Operative determinations in Carl Schmitt’s concept of the enemy. by Gerardo Muñoz

If the modern state presupposes the concept of the political, then the notion of the political presupposes the concept of the enemy. And if in Political Theology (1922) Schmitt claimed that the modern ethos was predicated as a struggle against the political, a decade later The concept of the political makes the case as to why the political could have only emerged in the wake of the crisis of the modern liberal state aggravated by the rise of the total state and the politization of the economy. All things considered, what Schmitt claims about “politics as destiny” (quoting Walter Rathenau, although the original is handed to us by Hegel quoting the Napoleon- Goethe conversation) has been misunderstood: “It could be more exact to say that politics continues to remain the destiny, but what has occurred is that economics has become political and thereby destiny” [1]. The total politization of economic relations – social contract as structured in value transaction and production – does not imply that Schmitt thinks that politics is destiny. If the ‘concept of the political’ is suppressed and subsumed by economics and techno-administration, then this implies that every sphere of human activity becomes political including one’s destiny. But no destiny can be fully administered or it ceases to be one.

The suppression- expansion of the political allows for the destruction of the enemy, who turns a mere protuberance in a pacified world order. In other words, for Schmitt (unlike what is usually said on his behalf) proposes a concept of the political to achieve a separation from politics that doesn’t amount to ‘critique of politics’ (allegedly what Liberal epoch offers), in the same way that the figure of the enemy is not to be understood normatively as the telos of political activity, but rather an operation that indicates degrees of association and dissociation given that the modern theory of the state is inseparable from plural conflict. In fact, as Schmitt states, the concept of the political as operatively defined by the enemy does not turn its back to pluralism, but rather wants to produce (“yield other consequences” is the language used) pluralism without suppressing the political unit itself [2]. And to yield “space of recognition” for friend-enemy divide does not entail war is neither the end nor the continuation of politics, as it has been understood, but rather an optimal effect whenever there is the existence of political units [3]. In this sense, the notion of enemy as presupposed in the concept of the political is not a substantive and personalist notion, but a particular operation that tries to contain domination while providing breathing space for a non-suppressive practice of politics (a counterpoint to fleeing from catastrophic techno-politics, suggested by Erich Unger’s Politics and Metaphysics during the same time).

One could outline at least four operative determinations of the enemy, which support the thesis of Schmitt’s effort to amend the conditions of the liberal state not negating them: a) the enemy is always a public enemy (hostis) and not a private one (enemicus). Here Schmitt retains the modern juristic conception of positive law. As Schmitt recalls in Ex captitvate salus, for the theologians the enemy is something to destroy, but he thinks as a jurist and not a theologian [4]. b) the hostis is not reducible to a person, but rather to a political unit, although the political could amount to an existential condition. If the “enemy is one’s own question as figure (Gestalt)”, as Schmitt quotes from Däubler, this also means that enemy is a principle of differentiation and mediation rather than a substantive essence, ideological or otherwise [5]. This is why it could be a mistake to confuse the gestalt formation with the unity and relative homogeneity of society required for the modern state.

c) If any political thinking is a thinking oriented towards optimization of the extreme case (this presupposes a negative anthropology), then it follows that the enemy is also the “enemy” in a concrete conflict. And it is clear why Schmitt taught that the suppression of war in the wake of the Kellogg Pact 1928 meant, as least tendentially, that enemies cease to be taken as a unit of differentiation transforming politics into a world police as the dominant practice of managing partners that eradicate the hostis. d) Finally, the notion of the enemy allows the state to recognize concrete threats and dispose of capabilities to respond to a crisis (here the polarity between decision and discussion comes to light), but also without discarding the basic principles of the rule of law such as nulla poena sine lege. In this final determination, the concept of the political is directed at displacing the separation of state and civil society, which according to Schmitt was incapable to offering a concrete response to the rise of neutralization posed by totalization of the “society” superseding the authority of the state (this is a variant of the economic primacy). The notion of the enemy is thus understood best as an optimal operativity that seeks to relieve politics from this polarity (totalization and repression) laying bare at the origin of the modern state.




