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Community, Globalization, and the Logic of Encounter: The Artwork after Husserl, Lefort and de Duve

It is, today, easy to ignore art. The concerns of a global politics often appear to us on a grander scale than the "languages" of the arts can address. When diversity is celebrated in the shadow of major conflicts over religious and cultural differences (Israel, Palestine, Afghanistan), and when political battles are waged at the edges of economic and environmental summits, the old fashioned "art of protest" seems trivial and inept. Particularly so when the "speech" of certain cultural groups is systematically suppressed. In the face of suicide bombings, asymmetrical trade treaties and predictions of ecological disaster, the arts are considered by most to be no more than one more entertainment option, consigned to a realm apart from the "real world" of conflict and disaster. Still, when one contemplates the disjuncture between the languages of art and the contemporary world, a world seemingly well characterised by that nebulous term, "globalization", one may be struck by resonances with the way that Husserl opens the Crisis of European Sciences with a lament over the emptiness of modern European life. Notwithstanding all their success, the positivistic sciences have, according to Husserl, impoverished humanity's understanding of itself in the drive to pursue facts at the expense of all other modes of enquiry or ways of thinking, "exclud[ing] in principle precisely the questions which man ... finds the most burning: questions of the meaning or meaninglessness of the whole of this human existence".! Husserl's worry is that this emphasis on practical science has constricted language and narrowed the terms in which we relate to our world and to all that surrounds us, impoverishing the community-that realm where the languages of science, perhaps ironically, cannot speak, but where the meaning of this human existence matters the most. As he puts it, "merely fact-