Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In _Semblance and Event_, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question. It is, he argues, a question of abstraction, not as the opposite of the (...) concrete but as a dimension of it: "lived abstraction." A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented -- variously known as interactive art, ephemeral art, performance art, art intervention -- which he refers to collectively as the "occurrent arts." Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension. (shrink)

Simon Blackburn, in Truth A Guide for the Perplexed (Blackburn 2006), deploys the relation of thought with the facts and says, ‘We met the argument that theorizing involves an impossible activity of stepping outside our own skins and pretending to a ‘transcendental’ point of view, a standpoint from which we can survey the relationship between our thoughts and facts, without using the very forms of thought whose relation to the facts we are hoping to describe.’ (Blackburn, 2006, 109). My philosophical (...) reflections on this claim appreciate the view and turn towards the epistemic semblance in the metaphysical purview. A few challenges of the theory take up a side-effect of the ‘knowing procedures’ and its subsequent notion of the rigid concomitance of realism without a human face. My endeavor would be to slightly bypass the account of objective realism and debut into the sphere of the old-fashioned query, ‘what do we know about the conceptualized world where concepts steadily contaminate objects?’ We may appreciative beliefs and concepts, which are human creations, as these impart to the human-experienced world where concepts are the objective features of the subject’s conceptual scheme. (shrink)

Theodor W. Adorno died in 1969 and his last major work, Ästhetische Theorie, was published a year later. Only recently, however, have his aesthetic writings begun to receive sustained attention in the English-speaking world. This collection of essays is an important contribution to the discussion of Adorno's aesthetics in Anglo-American scholarship.The essays are organized around the twin themes of semblance and subjectivity. Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, the (...) concept of subjectivity recalls his lifelong struggle with a philosophy of consciousness stemming from Kant, Hegel, and Lukács. Adorno's elaboration of the two concepts takes many dialectical twists. Art, despite the taint of illusion that it has carried since Plato's Republic, turns out in Adorno's account of modernism to have a sophisticated capacity to critique illusion, including its own. Adorno's aesthetics emphasizes the connection between aesthetic theory and many other aspects of social theory. The paradoxical genius of Aesthetic Theory is that it turns traditional concepts into a theoretical cutting edge. (shrink)

_ Source: _Volume 47, Issue 3, pp 351 - 365 In his _Nietzsche_ lectures, Heidegger states that there is a concealed _discordance_ between beauty, semblance, and truth in Platonism. This paper explores this claim in detail to show how such a discordance haunts not only Platonism, but the beginnings and ends of Western philosophy. This commences with Plato’s claim that beauty’s radiance is both the reminder of the non-sensible εἴδη and a semblance belonging to the sensible world. This (...) discordance is not overcome in the ensuing Western tradition, however, but made more _dreadful_. This is because in Nietzsche’s anti-platonic retrieval of sensible beauty over non-sensible truth, the platonic reminder of the εἴδη is transformed into the dangerous production of new forms of power. In both cases, however, Heidegger proposes that this metaphysical thinking of Being-as-form conceals the early Greek insight that beauty’s tragic radiance lets Being appear _as_ both truth and semblance. (shrink)

Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.

In this essay, I critically evaluate components of Michael Weisberg’s approach to models and modeling in his book Simulation and Similarity. First, I criticize his account of the ontology of models and mathematics. Second, I respond to his objections to fictionalism regarding models arguing that they fail. Third, I sketch a deflationary approach to models that retains many elements of his account but avoids the inflationary commitments.

‘Aesthetics and the semblance of the real in terroristic gameplay’ explores the recreation of terrorism and terrorist role-playing in gaming in a post 9/11 context. Drawing examples from contemporary games like Grand Theft Auto, Call of Duty, ARMA 3: Takistan, Insurgency: Sandstorm and SQUAD, games provide for surprisingly subjective explorations of terrorist role-playing and image-making. What does it mean to recreate these images of terrorism, so closely associated with propaganda from the War on Terror? This article looks at the (...) phenomenon through the Lacanian notion of the real; that which cannot be reduced to the symbolic or semiotic. In particular, it looks at the aesthetic appeal of terroristic images and how these lead to their recreation. The article suggests that the virtual world of gaming provides a risk-free space to explore the taboo of terrorism while participating in the recreation of aesthetic media tropes. It further explores the idea of terrorism as the return of the Lacanian real and how terrorist gameplay can be understood as the re-enactment of the semblance of the real. This article draws from the author’s 2019 short film, Aim Down Sights. (shrink)

