The wreckage of design. On Alejandra Castillo’s Antropoceno como fin de diseño (2025). by Gerardo Muñoz

Only in rare occasions the operation of thinking finds angular or lateral points of escape. This is the gesture that characterizes Alejandra Castillo’s theoretical writing, and is particularly bright in her most recent book Antropoceno como fin de diseño (La Cebra, 2025). The zigzagging entry is an intuition that is also a guiding thread: the force of real subsumption of capitalist domination depends on the operation of design. Of course, in design one hears not only blueprint and form, but also designation, and thus the specular regime of visibility, orderability, quantification. It is the world of physiocratic forestry. In fact, Castillo’s succinct definition of the metapolitical condition of design is offered to the reader at the entrance: “Design is the figure that thinks always in advance (por adelantado) (Castillo 12). Design calculates and locates. It is through the operation of design that legibility becomes adequated to political representation so that the state can manage and attenuate the deployment of its forms and the circulations of relations of totality (Castillo 13). The design is what is common to the worker, the engineer, and the lawyer. This is why design for Castillo design is an efficacious nexus that connects the separation of objectivity and the life worlds. Understood in this sense, “design” is analogous to the enframing of the world that intensifies in the age of technology and rhetoric. But in the watershed of the end of modernity, the hegemony of design collapses, while it becomes a temporal “self-design” submerged in all spheres of expressive enactments. 

The end of the second vector of the zigzag outlined in the essay is found precisely at this conjuncture: the anthropocene brings the humanist projections and design to a final wreckage. This is means that capitalist form is not formless because it has managed to subsume the time of life as exception to labour; time is a wreckage because design no longer coincides with the world of forms, as it has temporalized experience into total transparency without reminder. For Castillo this means that in the anthropocene there is no longer “struggle for visibility”, as everything has been rendered exposed and hollow; de-substantialized in the very fabric of subjectivity (in the early millennium some called this new hyperbolic figure the Bloom). Implicitly in Castillo’s writing is the assumption that the mediation between politics and design has been severed, and the new securitarian imperium can only immunize itself against the very site that in modern times granted its legitimacy (civil society, constituent power) (Castillo 37). 

The end of design means the absolutization of design, a new carceral imperative for adaptation that makes any claim to subjectivity an endorsement of the prison of the ego. To live in a post-designed unworldly condition means not only to come face to face with the homogenous space of cultural exchange into image; it is also a new imperative that requires that “you must submit, without knowing to what; subject to what is the case anyway, and which, as a reflex to its power and commonsense, everyone believes anyway” [1]. The end of design paves the way for new plastic forms of domination towards an integral planetary unity. 

Bordiga claimed throughout his work that the democratic design was perhaps the best fitting system for the versatility of capitalist accumulation and relentless expansion. This is why in all the political cases that Castillo introduces in a text in a manner of a shadow play do not pretend to offer a new theory of ideology, but rather show how democratic design is a one-piece suit that fits all without any needs for “ideal types” to fix normativity and institutional arrangements. Indeed, there is no longer anything like an “extreme political right” – and this is just a tweak from Castillo’s vocabulary, who does insist on the term throughout the essay – but rightward figures of the political that desperately cling to any form to distract from the abyss of social legitimation. Ultimately, the ruling over this void will be  – in many ways already is – the continuation of war in the social fabric; and stasis will require new stealth development of technologies of containment that Palantir’s Alex Karp has called the new “lethal form”. This means that democratic design is not only expressively a system of sentencing to death; it is in virtue of the exchange of social forms, an inverted negation of human finitude. The point of despair would incite some to look again in the cabinet of forms; a knee-jerk reaction to the irruption of the Anthropocene against the total sum of possible designs. 

Of course, this is also what Alejandra Castillo’s Antropoceno como fin de diseño (2025) avoids at all costs. Towards the last pages of the book, Castillo calls for a transformative turn that departs from the body; a corporeal insurrection that, in refusing the rectilinear and heteronormative political corpus of the modern epoch (no coincidence that Hobbes was both the founder of the autonomy of civil as well as of the physics of the body of matter in space), is capable of responding to the call of the anthropocene in all of its profuse conflictivity. Castillo proposes the necessity to gravitate towards a “maximum distance” against the general design of orderability of public domination (Castillo 77). But this can only be understood as an incommensurable distance that dissolves the ontotheological separation of subject and object of the state of confinement.

The political constitution of a corpus appears as the promise of an exit from the temporalization of the post-auratic literalism that, according to Michel Fried, dominated the structure of the object-oriented work of art, as compensatory to the corrosion of political forms and presentist autonomy [2]. Castillo does not seek to revive a last gasp of auratic objectification, which amounts to the sleepwalking condition of the image world of mere survival. In soliciting a maximum distance to what is closest (in fact, a body), Castillo invites us, as both promise and commitment, to think at the end of nondependency – not the “independence” that carries the traces of the fictitious individuality- from the crutches of design to finally conquer another liberty beyond terror and prevention; a life imbricated in the nonbeing of place (ecology) with others.

