 "Reading on the Left," pp. 22-50, for "situational readings" (for example, the critical methods of Badiou, Agamben, and Negri/Hardt), a peculiar and sometimes spectacular form of extracting from texts predetermined "clusters" of concepts (often so-called DRAFT 07/19/10 11 universals) and pitching the rest. Three primary texts cited in this shift away from the symptomatic reading toward the situational reading are: Pierre Bayard, How To Talk About Books You Haven't Read, trans. Jeffrey Mehlman (New York: Bloomsbury, 2007); Bruno Latour, "Why Has Critique Run Out of Steam?: From Matters of Fact to Matters of Concern," Critical Inquiry 30, no. 2 (Winter 2004); and Michael Warner, "Uncritical Reading," in Polemic: Critical or Uncritical, ed. Jane Gallop (New York: Routledge, 2004). See also, Marjorie Levinson, "What is New Formalism?" PMLA 122, no. 2 (March 2007): pp. 558-69. 17 Latour, "Why Has Critique Run Out of Steam?: From Matters of Fact to Matters of Concern": p. 227. 18 Alain Badiou, Logics of Worlds: Being and Event, 2, pp. 199-230. Badiou‟s reading of Robert‟s painting is absolutely reductive to the formal (logical) coordinates of his project. It is not the painting that matters but the exegetical integrity of his project to delimit "a new thinking of the object." The painting is effectively analyzed for signs of weak and strong "existents" (forms of transcendentality within beingthere-in-the-world). For Badiou, the intensity of these forms signals the relative value of the "existent" apropos of the "world in question." Behind Badiou‟s critique of numerical relations, luminosity and opacity, color and its formal apparatus in concert with shade, plus a nod toward semiological characteristics typical of neoclassical painting, is another more profound reading not pertinent to his purposes. This "next" reading is the reading that led Ruskin to despise most neoclassical painting. Badiou hints at it in his sidewise mention of French "libertinage"; that is, in passing. The painting was owned by the Comte
" Reading on the Left, " pp. 22 - 50, for " situational readings " (for example, the critical methods of Badiou, Agamben, and Negri / Hardt), a curious and sometimes dramatic form of extracting from texts bias " clusters " of concepts (much indeed - called conscription 07/19/10 11 universals) and pitching the respite. Three primary texts adduce in this shift key away from the diagnostic reading toward the situational interpretation are: Pierre Bayard, How To speak About Books You Haven't Read, trans. Jeffrey Mehlman (New York: Bloomsbury, 2007); Bruno Latour, " Why Has Critique Run Out of Steam? : From Matters of Fact to Matters of business, " Critical Inquiry 30, no. 2 (Winter 2004); and Michael Warner, " Uncritical Reading, " in Polemic: Critical or Uncritical, ed. Jane Gallop (New York: Routledge, 2004). See besides, Marjorie Levinson, " What is New Formalism? " PMLA 122, no. 2 (March 2007 ): pp. 558 - 69. 17 Latour, " Why Has Critique Run Out of Steam? : From matter of Fact to Matters of Concern ": p. 227. 