Latour On The Death of Critique

Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern

by Bruno Latour

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Wars. So many wars. Wars outside and wars inside. Cultural wars, science wars, and wars against terrorists. Wars against poverty and wars against the poor. Wars against ignorance and wars out of ignorance. My question is simple: Should we be at war, too, we, the scholars, the intellectuals? Is it really our duty to add fresh ruins to fields of ruins? Is it really the task of the humanities to add deconstruction to destructions? More iconoclasm to iconoclasm? What has become of critical spirit? Has it not run out of steam?

Quite simply, my worry is that it might not be aligned to the right target. To remain in the metaphorical atmosphere of the time, military experts constantly revise their strategic doctrines, their contingency plans, the size, direction, technology of their projectiles, of their smart bombs, of their missiles: I wonder why we, we alone, would be saved from those sort of revisions. It does not seem to me that we have been as quick, in academe, to prepare ourselves for new threats, new dangers, new tasks, new targets. Are we not like those mechanical toys that endlessly continue to do the same gesture when everything else has changed around them? Would it not be rather terrible if we were still training young kids–yes, young recruits, young cadets–for wars that cannot be thought, for fighting enemies long gone, for conquering territories that no longer exist and leaving them ill-equipped in the face of threats we have not anticipated, for which we are so thoroughly disarmed? Generals have always been accused of being on the ready one war late–especially French generals, especially these days; what would be so surprising, after all, if intellectuals were also one war late, one critique late–especially French intellectuals, especially now? It has been a long time, after all, since intellectuals have stopped being in the vanguard of things to come. Indeed, it has been a long time now since the very notion of the avant-garde–the proletariat, the artistic–has passed away, has been pushed aside by other forces, moved to the rear guard, or may be lumped with the baggage train. We are still able to go through the motions of a critical avant-garde, but is not the spirit gone?

In this most depressing of times, these are some of the issues I want to press not to depress the reader but to press ahead, to redirect our meager capacities as fast as possible. To prove my point, I have not exactly facts rather tiny cues, nagging doubts, disturbing telltale signs. What has become of critique, I wonder, when the New York Times runs the following story?

Most scientists believe that [global] warming is caused largely by manmade pollutants that require strict regulation. Mr. Luntz [a lobbyist for the Republicans] seems to acknowledge as much when he says that "the scientific debate is closing against us." His advice, however, is to emphasize that the evidence is not complete. "Should the public come to believe that the scientific issues are settled," he writes, "their views about global warming will change accordingly. Therefore, you need to continue to make the lack of scientific certainty a primary issue."

Fancy that? An artificially maintained scientific controversy to favor a "brown backlash" as Paul Ehrlich would say. Do you see why I am worried? I myself have spent sometimes in the past trying to show the "lack of scientific certainty" inherent in the construction of facts. I too made it a "primary issue." But I did not exactly aim at fooling the public by obscuring the certainty of a closed argument–or did I? After all, I have been accused of just that sin. Still, I'd like to believe that, on the contrary, I intended to emancipate the public from a prematurely naturalized objectified fact. Was I foolishly mistaken? Have things changed so fast?

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