The independent emergence of similar features in phylogenetically non-allied groups of organisms has usually been explained as the result of similar selection pressures particular to specific environments. This explanation has been more or less helpful in elucidating convergent resemblances among organisms since the times of Darwin. Nevertheless, intensive research has brought new knowledge on the emergence of structural similarity among organisms, especially during the last two decades. We now have manifold evidence of the phenomena of evolutionary re-entries or re-evolution, which (...) happens when a particular character present in one organic taxon also appears in another taxon which does not share an immediate ancestry. This is not the re-appearance of the same character, but rather of a similar one. Here I propose a model of threefold origin of similar phenotypic features in unrelated organisms stemming from intrinsic, extrinsic and semiosic causation. It is suggested that neither externalist nor internalist explanations per se, nor any combination thereof, are sufficient to cover all the manifold instances of character re-evolution. There is also a special group of resemblances that consists of what is originated, shaped, and retained in evolution due to meaning attributed to them by particular organic subjects. These cases cannot be fully understood without inviting a biosemiotic approach. Integrating Uexkull’s theory of meaning with the recent evolutionary developmental perspective could complete our understanding of phenotypic re-evolution. (shrink)

This article challenges the idea that individual and collective agency require centred, fixed identities to be efficacious and meaningful. In post-foundational political thought, this idea frequently underpins an understanding of the subject as something temporarily consolidated through constitutive exclusions and a claim that political and ethical thought must negotiate the necessity for and inevitable failure of these exclusions. Against this thesis, the article presents a reading of Nietzsche’s analysis of the drives and their relation to the ego, holding that for (...) Nietzsche drives are synthesized into a complex but still dispersed assemblage that generates the illusion of unity in the form of an ego or ‘I’. For Nietzsche, the article argues, concrete agency is located in this assemblage of differences, the semblance of a centre being important in the coordination of these differences, but having no causal efficacy itself. The article concludes by examining whether Nietzsche falls into a variant of the ‘homunculus problem’ before turning to the doctrine of eternal return and showing how Nietzsche links his ethics to using the semblance of identity in order to overcome the need to link subjectivity to identity. (shrink)

Consciousness is seen as a difficult “binding” problem. Binding, a process where different sensations evoked by an item are associated in the nervous system, can be viewed as a process similar to associative learning. Several reports that consciousness is associated with some form of memory imply that different forms of memories have a common feature contributing to consciousness. Based on a proposed synaptic mechanism capable of explaining different forms of memory, we developed a framework for consciousness. It is based on (...) the formation of semblance of sensory stimulus from (1) synaptic semblances when excitatory postsynaptic potentials arrive at functionally LINKed postsynaptic membranes, and (2) network semblances when these potentials summate to elicit action potential initiating activity in a network of neurons. It is then possible to derive a framework for consciousness as a multi-dimensional semblance. According to this framework, a continuum of semblances formed from background sensory stimuli and oscillating neuronal activities serve to maintain consciousness. Feasibility of this framework to explain various physiological and pathological states of consciousness, its subjective nature and qualia is examined. (shrink)

In this paper I argue that the pessimistic reading of Horkheimer and Adorno’s Dialectic of Enlightenment, which suggests reason is ensconced within the domination of myth, misses a key component of the authors' argument. Specifically, it misses the possibility that the liberation from the heteronomy of myth might occur via a critique of myth. Using Owen Hulatt’s reinterpretation of Adorno’s account of the tension between mimesis and self-preservation as a point of orientation, I show that while myth for Horkheimer and (...) Adorno is synonymous with a heteronomous form of life, they simultaneously recognize it as an incomplete but largely untapped mediator of the history of human experience (via language), and thus a promising source of rational self-knowledge. Specifically, myth can illuminate fragments of both the contingent factors that led to human sociality becoming entwined with domination, while also offering momentary reflections of the kinds of life that were relinquished in the drive for instrumentalised survival. I propose that for Horkheimer and Adorno it is myth’s linguistic mediation between a community of speakers and their (often violent and ambiguous) pasts that is unique. It is thus myth’s capacity to offer a meditation on those other possibilities of human existence that presents a renewed chance of enlightenment. (shrink)