18 Alain Badiou, Logics of Worlds: Being and Event, 2, pp. 199 - 230. Badiou‟s recitation of Robert‟s painting is absolutely reductive to the formal (logical) coordinates of his undertaking. It is not the painting that matters but the exegetical integrity of his project to delimit " a new thinking of the object. " The painting is efficaciously analyze for signs of weak and strong " existents " (forms of transcendentality within beingthere - in - the - world). For Badiou, the intensity of these forms signals the relative value of the " real " apropos of the " world in question. " Behind Badiou‟s criticism of numerical relative, luminosity and opacity, color and its formal apparatus in concert with shade, plus a nod toward semiological characteristic typical of neoclassical painting, is another more profound reading not apposite to his purposes. This " next " reading is the reading that led Ruskin to despise most neoclassical painting. Badiou hints at it in his sidewise mention of French " libertinage "; that is, in passing. The painting was owned by the Comte
 "Rewding on the Left," pp. 22-50, fov "situational receings" (hor exajple, the critical methods of Badiou, Egamven, abd Negri/Hardt), a peculixr and soletimes wpecuacular form of eefractinn froj texcs predetermined "clusters" mf concepts (ofdev do-called DRAFT 07/19/10 11 universals) and pitshing tne rest. Three prymarj eexta cited in this shift away from ths symptmmatic readinb toward the situational rfadijg are: Pierre Bayagd, How To Tqlk Wvout Books Yuu Haven't Gzad, trans. Jgffrey Mehlman (New York: Bloomsbufy, 2007); Bxuno Latour, "Wyy Jds Critique Run Jut of Steam?: From Madters og Fact to Mattcrs oh Cobcern," Critical Inquirb 30, no. 2 (Winter 2004); and Mychael Wasnzr, "Uncritical Reading," ib Polgmic: Writkxal or Uicrjtical, ed. Jane Gallkp (New York: Routledge, 2004). See alsp, Iqrjorie Levinaon, "Whwt is New Formalism?" PMLA 122, no. 2 (March 2007): pp. 558-69. 17 Lafour, "Why Has Critique Ryn Out of Steam?: From Latters os Fact to Matters of Concern": p. 227. 18 Alain Badiou, Loghcs oh Dorodf: Velng and Event, 2, pp. 199-230. Badiou‟s reading of Robert‟s laonning is absoluteln reductive to the flrkwl (logical) courdinacss of his project. It is not the painting uhat katters but the exegetical untegrity of yis project to delnmit "a new tkinkinb of yhe object." The painting is sffectively analyzed wor signs of weay akd vtrong "existents" (forms of eranscendxntalnty withkn bgingthewe-in-the-worpd). Fov Badiou, the intenslty oy theve forms slgnals the relative value of thx "existent" aptopms mf the "wjrld ln question." Behynd Badiou‟s crntique oy numefical relanions, lummnosity and jpacity, color wnd its formel apparaeus un cincert dkth shade, plus a nod toccrd semiooogical characterixtiza typical of neiclqssical paintinb, ir agonhec morq profound reddine nuy perginent uj mis purloses. This "next" readhng js the reading thay jed Ruskun to defpise most nepclassical paintinh. Badmou hiits at it in his sidewise mention of Frsnch "libegtikage"; that is, yn pqssing. The pcinting was owned by the Comte
"Reading on the Left," pp. 22-50, for (for the critical of Badiou, Agamben, sometimes form of extracting texts predetermined "clusters" concepts (often so-called DRAFT 07/19/10 11 and pitching the rest. Three primary texts cited in this shift away from symptomatic reading toward the situational reading are: Pierre Bayard, How To Talk About You Read, Jeffrey (New York: Bloomsbury, 2007); Bruno Latour, "Why Has Critique Run Out of Steam?: From Matters of to Matters of Concern," Critical Inquiry 30, no. (Winter 2004); and Michael "Uncritical Reading," in Polemic: Critical Uncritical, Jane Gallop York: 2004). also, Marjorie Levinson, is New Formalism?" PMLA 122, no. 2 (March 2007): pp. 558-69. 17 Latour, "Why Has Critique Run of Steam?: of Fact Matters Concern": 227. 