In this article, I wish to engage in reflecting on the limits of affirmative and vitalist potentials visible in new materialist research. An enthusiastic note is clearly heard from within the new materialist perspective, for example in the important work of Rosi Braidotti. I offer an interpretation of her ‘The Ethics of Becoming Imperceptible’ in hopes of reflecting on the limits of the affirmative approach. This interpretation is fuelled by more hesitant notes also heard within new materialist research, tones expressing doubts, tracing the limits of materialist, vitalist, affirmative takes and offering perspectives that turn to ‘a matter that fails to come to life’, ‘unproductive and devoid of relations’. This turn – according to my reading – is an effort to respond to the need to recognise ‘our today’ in its complexity. To fully grasp the landscapes of ‘our today’, I offer a concept of bare death (in dialogue with bare life as coined by Giorgio Agamben and as used by Braidotti) as a concept that relates to instances where something has died but cannot enter into the ‘generative powers of a Life’. It is depicted with references to the nuclear and plastic landscapes of the Anthropocene. Relating to those landscapes, I make use of an art installation by Pinar Yoldas, The Ecosystem of Excess, as a kind of companion for thinking about becoming and the transformation of life and death in order to respond to the ambivalent landscapes of ‘our today’ and to understand how death matters beyond the human self.

中文翻译：

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将女权主义新唯物主义生命主义推向极致：赤裸裸的死亡

在本文中，我希望对新唯物主义研究中可见的肯定和活力论潜力的局限性进行反思。从新唯物主义的观点中可以清楚地听到热情的音符，例如在 Rosi Braidotti 的重要作品中。我对她的“变得难以察觉的伦理”进行了解释，希望能够反思肯定方法的局限性。在新唯物主义研究中也听到了更多犹豫不决的笔记，表达怀疑的语气，追踪唯物主义，活力主义，肯定主义的局限性，并提供了转向“无法实现的问题”，“无效和缺乏”的观点，从而推动了这种解释关系”。根据我的阅读，这个转变是为了回应承认“我们的今天”的复杂性的需要。为了充分把握“我们今天”的风景，我提供了一个裸死的概念（与乔治·阿甘本创造的裸生对话，由布雷多蒂使用）作为一个与某些事物已经死亡但无法进入的实例相关的概念'生命的生成能力'。它的描绘参考了人类世的核和塑料景观。与这些景观相关，我利用Pinar Yoldas的艺术装置“过剩的生态系统”作为思考生成和生死转换的伴侣，以回应“我们今天”的矛盾景观并了解死亡是如何超越人类自身的。我提供了一个裸死的概念（与 Giorgio Agamben 创造并由 Braidotti 使用的裸生命对话）作为一个概念，它与某些事物已经死亡但无法进入“生命的生成能力”的情况相关。它的描绘参考了人类世的核和塑料景观。与这些景观相关，我利用Pinar Yoldas的艺术装置“过剩的生态系统”作为思考生成和生死转换的伴侣，以回应“我们今天”的矛盾景观并了解死亡是如何超越人类自身的。我提供了一个裸死的概念（与 Giorgio Agamben 创造并由 Braidotti 使用的裸生命对话）作为一个概念，它与某些事物已经死亡但无法进入“生命的生成能力”的情况相关。它的描绘参考了人类世的核和塑料景观。与这些景观相关，我利用Pinar Yoldas的艺术装置“过剩的生态系统”作为思考生成和生死转换的伴侣，以回应“我们今天”的矛盾景观并了解死亡是如何超越人类自身的。