While the design of sex robots is still in the early stages, the social implications of the potential proliferation of sex robots into our lives has been heavily debated by activists and scholars from various disciplines. What is missing in the current debate on sex robots and their potential impact on human social relations is a targeted look at the boundedness and bodily expressivity typically characteristic of humans, the role that these dimensions of human embodiment play in enabling reciprocal human (...) interactions, and the manner in which this contrasts with sex robot-human interactions. Through a fine-grained discussion of these themes, rooted in fruitful but largely untapped resources from the field of enactive embodied cognition, we explore the unique embodiment of sex robots. We argue that the embodiment of the sex robot is constituted by what we term restricted expressivity and a lack of bodily boundedness and that this is the locus of negative but also potentially positive implications. We discuss the possible benefits that these two dimensions of embodiment may have for people within a specific demographic, namely some persons on the autism spectrum. Our preliminary conclusion—that the benefits and the downsides of sex robots reside in the same capability of the robot, its restricted expressivity and lack of bodily boundedness as we call it—demands we take stock of future developments in the design of sex robot embodiment. Given the importance of evidence-based research pertaining to sex robots in particular, as reinforced by Nature for drawing correlations and making claims, the analysis is intended to set the stage for future research. -/- . (shrink)

No one has succeeded better than Theodor W. Adorno in analyzing modern culture with all its ambiguities — ambiguities which herald the possibility of an unleashing of aesthetic and communicative potentials as well as the possibility of a withering away of culture. Since Schopenhauer and Nietzsche — with whose aesthetics and epistemology Adorno's thought secretly communicates — no other philosophy of art, at least in Germany, has had such a sustained influence on artists, critics, and intellectuals. The traces of his (...) influence on the consciousness of those who, be it in a productive, critical, or purely receptive capacity, are involved with modern art cannot be overlooked. (shrink)

What is the peculiar evocative force of the notion of the real? Rather than succumbing to the temptation of forcing appearance in order to accede to the real supposed to be lurking behind it, for Lacanian psychoanalysis the access to the real is that of the semblance. While one of our aims in this paper is to briefly outline the development of Lacan’s rather peculiar “realism”, we would also wish to emphasize the relation between the real and the (...) class='Hi'>semblance as being the crux of Lacan’s later teaching. Indeed, for psychoanalysis, the question of the real is inseparable from the interrogation of the semblance, a term forged by Lacan in the last period of his teaching in order to rework the relation between the truth and the real. This is why although the semblance is relevant to numerous contemporary discourses, it is only in psychoanalysis that this problem is raised to the level of one of the central theoretical and practical issues. Omnipresent, unsettling, yet unresolved, this problem comes to the fore at the critical moments in the history of psychoanalysis, thereby marking turning points at which the orientation of psychoanalysis is at stake. (shrink)

Nietzsche consistently valorizes artistic falsehoods. On standard interpretations, this is because art provides deceptive yet salutary fictions that help us affirm life. This reading conflicts, however, with Nietzsche’s insistence that life-affirmation requires untrammeled honesty. I present an alternative interpretation which navigates the interpretive impasse. With special attention to the influence of Friedrich Schiller, the paper argues for three claims: (1) Nietzsche does not hold that art is false because it “beautifies,” but because it produces mere semblances of, its objects; (2) (...) these semblances are essentially non-deceptive; (3) he values artistic illusions because they dispose us positively to illusion more generally. Such ‘evaluative reorientation,’ I argue, is not merely consistent with, but integral to, achieving Nietzsche’s ideal of honesty. (shrink)

Dorion Sagan observes that pioneering ethologist Jakob von Uexküll tends to be read in contrasting ways, as a “humble naturalist” pre-empting current research in biosemiotics, animal perception and agency; and as a “biologist-shaman,” gesturing to a transcendental realm where the life-worlds of animals interconnect in a vast symphony of nature. In both cases the tools of the laboratory are thought to generate complete pictures of the invertebrates that Uexküll studies, in unity with their environments. As Giorgio Agamben points out, these (...) experiments form part of an abstract mechanism that produces the human, by isolating instinctual life as an object for study and management from social and ethical modes of existence. What these readings neglect to consider is that Uexküll imagines his experiments through a Picture Book frame. We argue that for Uexküll there is always something fabulous and child-like about the enterprise of reconstructing the subjective environments of the small animals he works with. Drawing on Bernard Stiegler, we propose the Picture Book as a particular technics, or tertiary memory, that cultivates modes of attention that are associated with childhood and are open to the emergence of partial objects and relations. Considered through the Picture Book frame, the Umwelten of insects and other small animals are no longer fixed but are drawn and redrawn in partial expressive ways, through the uncanny picturing – or what Brian Massumi would call “semblances” – of different configurations of animal, technology, human relations. By considering the Picture Book as a technic for ecological thought and imagination, our paper will explore how the small creatures that Uexküll describes might enable the emergence of new ethical sensibilities and relations. (shrink)