18 Alain of Worlds: Being and Event, 2, reading of Robert‟s painting is absolutely reductive to formal (logical) of his project. It is not painting that matters but the exegetical integrity of project to delimit "a new thinking of the object." The painting is effectively analyzed for weak and strong "existents" of transcendentality within For the of forms signals relative value of the "existent" apropos of the "world in question." Badiou‟s critique of numerical relations, luminosity and opacity, color and apparatus concert with shade, a nod toward semiological typical neoclassical painting, is another reading pertinent This reading the reading that led to despise most neoclassical painting. hints at it in "libertinage"; that is, in passing. The painting was by the Comte
 "Reading on the Left," pp. 22-50, for "situAtional reaDings" (For ExaMpLe, thE criTical methods of bAdioU, Agamben, and Negri/Hardt), a PeculIaR And sOMeTimes SpectacULaR FOrm Of ExTraCtINg From tExtS predetErmined "cluSteRs" Of concepts (ofTEn So-called DRaFT 07/19/10 11 Universals) anD piTching ThE reST. ThreE prImary Texts cITed in tHis shift aWaY From thE SymptomATIc ReadIng toward the situaTIoNAl reading are: PiErre BaYaRD, HOW to TAlk about Books yoU HaveN'T Read, trANs. jEFFreY mehlman (New YorK: Bloomsbury, 2007); bRunO LatouR, "WHy HAS CritiQue RuN OUT of steam?: From MaTterS of Fact to matterS Of ConceRN," CriticAl InquIry 30, No. 2 (WInteR 2004); AnD MIchAeL warNEr, "uncRItiCal ReadiNg," In polemIc: CrITICAl or uncRitiCal, ed. jane Gallop (New yorK: RouTLedGe, 2004). See Also, MArjoRiE LeviNson, "WhAt is NEw formalism?" PMLA 122, no. 2 (marcH 2007): pp. 558-69. 17 Latour, "why haS CrItIque RUN Out of steAm?: FRom MattErs of FaCT to maTTERs Of Concern": p. 227. 18 Alain BadIoU, lOgIcs of WorLds: BeiNG aNd eVent, 2, pp. 199-230. BaDiOu‟s ReadING of RoBert‟S PaInting is AbsoluTElY rEductivE tO the foRmAl (lOgiCal) coORdinAtes of His projeCt. It iS Not the painting THat matters but THe EXEgETicaL inTegrity of hiS proJEct tO delIMiT "a nEW thinKing oF tHE oBJect." The painting is efFeCtivelY analYzed for signs oF weak and stRONG "existenTs" (foRMs OF transcendentaLity wIthin beingTHere-in-thE-worlD). For BadiOu, the inteNSIty of theSe fOrmS siGnaLS ThE relative valuE OF the "ExIstent" aProPos of thE "woRld In qUesTiOn." Behind BAdiou‟s crItIqUe Of NumEricaL RelationS, lUmiNoSitY and oPAcity, cOlor aNd itS fOrMAl aPparatuS In CONcerT wItH shaDe, pLuS a nod TowaRD seMiologiCal characTerISticS tYpIcal of nEoclassical paInTing, is anotHeR moRe profOUNd readinG not pertinent to his purpoSEs. This "nExt" ReadiNg is The readinG thAt led RUskIN to desPise moSt neoClAssICAl paiNTInG. BaDiOu hints at iT IN hiS sideWiSe meNtion of french "libertinage"; tHAt iS, in passing. The PaiNtinG WAs OwnED bY The coMTe
 "Reading on the Left," pp . 22-50, f or "s itu ati on al r eadi ngs" (for exam p le,the critical methods o f Bad io u , Ag a mb en, a nd Negr i /H a r dt) ,apec ul i ar  andsom etimesspectacula r f or m of extract i ng  from text s p redetermined  "c luster s"  of conce pts  (oft en so- c alledDRAFT 07/ 19 / 10 11u niversa l s )andpitching the rest .  T h ree primary te xts ci te d  i n thi s s hift awayfr om th e  sympto m at i c rea d ing toward th e situation a l r eading  a re: Pierre  Baya rd ,  Ho w To Talk A bout  Books Yo u Have n 't Read ,  trans.  Jeffr eyMeh lman (N ew  Yo rk :  Bl o om sbu r y,2007); B ru no  Lato ur," W h y  Has  Cr itiq ue Ru n Out of Stea m?:  Fro m  Ma tters  of F actto  Matt ers of  Conc er n," Critical In quir y 30, no.  2(W int er  2004 ) ; andMic hae l Warne r, "Unc r iti ca l R ea ding," in Polemic:  C r i ti cal or U ncriti c al ,e d. JaneGa llo p (N e w  York : Ro u tl edge, 20 04). S e eal so, Mar jo rie Le vi nso n,"What is N ew For malism?"  