the end of art and the failure of the future set out by such ends, Nuclear Futurism reinvigorates art, literature and philosophy through the unlikely alliance of hauntology and the Italian futurists. Tracing the paradoxes of the possibilities of total nuclear destruction reveals the terminal condition of culture in the time of ends, where the logic of the apocalyptic without apocalypse holds sway. These paradoxes also open the path for a new vision of the future in the form of experimental art and literature. By re-examining the thought of both Derrida and Heidegger with regards to the history of art, the art of history and their responses to the most dangerous technology of nuclear weapons the future is exposed as a progressive event, rather than the atrophied and apocalyptic to-come of the present world. It is happening now, opening up through the force of art and literature and charting a new path for a futural philosophy.
This is my complete PhD thesis. Awarded by Kingston University London in 2017. It addresses the c... more This is my complete PhD thesis. Awarded by Kingston University London in 2017. It addresses the criticism of the philosophy of Immanuel Kant put forward by Quentin Meillassoux under the charge of ‘correlationism.’ It uses Meillassoux’s interpretation of Kant as a starting point to develop an alternative interpretation in which space plays a central role within Kant’s thought, thus contributing to the wider philosophy of space.
The argument progresses through an analysis of the three stages of dogmatism, skepticism and Criticism, which are central to Kant’s thought and which Meillassoux attempts to circumvent. It demonstrates how Kant develops his Critical philosophy through a rejection of dogmatism as a commitment to the principle of sufficient reason, which is reconfigured using the insights of Hume’s skepticism. Thus the system outlined in the Critique of Pure Reason is at heart a temporal philosophy, in which the principle of sufficient reason is reconceptualized in terms of the issue of time- determination. Meillassoux’s alternative system of ‘speculative materialism,’ it is argued, proceeds along the same path: Criticizing the principle of sufficient reason and reconfiguring it through the insights of Hume’s skeptical problematization of induction, in order to assert a temporal philosophy based upon the ‘hyper-chaos’ of the ‘principle of unreason.’ However, with this unexpected parallel between Kant and Meillassoux in regard to the issue of time, the problematic role of space also becomes apparent. Meillassoux’s temporal philosophy is disrupted by his use of the spatial metaphor to fully express the features of time that he sets out, and thus space becomes a point of tension within his temporal system of ‘speculative materialism.’ Working back through the parallel between Meillassoux and Kant reveals that the role of space and its connection to time is also a problematic point of tension within Kant’s Critical philosophy and one that is central to his reworking of the Critique of Pure Reason for the 1787 B-Edition. Thus, through a detailed interpretation of the Critical philosophy, and especially its role in the Refutation of Idealism added to the B-Edition, the centrality of space within Kant’s system is reasserted and evaluated. This recognition of the importance of space and its relation to time within Kant’s system also provides the means to reassess Meillassoux’s criticism of Kant as a ‘correlationist’ and recast the debate between idealism and realism in the history of post-Kantian philosophy terms of the roles and relations of time and space.
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Papers by Liam Sprod
Note: As the file was originally a printed pamphlet with a front and back cover the formatting does not translate well to a pdf. I have attempted to maintain some of the original layout with this orientation, although it is not always perfect.
http://www.lydgalleriet.no/?page_id=1168
Errata: This not the final version of the paper, footnotes 6 and 7 should read 'Place and Experience'
Books by Liam Sprod
See Review: http://review31.co.uk/article/view/118/apocalypse-tomorrow
Thesis Chapters by Liam Sprod
The argument progresses through an analysis of the three stages of dogmatism, skepticism and Criticism, which are central to Kant’s thought and which Meillassoux attempts to circumvent. It demonstrates how Kant develops his Critical philosophy through a rejection of dogmatism as a commitment to the principle of sufficient reason, which is reconfigured using the insights of Hume’s skepticism. Thus the system outlined in the Critique of Pure Reason is at heart a temporal philosophy, in which the principle of sufficient reason is reconceptualized in terms of the issue of time- determination. Meillassoux’s alternative system of ‘speculative materialism,’ it is argued, proceeds along the same path: Criticizing the principle of sufficient reason and reconfiguring it through the insights of Hume’s skeptical problematization of induction, in order to assert a temporal philosophy based upon the ‘hyper-chaos’ of the ‘principle of unreason.’ However, with this unexpected parallel between Kant and Meillassoux in regard to the issue of time, the problematic role of space also becomes apparent. Meillassoux’s temporal philosophy is disrupted by his use of the spatial metaphor to fully express the features of time that he sets out, and thus space becomes a point of tension within his temporal system of ‘speculative materialism.’ Working back through the parallel between Meillassoux and Kant reveals that the role of space and its connection to time is also a problematic point of tension within Kant’s Critical philosophy and one that is central to his reworking of the Critique of Pure Reason for the 1787 B-Edition. Thus, through a detailed interpretation of the Critical philosophy, and especially its role in the Refutation of Idealism added to the B-Edition, the centrality of space within Kant’s system is reasserted and evaluated. This recognition of the importance of space and its relation to time within Kant’s system also provides the means to reassess Meillassoux’s criticism of Kant as a ‘correlationist’ and recast the debate between idealism and realism in the history of post-Kantian philosophy terms of the roles and relations of time and space.
Note: As the file was originally a printed pamphlet with a front and back cover the formatting does not translate well to a pdf. I have attempted to maintain some of the original layout with this orientation, although it is not always perfect.
http://www.lydgalleriet.no/?page_id=1168
Errata: This not the final version of the paper, footnotes 6 and 7 should read 'Place and Experience'
See Review: http://review31.co.uk/article/view/118/apocalypse-tomorrow
The argument progresses through an analysis of the three stages of dogmatism, skepticism and Criticism, which are central to Kant’s thought and which Meillassoux attempts to circumvent. It demonstrates how Kant develops his Critical philosophy through a rejection of dogmatism as a commitment to the principle of sufficient reason, which is reconfigured using the insights of Hume’s skepticism. Thus the system outlined in the Critique of Pure Reason is at heart a temporal philosophy, in which the principle of sufficient reason is reconceptualized in terms of the issue of time- determination. Meillassoux’s alternative system of ‘speculative materialism,’ it is argued, proceeds along the same path: Criticizing the principle of sufficient reason and reconfiguring it through the insights of Hume’s skeptical problematization of induction, in order to assert a temporal philosophy based upon the ‘hyper-chaos’ of the ‘principle of unreason.’ However, with this unexpected parallel between Kant and Meillassoux in regard to the issue of time, the problematic role of space also becomes apparent. Meillassoux’s temporal philosophy is disrupted by his use of the spatial metaphor to fully express the features of time that he sets out, and thus space becomes a point of tension within his temporal system of ‘speculative materialism.’ Working back through the parallel between Meillassoux and Kant reveals that the role of space and its connection to time is also a problematic point of tension within Kant’s Critical philosophy and one that is central to his reworking of the Critique of Pure Reason for the 1787 B-Edition. Thus, through a detailed interpretation of the Critical philosophy, and especially its role in the Refutation of Idealism added to the B-Edition, the centrality of space within Kant’s system is reasserted and evaluated. This recognition of the importance of space and its relation to time within Kant’s system also provides the means to reassess Meillassoux’s criticism of Kant as a ‘correlationist’ and recast the debate between idealism and realism in the history of post-Kantian philosophy terms of the roles and relations of time and space.