Introduction: Why so serious? -- The super body-politic: nationally assembling Joss Whedon's exceptional The avengers -- "He was deceived by a lie": tragedy and the dark plague of the politics of fear in George Lucas' Star wars -- Dystopian polyvalence: emancipating the mediated life from The matrix.

From widespread unemployment and mounting international hostilities, every day we are swept into more political chaos--so one brave man looks to the Star Wars universe for answers to our most urgent problems. "You can't stop the change -- anymore than you can stop the sun from setting." Anakin Skywalker was never able to live with this wisdom shared by his mother on the day he left home to train as a Jedi Knight. That failure led him to (...) becoming the fearsome villain we all know as Darth Vader. We're living in a time of unprecedented and rapid change. An age of chaos. Democracies are in decline worldwide. Dictators are ascendant. Civic organizations are crumbling. People feel lonelier and more rudderless than in any other time in recent history. We've tried to slow down, and in some cases we, like Anakin, have tried stop the change, but failed at every turn. The fears that come with living in an age of disruption have produced public anger, and that anger has swelled movements of hate. Author Stephen Kent believes part of the solution is hiding in plain sight. A story that binds together multiple generations with a common language, a moral framework, and a sense of wonder. It's Star Wars. What if we looked to Star Wars for more than just entertainment? How the Force Can Fix the World takes this challenge on by analyzing the core principles of the Star Wars franchise: HOPE, CHOICE, HUMILITY, EMPATHY, REDEMPTION, BALANCE and rejecting FEAR. Together, these are the Star Wars roadmap for living better lives, and maybe even fostering a better politics. The path that we're on -- where fear leads to anger, and anger to hatred -- will only end in suffering. But Star Wars shows us the way back from the brink. Shared stories of virtue that are beloved across cultures and political divides are hard to come by, but Star Wars is one such story. Turn on the news; things are pretty broken right now -- but the Force can fix the world. (shrink)

Rogue One is a complex film that invites a wide range of philosophical questioning. This chapter focuses on the film's political aspect. Rogue One powerfully illustrates an essential and timely claim made about the nature of democracy by John Dewey. Rogue One is significantly different from earlier Star Wars films. It does not offer a simple, mythic morality tale, where the difference between right and wrong is as stark as the contrast between Leia's white gown and (...) Vader's black mask. Rogue One takes place in a messy and unfair world in which traditional moral frameworks appear naive and ill‐suited. The rest of Rogue One is exceptionally powerful not only because of amazing acting, sound design, and cinematography, but because it uses the tropes and setting of gritty war cinema to tell a universal story about the power of hope and faith in others. (shrink)

Does it take faith to be a Jedi? Are droids capable of thought? Should Jar Jar Binks be held responsible for the rise of the Empire? Presenting entirely new essays, no aspect of the myth and magic of George Lucas’s creation is left philosophically unexamined in The Ultimate Star Wars and Philosophy. The editors of the original Star Wars and Philosophy strike back in this Ultimate volume that encompasses the complete Star Wars universe Presents (...) the most far-reaching examination of the philosophy behind Star Wars – includes coverage of the entire film catalogue to date as well as the Expanded Universe of novels, comics, television series, games and toys Provides serious explorations into the deeper meaning of George Lucas’s philosophically rich creation Topics explored include the moral code of bounty-hunter favourite Boba Fett, Stoicism and the Jedi Order, the nature of the Dark Side, Anakin and Achilles in a nihilism face-off, feminism and being chained to a giant slug, cloning, de-extinction, fatherhood, Wookiees, loyalty, betrayal, guardians, republics, tyrants, terrorism, civic duty, friendship, family, and more! Publishing in time for the global release of Star Wars Episode VII: The Force Awakens on December 18, 2015 – hotly anticipated to become the first film to top $3 billion in worldwide box office sales. (shrink)