1. Carl Schmitt. The Concept of the Political (University of Chicago Press, 1996), 78.

2. Ibid., 45

3. Ibid., 34.

4. Carl Schmitt. Ex Captivate Salus (Polity, 2017), 135.

5. Ibid., 136.

6. Carl Schmitt. “Premessa all’edizione italiana”, Le categorie del politico (Il Mulino, 1972), 39.

A gloss on the “element” of love. by Gerardo Muñoz

It might be the case that the self-evident nature of love as an affection proves itself lacking mediation in thought, insofar as it is a resource of mediation between thought and the world. In this sense, it is true that what one “loves” resists to be grasped as an object of representation or exposition; it is a question of limits, and those limits posit the question of the world. Now, love gives form, but it is not in itself a form or a mandate or an object. This means that love is outside of reality; indeed, it is the absolute indifference between object and world.

The question perhaps is one regarding proximity and distance. The problem of “nearness”, which is why in the text one reads the orphic inscription: “When we are in nearness to which we love we then go through the other side of the mirror.” Of course, what is interesting it not the “other side”, but rather to have become transformed by something without ever being entirely dissolved. Amor fati? Perhaps. In the transient path of the night one is opened to the condition of the “moon hunter”, in which one path reveals itself as the question of destiny (“one life”). The trick is that no path is ever ‘obligatory’, but rather validated by an access to an experience. Now, it is obvious that love cannot exhaust an experience, but there is no experience that is not affected by love, since it is this affection what inscribes the limit of a world without the fantasy of possession and abuse. 

Another moment: “In abusing something we no longer love; and even in the pleasure that were invested in we do not love”. Here the exotic (extemporaneous) nature of love becomes visible: no love is exhausted in materiality and form. Love is ex-scription: it demands exodus as homecoming. However, no fundamental fantasy of love can validate what is granted to us by the irreducibility of an experience. Perhaps this is after all what Gianni Carchia, reading Schelling called the “transfiguration with the divine”. Or, as I would like to call it, the intromission with the invisible [1]. In the invisible we carve out the limits of our deconstitution with our world in which our existence is possible through separation. 

There might a rebuttal, although it might not be one after all. It is a recent suggestion by a friend who claimed in a psychoanalytic speculation that: “Perhaps after all ‘love’ is a Christian invention, a compensatory and necessary one for the fact that we do not communicate”. There might be a few ways to respond to this claim; the first one being that the task of the transfiguration of love responds, precisely, to the subordinated status of love as mere compensation to the subject of sin and thus of the pleasure principle. The existence that can traverse the pleasure principle of the subject could be said to have gained reentry into a happy life capable of outsourcing the succession of infinite deaths while in life. 

Contrary to life or death, love might be another name for the orphic passage between the two states of potentiality; that is, of pure affection and the opening of the impotential in every life. To experience the death of what is possible as transient to the time of existence opens the path towards a “life to come…in underground streams” (Auden). If love is to be taken as compensatory to the impossibility of communication, then there is a love of thinking, but not necessarily a thinking of love. It is strange that philosophy – just as “liberty” for political thought – fails when measuring itself up to a thinking of love, a vertigo before the immemorial attunement to the state of mousikos. Such is the taking place among the things that we have surprised in the world, but only accessible to those who “seek” outside reality. 



1. Gianni Carchia. “Indifferenza, eros, amore: la critica dell’essere spirituale nella “filosofia della libertà” di Schelling”, in L’amore del pensiero (Quodlibet, 2000), 101-121.

Photogenesis and the invisible: on John Cassavetes’ Shadows (1959). Notes for a seminar presentation. by Gerardo Muñoz

i. What is your name? Every time that I have watched John Cassavetes’ Shadows (1959) I end up facing the same question: what is taking place in this film? Perhaps it is the incorrect question insofar as Shadows (1959) is, first and foremost, a film about the event; about “what takes place”. Unlike Hollywood’s telic form over conflict, the whole premise of Cassavetes’ method of improvisation is a way to liberate the event in the moving image. This is what I would like to call here a photogenic event. The whole structure of Shadows is, to this effect, the bringing-fourth of appearing without narration or naming. Hence, what takes place is the way in which characters or figures emerge from light, retracting from the plunge unto theatricality. The photogenetic effect in Cassavetes is a way out of the logic of naming: remember “what is your name?”, as Bennie asks very early in the film (the café sequence). Indeed, the naming is always what emerges after the event, once boredom has kicked him and the separation from light and shadow, human and animal, theater and theatrically have taken place. The taking place in Shadows is a return to an abysmal site predating naming, faces, or intentions: it is absolute proximity. 