Notes 

1. Thedor W. Adorno. “The Cultural Industry: A Resumé”, in Without Model (Seagull Books, 2023), 58.

2. Michael Fried. “Art and Objecthood”, in Art and Objecthood: Essays and Reviews (University of Chicago Press, 1998), 172.

The task of the other beginning. On Alberto Moreiras’ Tiempo roto: vivir el antropoceno (2024). by Gerardo Muñoz

The sudden and uninvited intrusion of Gaia in our world is something rather strange, and yet consistent with the closure of the metaphysical tradition. The call of the outside takes place at the threshold of our reflexive capacities, habits, and mental propositions in our relation with the world, which demands everything to be thought from scratch. The historical imbalance in groundlessness now requires a new task for thinking – the imperative that runs through Alberto Moreiras’ most recent book Tiempo roto: vivir el antropoceno (Palinodia, 2024). The theoretical constellation deployed over the course of a decade now comes to the forefront with extreme urgency – I am referring to marranismo, posthegemony, aprincipial anarchy, and of course, infrapolitics. Tiempo roto (2024) is not a systematic culmination of Moreiras’ philosophical (or antiphilosophical) project of thought, but it is definitely a mature elaboration insofar as the field of problematization enters a hitherto unexplored thematics of late heideggerianism. All things considered, the emerge of the anthropocene as an explicit planetary endgame and the new beginning necessarily move pass the conditions of both political and scientific praxis, which today can only effectively adequate itself into positionality (the so-called Gestell) and objectivity of a world that slowly seems coming to its end. 

It might be worth remembering that the notion of “other beginning” (“otro comienzo”) in the wake of civilizational decline was already proposed in the book Sosiego siniestro (2020), but it was far from being thoroughly explained [1]. Following Heidegger’s philosophical scene, representational thought in the tradition of adequatio of the Thomist gnoseology coincides with technological administration of every living entity (Moreiras 14). But Heidegger’s suggestion in the Parmenides that calculative representation fails as grasping the essence of the polis might also have its own limitations, insofar Gaia appeals to an excess beyond or below the politics. As Jacques Camatte also understood it, the civilizational invariant of revolutionary breakthrough departing from the historical subject of the working class can seldomly do the work except as an article of faith in the myth of the autonomy of the proletariat within real subsumption. This means that we are in the terrain of infrapolitics or the chora, which point to ontic regions of thought towards a new beginning at the end of principial metaphysics. But the other beginning can only emerge within conditions of transforming existence against the closure of political technicity. 

I do not desire to reconstruct here all the refined analytical movements that lay out the transformation of existence in Tiempo roto (2025), but there is a maxim from Pindar’s Third Pythian Ode that stands out as an emblem for the appropriation of the non-humanity of the world. Moreiras cites Pindar’s “me, phila psycha, bion athanato speude, tan d’emprakton, antlie makanan”, which can roughly be translated as “do not seek, dear soul, immortal life, but do try to carry out the fullest the use of the possible” (Moreiras 61). Moreiras correctly notes that the ultimate difficulty lies in the “emprakton makanan”, or the use of the possible, which metaphysical Humanism and effective general equivalent can only exacerbate towards the planetary production and extractive valorization. The corruption of the use of the possible is the realization of hybris, and in this sense all representational humanism is always already a form of self-deification and induced hallucination, even when it tries to claim to engage in the opposite in relation to nature (Moreiras 65). Moreiras suggests that the pindaric maxim discloses a second relation of the “use of possibles” that does constitute a lacuna  in the metaphysical tradition, and that is understanding a praxis tied to sophrosyne or phronesis that abides to the prudent inclination of the non-human (“es una actividad sometida a la vergüenza de lo in-humano”) (Moreiras 65). Giorgio Agamben’s defense an ontology of possibility against the hegemony of metaphysical realization and representation also comes to mind, although Moreiras might not feel at ease at explicitly calling for a positive ontology nourished in the waters of a transfigured metaphysics of the tradition of scholastic Averroism [2]. Although both Moreiras and Agamben come at their closest proximity in terms of the notion of the chora – and more directly the space of the chora against the primacy of the polis – which serves the ontic condition for the non-spatial surfacing of the abode or region that is necessarily infrapolitical, because it’s never determined by distributionist political isonomia or meson (Moreiras 73). 