BOTH ERASMUS AND LUTHER WRESTLE WITH THE PROBLEM OF APPARENT virtue, although in divergent ways. Luther excludes the possibility of any habituation in true virtue that is not grounded in prior recognition of utter dependency on divine activity. Because social formation may simply conceal the absence of this essential starting point, it is always suspect. By contrast, Erasmus regards grace as working through human activity and by way of natural processes of social formation. He leaves room for gradual habituation in (...) virtue that culminates rather than begins in recognition of true virtue as gift-grace. Thus, Erasmus is able both to countenance true pagan virtue and to offer a differentiated critique of particular social practices of the day that warped formation in Christian virtue. Retrieving an Erasmian critique of apparent virtue will allow a Christian ethics of virtue to avoid communal chauvinism while cultivating charity toward pagan virtue. (shrink)

In his well-known essay, ‘What Is a Sign?’ (CP 2.281, 285) Peirce uses ‘likeness’ and ‘resemblance’ interchangeably in his definition of icon. The synonymity of the two words has rarely, if ever, been questioned. Curiously, a locus classicus of the pair, at least in F. M. Cornford’s English translation, can be found in a late dialogue of Plato, namely, the Sophist. In this dialogue on the myth and truth of the sophists’ profession, the mysterious ‘stranger’, who is most likely Socrates’ (...) persona, makes the famous distinction between eikon (likeness) and phantasma (semblance) (236a,b). For all his broad knowledge in ancient philosophy, Peirce never mentioned this parallel; nor has any Peircean scholar identified it. There seems to be little problem with eikon as likeness, but phantasma may give rise to a puzzle which this paper will attempt to solve. Plato uses two pairs of words: what eikon is to phantasma is eikastikén (the making of likeness [235d]) to phantastikén (semblance making [236c]). In other words, icons come into being because of the act of icon-making, which is none other than indexicality. Witness what Peirce says about the relationship between photographs and the objects they represent: “But this resemblance is due to the photographs having been produced under such circumstances that they were physically forced to correspond point by point to nature.” (Ibid.) Thus the iconicity which links the representamen (sign) and its object is made possible not only by an interpretant, but also by idexisation. Their possible etymological and epistemological links aside, the Peircean example of photographing and the Platonic discussion of painting and sculpturing in the Sophist, clearly show the physio-pragmatic aspect of iconicity. The paper will therefore reread the Peircean iconicity by closely analysing this relatively obscure Platonic text, and by so doing restore to the text its hidden semiotic dimension. (shrink)

Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...) part of a more deeply entrenched discourse on neural nets, predictive processing algorithms and machine learning, which the current media theory and post-cinema literature has yet to rigorously respond to. Simultaneously parsing philosophical and media sociology corollaries to ground this overview, I push for more attention towards psychopower, autosurveillance and algorithmic governmentality while distancing critique from the standard Foucauldian discourse of biopower. (shrink)

The critical theory tradition has, since its inception, sought to distinguish its perspective on society from more purely descriptive or normative approaches by maintaining that persons have a deep-seated interest in the free development of their personality—an interest that can only be realized in and through the rational organization of society, but which is systematically stymied by existing society. Yet it has struggled to specify this emancipatory interest in a way that avoids being either excessively utopian or overly accommodating to (...) existing society. Despite the fact that Hegel’s concept of reconciliation is normally thought to run aground on the latter horn of this dilemma, this book argues that reconciliation is the best available conceptualization of this emancipatory interest. It presents Hegel’s idea of freedom as something actualized in individuals’ lives through their becoming reconciled to how society shapes their roles, prospects, and sense of self; it presents reconciliation as being less a matter of philosophical cognition, and more of inclusion in a responsive, transparent political process. It then introduces the concept of reification, which—through its development in Marx and Lukács, through Horkheimer and Adorno—substantiates an increasingly cogent critique of reconciliation as something unachievable within the framework of modern society. Giving equal attention to psychoanalysis and legal theory, the second half critically appraises the writings of Rawls, Honneth, and Habermas as efforts to spell out what a concept of reconciliation more democratic and inclusive than Hegel, yet sensitive to the reifying effects of legal systems, might mean. (shrink)