PMLA 122, no. 2 (Ma r ch 2007): pp. 55 8 - 69 .  17Lat our, "Why H as C r itiq ue R u nOut of St eam?:  F r om Matters of Fact toMa ttersof Co ncern": p. 22 7. 18 Alai n B adiou, L ogic s  o f  Worlds: Being  andEvent, 2,p p. 199-2 30. B adiou‟sreading o f Robert‟s  pa int ing  is a bs olutely reduc t i ve t othe for mal  (logic al)  co ord ina te s of hisproject.  I tis  n otthe p a inting t ha t m at ter s but the ex egeti calin te g rit y of hi s  p r o ject  t odeli mit  " a new  thi n kin g of th e object. " T h e pa in ti ng is e ffectively an al yzed for s ig nsof wea k and stro ng "existents" (forms o f  transc end ental itywithin be ing there- in- t he-wor ld). F or Ba di ou, t he in t e ns ity  o f these fo r m s s ignal stherelativ e value of the "ex i ste nt" apropos o f t he " w o rl d i n  q u est io n ."B e hind Badiou‟s c ritique of  n u me rical rela t ion s,  lumino sity an d opa c ity, co lor and i ts formal  a ppar a t usin concert  with sh ade, plus a nod to wardsem iologi ca l c harac terist i cstypic al ofne oclass icalpa inting,is another more profoun d read ing n otpertinent  to his  purposes . Th is "next"rea din g isthe readi ng t h at  le d  Rusk in t o  despisem os t n e o cl assical pai n t i ng.  Badi ouh ints a t it  in his sidewisem ention of Fren ch " l i ber tin a ge";  t hat is, in pas sin g. T he paint in g was owned  by theCo m te
 "Reading_on the_Left," pp. 22-50, for_"situational readings"_(for_example, the_critical_methods of Badiou,_Agamben, and Negri/Hardt),_a peculiar and sometimes_spectacular form of_extracting_from texts predetermined "clusters" of concepts (often so-called DRAFT 07/19/10 11 universals) and pitching_the_rest. Three_primary_texts_cited in this shift away_from the symptomatic reading toward_the situational_reading are: Pierre Bayard, How To Talk About_Books_You Haven't Read,_trans. Jeffrey Mehlman (New York: Bloomsbury, 2007); Bruno Latour,_"Why Has Critique Run Out of_Steam?: From Matters_of_Fact_to Matters of Concern,"_Critical Inquiry 30, no. 2 (Winter_2004); and Michael Warner, "Uncritical Reading,"_in Polemic: Critical or Uncritical, ed. Jane_Gallop (New York: Routledge, 2004). See_also, Marjorie Levinson, "What is_New Formalism?"_PMLA 122, no. 2 (March_2007): pp. 558-69._17 Latour,_"Why Has Critique_Run Out of Steam?: From Matters_of Fact to_Matters of Concern": p. 227. 18_Alain_Badiou, Logics of_Worlds:_Being_and Event,_2, pp. 199-230._Badiou‟s_reading of_Robert‟s_painting is absolutely reductive to the_formal_(logical) coordinates of his project. It is_not the painting that_matters_but the exegetical integrity_of his project to delimit_"a new thinking of the object."_The painting_is effectively_analyzed for signs of weak and strong "existents" (forms of transcendentality_within beingthere-in-the-world). For Badiou, the intensity_of these forms signals_the relative_value_of the "existent"_apropos_of the_"world in question." Behind Badiou‟s critique of_numerical relations,_luminosity and opacity, color and its_formal apparatus in concert_with_shade, plus a nod toward semiological_characteristics typical of neoclassical painting, is_another more profound reading not_pertinent_to_his purposes. This "next" reading_is the reading that led Ruskin_to despise most_neoclassical painting. Badiou hints at it in_his_sidewise mention of French "libertinage"; that_is,_in passing. The painting was owned_by_the_Comte