There are important nuances here to say the least: whereas for Agamben the notion of chora appeals to the gods of place (theos aisthetos), and thus a dejointed form of divinization decoupled from the legitimacy of every politico-theological archein; for Moreiras, the chora is a praxis of thought towards desecularization that lacks theology, and thus capable of exceeding the onto-theological reduction (Moreiras 74). But Moreiras says about the tendency towards nihilism of “possibility” in the historical dispensation of positionality (Gestell) could also be said about ‘de-secularization’, as the ultimate consequence of the decay of political legitimation in Ernst Bockenforde’s famous formulation. This might not be the space nor the moment to reach a verdict between Moreiras and Agamben’s position regarding the very complicated problem of the Platonic site of the sensible, since what is presented to the reader as a ‘phenomenology of excess’ or the inapparent (something merely alluded in the Zahringer seminar), might be the condition of an atopic mediation that prepares – or that has always prepared since the times of Orphic myths – the tonality of a coming philosophy under the sign of transformative thought (Moreiras 110) [3]. 

The dispensation of the Gestell open up and also step back (a folded movement that does not have a declension into a synthesis) into the genesis of the beginning (Moreiras 115). And the anthropocentric epochal dispensation, says Moreiras, is no longer the site of the polis, but “the planet as a the historical site of humanity, although we are still unaware of it (“aunque sigamos desconociéndolo”) (Moreiras 116). This uncanny phenomenology of the primary, traversed by the discharge of the entstehung, is the infrapolitical site par excellence, because it is in the atopic region where destiny is both affirmed and displaced. This is why, as Moreiras recalls Heidegger saying, the dialogue with Parmenides never exhausts itself, and yet it prepares a destiny (Moreiras 134). I take this to mean that there is an experience of the transfiguration of language for the emergence of an “ethics” (ethos), but this might be beyond Moreiras preliminary conditions for an existential breakthrough; that is, something possible further along the path.

Tiempo roto (2024) closes with a couple of undeveloped pages that take Massimo Cacciari’s old essay “Confrontation with Heidegger” (1977), in which the Italian philosopher makes a plea for a direct confrontation with Heidegger and Nietzsche’s teachings on nihilism and the closure of metaphysics if there would still be any hope for the composition of the working class during the stage of anthropomorphized dimension of capital defined by Jacques Camatte also during those years. But much has changed since the hot Italian summer of 1977 and the formulaic conjunction of  “left Heideggerianism” might not do the work anymore, as if the totality of materialist political economy could be amended by a radicalization of the historical question and the ontological difference. Political economy plus metaphysical critique is still relying on a conception of the political as a technique, which today has transformed into what some have called the “new regime of ecological accumulation” as mere stabilization of green ecological spheres of life [4]. 

But there is  a second register to Cacciari’s programmatic thesis that remains open. And these might be Moreiras’ most important words in the concluding part of the book: “Espero haber mostrado que Hiedegger señala la posibilidad de dejar atrás la explotación y el consumo en la era del Antropoceno a través de una comprensión alotrópica de nuestra relación con el mundo. Por lo tanto, vivir en el Antropoceno debe basarse en el abandono o desplazamiento de la metafísica como modo dominante de aprehensión del mundo en la actualidad” (Moreiras 151-152). Marx’s materialist dialectic through the critique of political economy – even as a destitution of political economy through its own vectorization – might be insufficient to face the unprogrammed presence posed by planetary anthropocene. 

Perhaps we can still repeat Dionys Mascolo’s words that the coming communism will owe more to Hölderlin than than Marx, not because of an idealist dispute over concepts, but rather because of what Cacciari called in his essay, also citing the German poet, the historical “affinity of conditions” [5]. And in the age of the Anthropocene and positionality, those conditions are kept in the pattern of economic decline or stagnation in which the law of rate of profit encounters its own limit, folded unto the ongoing destruction of the life forms in the world. The allotropic praxis endorsed by Moreiras finds traction in Hölderlin’s poetic dwelling in language at the heart of decline so that something other might emerge within and beyond life, from Gaia to Ctonia. This is the most difficult task to depart from, but it is also the path that saves from the current inhabitable passage of the Earth. 

Notes 

1. Alberto Moreiras, Sosiego siniestro (Guillermo Escolar, 2020), 24.

2. Giorgio Agamben. L’irrealizzabile: Per una politica dell’ontologia (Einaudi, 2022), 112-146. Kindle Edition.

3. For more on orphism and the limits of the site of the Greek polis, see Gianni Carchia’s Orfismo e tragedia (Quodlibet, 2019), epilogue by Julien Coupat. 

4. Gerardo Muñoz & Zeit der Ökologie. “On the New Regime of Accumulation”, Endnotes 2024: https://endnotes.org.uk/posts/on-the-new-ecological-regime-of-accumulation 

5. Massimo Cacciari. “Confronto con Heidegger”, in Pensiero negativo e razionalizzazione (Marsilio, 1977).