This article is devoted to the study of the specific features of the display of social networks and computer technologies in the late 70s of the XX – early 20s of the XXI century in the fantastic Star Wars universe created by American filmmaker D. Lucas. In this scientific work, the authors argue for the relevance and scientific novelty of the problem under consideration. The study examines the peculiarities of the influence of social networks and computer technologies in (...) modern conditions. The article provides a justification for the need to analyze the reflection of this issue in fantasy art as an auxiliary factor in the development of the prognostic function of science. This paper provides a reasoned explanation of the choice of the Star Wars universe as an object of research, taking into account its importance in the fantasy genre, as well as in order to refute stereotypes according to which Star Wars is a collection of entertainment materials in which there is completely no semantic load. The authors analyze the fundamental differences in the coverage of the studied problem in such genres of art as literature and cinema in the context of Star Wars. The article examines the features of the evolution of the display of cybernetic technologies and communication network platforms in the Star Wars universe in the mid‑1970s – early 2020s, as a reflection of the real development of scientific and technological progress, as well as an example of the impact of political, socio‑economic and moral factors on the use of online platforms and computer technology during the period under study. In this article, using the example of the Star Wars universe, the features of the transformation of the role of specialists in the field of high technology through the prism of the attitude of artists to them – more specifically, writers and cinematographers – are also considered. The article also examines the moral and ethical aspect of the use of computer technology and social networks, considered by artists who have made a significant contribution to the development of the fantastic epic of Star Wars. (shrink)

The trilogy is viewed through the lens of myth and metaphor. A wide variety of philosophical and mythological themes are presented and expounded upon, drawing from a rich source of scholars, thinkers, writers, and poets from East and West alike. Heretical or not, the Star Wars prequels are a surprisingly rich source of insight into the whole saga.

This third brand-new 'Star Wars & Philosophy' title once again takes a fresh look at the franchise with all-new chapters. The focus of this volume is the more recent entries into the franchise, including hit TV shows such as THe Mandalorian. Modern applied philosophy is also used to analyse the Star Wars universe: In addition to thorny metaphysical questions about the nature of time and free will, this volume highlights the staggering cultural impact of George Lucas's (...) universe. The newest Star Wars narratives tackle ethnicity on alien worlds and how love and sex with a droid like L3-37 would work ("It works"). The connections between the Separatist Freedom Movement and the struggle for social justice in the USA in the 21st century are brought to light. And philosophical second looks at Rian Johnson's The Last Jedi prove there is much more to this controversial entry in the Skywalker saga. (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, (...) autonomy , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

In Cinematic Political Thought , Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social (...) contexts. Cinematic Political Thought is a polemical work, aimed at encouraging critical, ethical and political thinking. Its breadth of theoretical scope and empirical reference, and the innovative style of presentation will make it vital reading for anyone with an interest in the conjunction of culture and politics. (shrink)

This chapter lays out the paradox of fiction as it relates to the Star Wars films in three claims: we have genuine and rational emotional responses to the fictional characters and events in Star Wars; we must believe these characters and events really exist; and nobody believes these fictional characters and events in Star Wars exist. While many fans like to talk as if the characters and events in Star Wars are (...) real, none of us actually believe that Luke's heroic journey is real. The illusion theory claims that the fictional work creates in us the illusion that the characters and situations depicted actually exist. One observation that the thought theory makes is that we often have emotional reactions to imaginary situations. The pretend theory says that the emotions we experience while watching Star Wars are not genuine emotions. Rather, they're quasi‐emotions. (shrink)

This volume explains how Star Trek allows viewers to comprehend significant aspects of Georg Hegel's concept the absolute, the driving force behind history. Gonzalez, with wit and wisdom, explains how Star Trek exhibits central elements of the absolute. He describes how themes and ethos central to the show display the concept beautifully. For instance, the show posits that people must possess the correct attitudes in order to bring about an ideal society: a commitment to social justice; an unyielding (...) commitment to the truth; and a similar commitment to scientific, intellectual discovery. These characteristics serve as perfect embodiments of Hegel's conceptualization, and Gonzalez's analysis is sharp and exacting. George A. Gonzalez is Associate Professor of Political Science at the University of Miami, USA. He specializes in the fields of political theory, popular culture, and environmental politics and policy. In the areas of popular culture and political theory he has published two articles in the journal Foundation: The International Review of Science Fiction, as well as the book The Politics of Star Trek: Justice, War, and the Future. (shrink)

