Object-Oriented Ontology (OOO)

Bibliographic Data

ID23318644
AuthorsGraham Harman (0000-0003-2566-309X, Southern California Institute of Architecture)
Year2019
Publication date2019-05-23
Peer ReviewedYes
Open AccessNo
TypeCHAPTER
VenueOxford Research Encyclopedia of Literature (SOURCE_BOOK)
PublisherOxford University PressNew York, NY (PUBLISHER)
DOI10.1093/acrefore/9780190201098.013.997
ISBN9780190201098
LanguageEN
Citations received59
References cited3

Object-oriented ontology (OOO) is an intellectual movement in the arts and humanities sharing certain affinities with both phenomenology and Actor-Network Theory (ANT). It is a philosophically realist position often at odds with existing currents in postmodernism and critical theory. The best-known idea of OOO is that objects “withdraw” from all direct human and non-human contact, so that relations between things are always indirect and must be accounted for rather than taken for granted. More broadly speaking, however, OOO is a theory of two kinds of objects (real, sensual) and two kinds of qualities (real, sensual). Real objects and qualities are not directly accessible to thought, perception, practical use, or even causal relation, and must be approached by more allusive means. Sensual objects and qualities, by contrast, exist only for some other entity, human or otherwise. Each type of object has troubled relations with each of the two forms of qualities, resulting in four basic tensions, the analysis of which is the heart of object-oriented method in every field and not just literature. OOO literary theory has a special fondness for the weird: especially the writings of Howard Phillips Lovecraft, whose work is taken to exemplify two of the key ontological tensions. Dante and Edgar Allan Poe are also key OOO figures, due to their manner of theatrically investing their characters and readers in sincere relations with objects. OOO’s relation with the formalist aesthetics of Immanuel Kant is ambivalent, since Kant is admired for cutting off the aesthetic object from its surroundings but challenged for his modernist assumption that the human and non-human must never be mixed.

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