ii. The vocation of the quotidian. The photogenetic image works through the texture of life: this is why in Shadows nothing truly happens in virtue that everything takes place. The difference between happening and taking place is an irreducible distinction; mainly, what happens is not provoked a mediation between subjects and objects, but rather at a moment when both subject and object coincide only to immediately suspend each other. What takes place is life’s destiny, which ultimately entails that we are figures of exposure before we are subjects of narrative and causality. As in a diary or a midnight party, what takes place is the clandestine life once it enters in relation with other bodies, languages, and gestures. In this sense, Shadows remains faithful to one and only one principle: how to transfigure the boredom of factical life into a vocation of a clandestine life. It is not too clear that Cassavetes arrives at a successful answer to this problem; almost as if, indeed, to remain clandestine is to insist on the “invisible” image that is always missing from every life. The promiscuity between shadows and light transpires the possibility of the living all the other invisible and nonexistent lives that are scarified within that which we call “life”. 

iii. Under the glorious sky. If the task of vocation opens to the invisible in life, then this means that there is always a dimension that is exterior the anthropological determination. In the solitude of the nocturnal splendor of the late modern metropolis – as in the instance in which Lelia is outside of a Manhattan theater lost in thought or contemplating the shimmering lights above – the existence of the human shines along with the embers of the sky. This most definitely an inherence of paganism in the sense of the medium in life as a mode of appearance without judgement. As one can still contemplate it from the frescos at Villa Fernesina, the pagan gazing towards the sky is not a flight towards abstraction or transcendence, but rather a releasement of life’s destiny as affirmed in the terrestrial presence [1]. Paradoxically, at the moment of the total subsumption of life into the Spectacle, the medium frees the possibility of the deconstitution of life into the modes and resources of appearing. From the photogenic perspective, this entails full saturation on the horizon; from the pagan perspective, the onwards unfolding of existence becomes a fragment in the exploration of the common sky. 

iv. Inharmonious tonality. Now, fragmentation opens a heterochronic disassociation between images and events. Indeed, all of Shadows unfolding bears witness to the way in which the tonality of life is always at odds with the attunement of the rhythms of the world. It is in this threshold where interiority of the self and exteriority of music point to the peak of prophecy. For one thing, because music is the medium through the residual mystery of the “inexpressive” becomes the process of traversing the ecstatic formlessness of the event. This disharmony dislocates the homogenization vis-à-vis the sky of cinematography.  Bresson says something very beautiful about this disharmony: the image of cinematography must be such that it puts in relation the voice and the steps of a person in a way that the protagonist themselves have not foreseen. This nocturnal knowledge between image and sound, rhythm and tonality of life, becomes the triumph of the photogenic medium in which life dissolves in a kinetic outburst without recourse. 

v. The invisible and intoxication. At a very superficial dimension, Shadows is about alcohol consumption; hence about what happens to a life under the stage of intoxication. The only knowledge is that of the oblique pedagogy in which the way of the flesh becomes a pathway for language, friendship, and violence among other bodies. There is no transgression as an intoxicated subject, since intoxication is already the violence against the substance of the subject. In other words – and this was suggested to me by the contemporary artist and designer Claudia Patricia – the logistics of errancy is being able to do otherwise from a site in which no other possibility could have emerged. This absolute necessity moves against reality and the future planning of the metropolis. And here I must return to the beginning: what takes place is what allows a relation with the invisible. Already in 1959, Cassavetes understood that intoxication redeems an ethical life against an epochal phase in which total anthropological exposure would become the concrete utopia of the socialization of capital. 




1. Fritz Saxl. La fede astrologica di Agostino Chigi. Interpretazione dei dipinti di Baldassarre Peruzzi nella Sala di Galatea della Farnesina (Bardi Edizioni, 2017).

2. Gianni Carchia. “Dialettica dell’immagine: note sull’estetica biblica e cristiana”, in La legittimazione dell’arte: studi sull’intelligibile estetico (1982). 

3. Bresson on Bresson: Interviews, 1943-1983 (NYRB, 2016).