What mental and physical distress do actors, camerapersons, and reporters experience when working on reenactments of traumatic moments in history? In Political Camerawork, D. Andy Rice theorizes that the intense feelings produced while creating these performed scenarios, called "simulation documentaries," connect difficult pasts to the present. Building on his background as a nonfiction film director, producer, editor, and cinematographer, Rice analyzes performance techniques to gain insight into the emotional toll of simulation documentaries, including those reliving the Vietnam War, the (...) US military's embodied training in California during the Iraq War, and an annual quadruple lynching reenactment organized by Black civil rights activists in Georgia. Investigating the lasting impact of these productions, Political Camerawork reveals that, by performing a simulation of a traumatic event they didn't directly experience, those involved become carriers of the trauma. (shrink)

The essays in this volume tackle the philosophical questions from these blockbuster films including: Was Anakin predestined to fall to the Dark Side? Are the Jedi truly role models of moral virtue? Why would the citizens and protectors of a democratic Republic allow it to descend into a tyrannical empire? Is Yoda a peaceful Zen master or a great warrior, or both? Why is there both a light and a dark side of the Force? Star Wars and (...) Philosophy ponders the depths of these subjects and asks what it truly means to be mindful of the "living force.". (shrink)

This book provides an intimate portrait of eighteen universal truths in Star Wars--principles that are "true for all time, all places and all people." Readers will see that the philosophy of the Jedi doesn't only apply "in a galaxy far, far away"; it is also highly relevant to everyday living.

Are good and evil a “point of view”? Do Jedi and Sith alike merely crave greater power? What does a “space opera” have to teach us about how to live virtuously? George Lucas created Star Wars as a modern-day morality tale, modeled on classical epics, such as Homer’s Iliad and Odyssey, tragic dramas written by the likes of Sophocles, Seneca, and Shakespeare, and the scriptures that inspire religions in the East and West. This chapter canvasses the metaphysical and (...) moral themes across the three trilogies that make up the “Skywalker saga” to construct a genealogy of how “the Force” evolved throughout these films. At the heart of this conceptual development is the question of how the light and dark sides of the Force are related to each other and what that relationship can help us understand about the nature of good and evil in our own experience. (shrink)

Queues may represent business ethics in microcosm: they provide an opportunity to study in a smaller package the fundamental ethical tension in economic activity between self-interest and civility in the context of uncertainty and stress. In May 1999 people began forming lines to purchase tickets to the new Star Wars movie "The Phantom Menace." This paper reviews responses to a questionnaire on the internet regarding experiences in those lines. It focuses on two behaviors threatening queue discipline – the (...) formation of cooperative groups and "pre-scalping." It concludes that although queues are complex phenomena, exhibiting important ethical, economic, social, and psychological elements, the general organizing principle of "first-come-first-served" still provides the foundation for queues while at the same time making room for a variety of legitimate modifications. Second, this paper concludes that, as with queues, the thought that self-interest is the exclusive guiding principle for business behavior is likewise too narrow, inducing participants to neglect opportunities for personal enrichment and satisfaction. (shrink)

For over 50 years, since the development of nuclear-armed ICBMs, the USA has sought a way to defend against them. These efforts evolved through various strategies and technologies: from nuclear-tipped rockets through space-based laser weapons to today’s system of ground-based kinetic-kill interceptors. Public debate around these issues reached a peak in the 1980s with President Reagan’s Strategic Defense Initiative, popularly known as Star Wars.Rebecca Slayton examines this history in Arguments that Count, a valuable and well-told account of a (...) particular aspect of missile defense: computer software. Missile defense required identifying a hostile missile launch, keeping track of thousands of incoming warheads on their ballistic trajectories, and directing interceptors to the right place—and doing all this in less than 30 minutes. From the outset, designers turned to computers to do the complex calculations quickly enough. But missile defense presented an additional factor, in that any m .. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Death beyond Disavowal utilizes "difference" as theorized by women of color feminists to analyze works of cultural production by people of color as expressing a powerful antidote to the erasures of contemporary neoliberalism. According to Grace Kyungwon Hong, neoliberalism is first and foremost a structure of disavowal enacted as a reaction to the successes of the movements for decolonization, desegregation, and liberation of the post-World War II era. It emphasizes the selective and uneven affirmation and incorporation of subjects and ideas (...) that were formerly categorically marginalized, particularly through invitation into reproductive respectability. It does so in order to suggest that racial, gendered, and sexualized violence and inequity are conditions of the past, rather than the foundations of contemporary neoliberalism's exacerbation of premature death. Neoliberal ideologies hold out the promise of protection from premature death in exchange for complicity with this pretense. Using various books and films as case studies, Death beyond Disavowal finds the memories of death and precarity that neoliberal ideologies attempt to erase. Hong posits cultural production as a compelling rejoinder to neoliberalism's violences. She situates women of color feminism, often dismissed as narrow or limited in its effect, as a potent diagnosis of and alternative to such violences. And she argues for the importance of women of color feminism to any critical engagement with contemporary neoliberalism. (shrink)

