Cheng TanFollow


Alain Badiou's theory of love encompasses a topic on new materialist poetics, which examines the relationship between love and art in the realm of contingency as well as explores the real effects of their “encounter” in the world. This analytical journey necessitates a detailed interpretation of Badiou's pertinent discussions, structured into three pivotal segments. Firstly, it clarifies the connotation of Badiou's proposition that “love is the scene of Two,” positioning this assertion within the broader spectrum of new materialist philosophy. Secondly, it delineates the imperative for art to delve into “the continuation of love”, thereby fostering experiences emblematic of a new world. Thirdly, it stresses that in reconstructing the world, love and art can form an “alliance” by harnessing the power of “encounters.” This perspective is enriched by an engagement with Althusser's concept of “aleatory materialism,” advocating for a Romantic project aimed at ameliorating the fissures within contemporary society through the creative interplay of love and art. This blurs boundaries between art and politics, resulting in a romanticized orientation within his political proposals against global capitalism. Such an orientation exemplifies the poetic allure inherent in contemporary Western radical leftist theory, notwithstanding the contentious reception of its political propositions.


Alain Badiou, new materialism, contingency, love, art, encounter