Boris Groys (born 1947) is Professor of the Faculty of Art and Sciences, New York University, and Professor of Philosophy and Art History, European Graduate Center, Saas Fee, Switzerland. He is the author of the books: Art Power. MIT Press. Cambridge Ma. 2008; An Introduction to Antiphilosophy, Verso, 2012; Under Suspicion. A Phenomenology of Media. Columbia University Press 2012; On the New, Verso, 2014; In the Flow. Verso, London 2016; Particular Cases, Sternberg Press, Berlin.
A traditional philosopher is like a traditional artist: an artisan producing texts. An antiphilosopher is like a contemporary art curator: he contextualizes objects and texts instead of producing them. (Ibid, p. Xiii)
Thus, one often tends to think that anti philosophy is only a temporary illness of philosophy that will be overcome by the future return of great, robust, vital philosophical production. However, it seems to me that this hope is doomed to remain forever futile, because antiphilosophy is the final, absolute stage of philosophy. (Ibid, p. Xiii)
Antiphilosophy does not produce any conventionally identifiable philosophical texts, but instructs us how to change our mind in such a way that certain practices, discourses and experiences would become universally evident. Or, in other words, antiphilosophy produces not the universally self-evident texts and objects, but universal evidence as such. That is why antiphilosophy -like anti-art - not only does not destroy philosophy as an institution but, rather, offers the only possible path for its survival. (Ibid, p. Xiv)