This book analyses some of the key problems explored in Paul Virilio's theorising on war and security.Virilio is one of the most challenging and provocative critics of technology, war and globalisation. While many commentators focus on the new possibilities for mobility and communication in an interconnected world, Virilio is interested in the role that technology and security play in the shaping of our bodies and how we come to see the world -- what he terms the 'logistics of perception'. Security, (...) Technology and Global Politics explores Virilio's work in this area, with each chapter using examples from popular culture -- from video games and on-line graphic novels, to films from around the world - as a starting point from which the author goes on to develop a critical engagement with Virilio's work. One of the key themes that emerge from this analysis is the importance of the idea of 'disappearance' -- the aesthetics of disappearance or the politics of disappearance. The book argues that the politics of disappearance provides a disturbing and insightful introduction to the key questions posed by politics of security in the twenty-first century.This book will be of much interest to students of critical security studies, political theory, sociology, political geography, cultural studies and IR in general. (shrink)

This chapter discusses the role played by guardians and tyrants in Star Wars. The Jedi align themselves with the light side of the Force, while the Sith align themselves with the dark side. Although the Jedi are guardians of the galaxy, they refrain from ruling directly, acting as willing servants of the Old Republic. In Attack of the Clones, Anakin Skywalker and Senator Amidala demonstrate the trajectory of Plato's thinking when they engage in a semi‐serious debate about the (...) politics of the Republic. Plato's views in the Republic mirror the different types of rule in the Star Wars galaxy surprisingly well: democracy is vulnerable, tyrants only care about their own interests, and guardians of peace and justice are the state's best chance for flourishing. While democracy fails, allowing the Emperor to become a malevolent tyrant, the Jedi Council is cut off in its service to the Republic. (shrink)

There is an imbalance of gender roles in everyone's favorite space saga, with the vast majority of characters played by males while the female parts are minimized at nearly every turn. But the underlying problem of womanhood in Star Wars might be even more insidious than Darth Sidious himself. This chapter explains why it is difficult to embrace a strong female identity anywhere, let alone in the midst of intergalactic war. It analyzes whether the women in Star (...) Wars have what it takes to bring feminism to the Force. While Princess Leia and Queen Amidala are instantly recognizable figures in popular culture, the question arises whether they represent women positively. While Leia and Padmé are typically recognized as the feminist icons of Star Wars, they are not all the films have to offer. The women of Star Wars offer just as much as any of the individual male characters. (shrink)

The article deals with the concept of war in modern political realism. Realism claims to have an original notion of war, which distinguishes it from empirical war studies and from other schools in international relations theory. Realism does not have a strict formal definition of war like empirical studies do, it focuses on understanding the causes and nature of war instead. The distinction between realism and other international relations theories like idealism, Marxism or constructivism consists in the realist notion (...) of politics. Realism understands politics as an eternal struggle for power that underlies all social life, while war is the most intense manifestation of this struggle. Thus, the possibility of war cannot be eradicated. The article shows the normative aspects of such understanding of war. Realism, unlike pacifism or just war theory, is less enthusiastic about ethical or legal regulation of war; furthermore, it shows the dangers that may be caused by political moralism and “criminalization” of war. On the other hand, realism fails to provide a set of norms or principles that would surpass the just war principles. The realist principles of national interest and prudence are as vague, unclear and prone to misuse as classic just war principles are. Author draws a conclusion that to be able to create a valid set of principles of war, realism needs to further converge with international relations theory schools and “enlarge” the set of its base theoretical notions. (shrink)

In a world that continues to be riven by armed conflict, the fundamental moral and political questions raised by warfare are as important as ever. In this book Brian Orend, a foremost expert in the field, provides an engaging and up-to-date examination of these questions and more.