Platon w dialogu "Państwo" sam określił mianem widziadła model sprawiedliwości oparty na konstrukcji "państwa idealnego", w oczywisty sposób dystansując się do tego modelu. Jedynie widziadłem sprawiedliwości jest zatem to, że każdy ma się zajmować czymś jednym, że "człowiek, który jest szewcem z natury, najlepiej zrobi, jeżeli zostanie przy swoim kopycie i nic innego nie będzie próbował"; jedynie widziadłem jest także to, że jednostka jest dla państwa a nie państwo dla jednostki. Argumentuje się, że - zdaniem Platona - jeden i ten (...) sam człowiek sprawiedliwy, zatem człowiek doskonały, zajmuje się w swoim życiu nie tylko polityką (rządzeniem państwem, filozofią), ale i ćwiczeniem ciała, aby być zdolnym do walki, i zdobywaniem majątku. Tekst należy do tej współczesnej tradycji refleksji nad Platonem, w której obecne jest przekonanie, że wykładu o Platona koncepcji sprawiedliwości nie powinno opierać się na lekturze Karla Poppera "Społeczeństwa otwartego". (shrink)

Les pràctiques d’okupació que sorgeixen a mitjans dels 80 al nostre país son considerades un moviment social per múltiples autors (Calle, 2005; Pruijt, 2004; Martínez, 2002). L’any 2006 apareix arreu de l’Estat un nou moviment social diferenciat, el moviment per l’habitatge. Aquest moviment organitzà joves d’arreu de l’Estat espanyol i, els anys posteriors, consolidà centenars de plataformes d’afectats per les hipoteques de totes les edats. Les seves propostes i demandes han estat un full de ruta en l’aterratge pràctic del moviment (...) del 15-M. L’objectiu d’aquest article és comparar aquests dos moviments urbans que es poden entendre també com a pràctiques emancipadores de la joventut i noves formes de participació dels joves en la societat civil.The practical of squatting that arrived to our country in the 80’s is considered a social movement by multiple authors (Calle, 2004; Pruijt, 2004; Martínez, 2002). The year 2006 appears a new and differentiated social movement, the housing movement. This movement organized young people of all over the country, and therefore consolidated hundreds of platforms of affected by the mortgages of different ages. Their proposals and demands have been a rate routing coming from the 15-M movement. The aim of this article is to compare these two urban movements that could be also understood as emancipation practices and new shapes of participation of the civil society. (shrink)

Noise appears to critique the prevailing cognitive and social habits of modernity by providing concrete and particular art objects that demand attention and jar us from one-dimensional life. Noise sounds, for a moment, like a true alternative not only to contemporary music but to a whole way of thinking through abstract generalisation and living through commercial mediation. Understood in this way, noise makes sense. Once noise is no longer inscrutable, however, it is assimilated into popular culture and becomes a commercial (...) novelty. The blatant contradiction of the commodification of noise gives rise to a second order of critique wherein noise parades its uselessness and occasions reflection on the tortured existence of art in modernity, the ubiquity of identity thinking, and the relation between use and exchange value. This ironic endgame for noise, however, is itself absorbed by consumer culture and noise lives on as but another cool, extreme product. The cultural reception of noise thereby demonstrates the mechanism by which modernity absorbs artistic attempts to critique it, and noise is ultimately understood as a desperate but spectacular failure. (shrink)

Jules et Jim by François Truffaut or the Unbearable Lightness of the Feminine. Truffaut’s movie Jules et Jim (« Jules and Jim ») is an intimist movie but also a fresco of Europe throughout the first half of the 20th century, as it was torn apart by the two world wars and Nazism. At the same time, the film tells the story of the friendship that began during the Belle Epoque between two intellectuals, a French (Jim) and a German (Jules), (...) both madly in love with an English teacher (Catherine). In the insular tradition of the Elizabethan theatre, this is a story about love, treason, jealousy, hate, and finally murder and suicide. In its structure, it is a mix of farce, sentimental drama turned into tragedy, and which in the end reveals itself as a comedy of errors, with, nevertheless, very serious themes: love and war, desire and drives, femininity, maternity and semblance, competition between men for a woman etc. This movie brilliantly represents the Nouvelle vague and is a proof that Freud and Lacan were right when they established once and for all that the unconscious is a fundamental and necessary scene. Human destiny is set and its mysterious scripts are played out - from sexuality to death, from Eros to Thanatos - as the subject’s fantasy, the window through which he or she tackles reality. (shrink)