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

Sustainable Development Goal (SDG) 2 relates to ending hunger, achieving food security and improving nutrition, and promoting sustainable agriculture. The SDGs mention only a few political indicators and SDG2 in particular is largely devoid of political considerations to end hunger and achieve food security. Nobel Laureate Amartya Sen famously observed the absence of famine in democracies, suggesting that a democratic system provides checks and balances that prevent famine. His observation has elicited further debate and triggered empirical studies in (...) recent years. Going beyond Sen’s hypothesis, this essay examines other political factors that would explain vulnerability to famine and that need to be addressed more explicitly in SDG 2 and similar initiatives. By taking the case of pastoralists in the Afar region of Ethiopia, this research explores selected political determinants of vulnerability to famine. The Eritrea-Ethiopia war and the ensuing border closure have had a detrimental effect on the livelihood of pastoralists in Afar – many pastoralists were deprived of a market and a reliable source of income. In addition, Afar pastoralists were sidelined from the informal salt sector on which they used to rely. The state facilitated this expropriation, leaving pastoralists even more vulnerable to famine. I argue that political considerations are crucial in successfully ending hunger and achieving food security. The essay uses a qualitative case study design and is based on a PhD dissertation. (shrink)

Examines climate change, military intervention and financial collapse to reveal how truth is used by competing interests to shape individual behaviour, attitudes and identity.

Some time between the late 1960s and the early 1980s, my grandmother, Kira Razlogova, translated an African film at the Moscow International Film Festival. It was an official screening, with the ambassador of the African country present in the audience. She sat in a translator’s booth at the back of the theater, reading into the microphone from a printed French dialogue list just given to her. She had never seen this film before. She watched it now for the first time (...) through the window of her booth, and synced her reading to the spoken lines flowing into her earphones, lines in an African language she did not know. Loudspeakers transmitted her voice into the cinema hall over the partially muted original.. (shrink)

This article is about weaponisation of emotions through visual culture. It interrogates how geopolitics trickles down to everyday life and becomes personal through the embodiment of screen actors....

This paper combines reflections on the current “state of war” in the Middle East with an epistemological discussion of the meaning and implications of the category “war” itself, in order to dissipate the confusions arising from the idea of a “War on Terror.” The first part illustrates the insufficiency of the ideal type involved in dichotomies which are implicit in the naming and classifications of wars. They point nevertheless to a deeper problem which concerns the antinomic character of a (...) collective institution of violence. The second part discusses the extent to which, in spite of the historical transformations in the means and political objectives of wars, the contemporary confrontation still obeys the rules of warfare described by Clausewitz, particularly with respect to temporality (“friction”). The third part discusses “non‐clausewitzian” aspects of the “new wars” defined by Martin Van Creveld and Mary Kaldor, while suggesting that they have left aside the most salient contradiction illustrated by the US interventions, which results from the combination of a claim to universal sovereignty and a reduction of war to generalized police operations. (shrink)

A Defence of Chemical Warfare J B S Haldane Originally published in 1925 "Mr Haldane’s brilliant study." Times Leading Article "A book to be read by every intelligent adult." Spectator. This volume discusses the use of chemical weapons during the Second World War from the scientific viewpoint of the eminent bio-chemist, J B S Haldane and attempts to predict their use in conflicts of the future. 84pp Paris or the Future of War B H Liddell Hart Originally published in 1925. (...) "…a gem of close-thinking and deduction." Observer Liddell Hart was one of the twentieth century’s most respected military historians. In this volume he analyzes the causes of war, and the future of war, as well as examining the air, naval and army weapon and the evolution of "New Model Armies". 84pp. Janus: The Conquest of War A Psychological Inquiry William McDougall Originally published in 1927 "Among all the volumes in this series, none, I think is so weighty and impressive as this…" Evening Standard This volume covers lessons of the Great War, the Causes of War, Preventives of War, League to Enforce Peace, and International Air Force as a Prevention of War. 132pp Sinon Or the Future of Politics Edgar Ansel Mowrer Originally published in 1930 A striking analysis of politics and their future from a national and international standpoint. 86pp Typhoeus Or the Future of Socialism Arthur Shadwell Originally published in 1929 "Invaluable, a miracle of compression and illumination."Yorkshire Post This volume provides an analysis of the aims and prospects of Socialism, both in its political and economic aspects. 112pp. (shrink)

The paper discusses the meta-philosophy of thought-experiments, in particular its neglected diachronic aspect, focusing on Putnam’s work as the paradigm case, and on the trail that developed out of the Twin Earth thought-experiment. Putnam's experiment is discussed from a perspective that combines metaphilosophy and actual history of analytic philosophy. Peter Unger has branded the whole debate around it as empty and fruitless. A meta- philosophical analysis shows him to be wrong. The experiment as originally proposed already appeals to a broad (...) variation of examples and intuitive induction; the variation continues in other works addressing the issue, and produces interesting results. The second aspect is the search for reflective equilibrium, lasting till the present day. The internal logic of these processes is discussed, in order to show that the accusation for emptiness turns against Unger himself. In general, debates around thought-experiments, the already famous and also around new ones, make a large part of contemporary analytic philosophy. The way to understand a large part of this, and of debates surrounding it, is to link it to the internal understanding of a typical thought-experiment; stages of a particular experiment get discussed, developed and changed in the history of a particular trail produced by it. This is an important way in which a philosophical tradition is born, and we need to combine synchronic and diachronic approaches in order to understand it. (shrink)

The Absolute, philosophized most saliently about by Georg Hegel, encompasses the entirety of reality. The absolute is composed of five dimensions – height, length, width, time, and justice. The five dimensions operate dialectically, and the normative values of reality inhere within the fifth dimension – hard, soft, moral, ethical, yellow, etc. ad infinitum. The normative values from the fifth dimension, in combination with the brain, comprise the human mind. With the issues of climate change, world-wide biosphere destruction, nuclear weapons, international (...) trade regimes, humanity has created the phenomenon of global politics – thereby changing the fifth dimension. The argument in this volume is that the broadcast iterations of Star Trek allow us to comprehend significant aspects of justice and the politics of globalism – created through the advent of science, technology, engineering, etc. The creators of Star Trek hold that nationalism is a psychological pathology and internationalism is rationality. (shrink)

In this article, I claim that film matters to political theory not because of the stories films recount, but because the medium of film offers political theorists an image of political thinking that emphasizes the stochastic serialization of actions. I thus argue that the stochastic serialization of moving images that films project makes available for democratic theory an experience of resistance and change as a felt discontinuity of succession, rather than as an inversion of hierarchical (...) power. In my treatment of these issues, I rely on Hume's ontology of ‘broken appearances’ and ‘interrupted perceptions’, as well as Stanley Cavell's ontology of film as treated in The World Viewed. I elaborate the following four aspects of the relation between film and political theory: the action-image; discontinuity and the fact of series; actors, artificial persons and human somethings; and political resistance and an aesthetics of politics. The manner in which I proceed is to show the aspectual overlay between film and political thinking. Such a method of exposition suggests a further, methodological site where film matters to political theory: the stochastic serialization of moving images in film provides political theory with a genre for elaborating ideas that is not reducible to the analytics of causal argument. (shrink)

In The Empire Strikes Back, African American actor Billy Dee Williams turned the trio into a quartet as Lando Calrissian. Novelist and social activist Alice Walker coined and defined colorism as the “prejudicial or preferential treatment of same‐race people based solely on their color,” according to Kimberly Jade Norwood and Violeta Solonova Foreman. For Norwood and Foreman, colorism is concerned with the lightness and darkness of skin tone, with preference given to whiteness. Colorism in the United States took root during (...) the period of slavery, when “coalescence of needs, beliefs, justifications, and practices had the effect of placing white skin at a premium and dehumanizing black skin.” Jennifer Bloomquist writes that there is “a protracted history of Whites creating Black caricatures,” which includes “underdeveloped Black characters” in American entertainment. Boyega overlooks the presence of culture and the representation of other races and ethnicities throughout the Star Wars films and even throughout the various television series. (shrink)

This book examines how ideas of war and peace have organized frames of reference within the history of political theory. It argues for a political philosophy that takes both conditions seriously and for a style of political theory committed to questioning rather than closure.

Michael Haneke’s film The White Ribbon narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal relationship between (...) the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past. (shrink)

Everyone agrees that the world is accelerating. With advances in communication, transportation and information processing technologies, it is clear that the pace of events in global politics is speeding up at an alarming rate. The implications of this new speed however, continue to be a significant source of debate. Will acceleration lead to a more interconnected, productive, peaceful, and humane world; or a nightmarish descent into ecological devastation, economic exploitation and increasingly violent warfare? The Politics of Speed attempts to map (...) the contours of the new global space of speed, and investigates key issue areas âe" including democratic governance, warfare, capitalism, globalization and transnational activism âe" to uncover the ways in which acceleration is shaping the world. The book uses contemporary political theory (especially the works of Deleuze and Guattari) to develop an ontological account of speed, showing how its effects are frequently far more complex and surprising than we might expect. The result is an attempt to craft a way of engaging with global acceleration that might help avoid the dangers of speed, while embracing the possibilities it provides us with to produce a safer, more egalitarian, democratic and pluralistic world. (shrink)

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the (...) European Union; Europe during World War II and after; film genres; the Israeli-Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Règine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne'eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian-Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects. (shrink)

This book examines the tension inherent in the waging of ethical war, and argues that war and its relationship to ethics need to be rethought fundamentally.

War has been a key topic of speculation and theorising ever since the invention of philosophy in classical antiquity. This anthology brings together the work of distinguished contemporary political philosophers and theorists who address the leading normative and conceptual issues concerning war. The book is divided into three parts: initiating war, waging war, and ending war. The contributors aim to provide a comprehensive introduction to each of these main areas of dispute concerning war. Each essay is an original contribution (...) to ongoing debates on various aspects of war and also provides a survey of the main topics in each subfield. Serving as a companion to the theoretical issues pertaining to war, this volume also is an important contribution to debates in political philosophy. It can serve as a textbook for relevant courses on war offered in philosophy departments, religious studies programs, and law schools. (shrink)

The basis of this collection of essays is the reading of a common topic from different perspectives. The contributors compare and contrast not only positions, but also methods of learning. They examine theories of just war in diverse cultural contexts and their disciplinary settings.

The article considers the issues of modern German political philosophy in accordance with its formation, institutionalization and development. Germany’s political philosophy is analyzed in terms of its interaction with social and practical philosophy. The text states that political philoso- phy belongs to both social philosophy and political science. As a political theory, it is a compo- nent of social theories institutionalized in the modern era. As a political philosophy, it appears as a metatheory of (...) political theory. Political philosophy is also part of practical philosophy, exploring the problems of interaction between ethics and politics and the moral reclamation of the political system of modern society. These issues are themed in the context of the institution- alization of this discipline in the early twentieth century, its transformation into a political reli- gion during National Socialism, the revival after World War II, as well as actualization in such areas of socio-humanitarian sciences as discourse philosophy, functional-system theory of so- ciety, etc. according to the political situation of modern Germany. (shrink)

Virginia Woolf famously wrote 'as a woman I have no country', suggesting that women had little stake in defending countries where they are considered second-class citizens, and should instead be forces for peace. Yet women have been perpetrators as well as victims of violence in nationalist conflicts. This unique book generates insights into the role of gender in nationalist violence by examining feature films from a range of conflict zones. In The Battle of Algiers, female bombers destroy civilians while (...) men dress in women's clothes to prevent the French army from capturing and torturing them. Prisoner of the Mountains shows a Chechen girl falling in love with her Russian captive as his mother tries to rescue him. Providing historical and political context to these and other films, Matthew Evangelista identifies the key role that economic decline plays in threatening masculine identity and provoking the misogynistic violence that often accompanies nationalist wars. (shrink)

Cinema, like art more generally, is both an artistic genre and a politico-economic institution. On the one hand there is film, a medium which disseminates moving images via the projection of light through celluloid onto a screen. Individual films or "movies," in turn, are discrete aesthetic objects that are distinguished and analyzed vis-à-vis their form and content. On the other hand there is the film industry-the elaborate network of artistic, technical, and economic apparatuses which plan, produce, market, and display (...) films to audiences. Since its inception, both the aesthetic and political aspects of cinema have been subject to various forms of theoretical analysis which have been subject to critique in turn. In this paper I offer a brief survey of these analyses and critiques followed by a sketch of an alternative approach to film theory. Drawing upon the ideas of Foucault and Deleuze, this "anarchist" film theory seeks to present a viable critical methodology while at the same time elucidating the liberatory potential of film. (shrink)