Hallucinations do not originate in a single region of the brain, the thalamus, and cannot be traced back to a single pathological mechanism. They emerge from the complex interaction of several brain regions, and are not necessarily the result of sensory impairment or the effect of a defective filter. In the case of schizophrenia, hallucinations are accessory symptoms, in Bleuler's sense, and are thus not central to this disorder.

In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

Teachers in many countries complain that their pedagogic work is impeded by unreasonable bureaucratic demands by government agencies. This paper suggests that historical, institutional and cultural perspectives are needed to understand the processes at work. It draws on Weber’s classic study of bureaucracy, but also makes reference to claims that traditional bureaucracies have been modified in ways that ameliorate their authoritarian character. The central part of the paper examines the attempts of one country (Scotland) to address complaints about excessive bureaucracy: (...) it is argued that they show a limited understanding of the nature of institutional power. In the discussion that follows, a number of critical interpretations are considered: that bureaucracies are, by their very nature, anti-educational; that they undermine ethical consciousness and cause psychological damage; and that enhanced professionalism can serve as a counterweight to bureaucratic tendencies. The paper ends by suggesting that the powerful pragmatic argument that mass, state-run educational systems cannot function without complex administrative structures, should not be used to disguise the fact that they have unintended consequences, some of which tend to subvert their stated aims. (shrink)

In the early 1880s, Henri Poincaré discovered an equilibrium figure for uniformly-rotating fluid masses—the pear, or piriform figure—and speculated that in certain circumstances the pear splits into two unequal parts, and provides thereby a model for the origin of binary stars. The contemporary emergence of photometric and spectroscopic studies of variable stars fueled the first models of eclipsing binaries, and provided empirical support for a realist view of equilibrium figures—including the pear—in the cosmic realm. The paper reviews astrophysical interpretation of (...) the Poincaré pear and the Poincaré-Darwin fission hypothesis with respect to research on variable stars from 1885 to 1901. (shrink)

Biology arises from the crowded molecular environment of the cell, rendering it a challenge to understand biological pathways based on the reductionist, low‐concentration in vitro conditions generally employed for mechanistic studies. Recent evidence suggests that low‐affinity interactions between cellular biopolymers abound, with still poorly defined effects on the complex interaction networks that lead to the emergent properties and plasticity of life. Mass‐action considerations are used here to underscore that the sheer number of weak interactions expected from the complex mixture of (...) cellular components significantly shapes biological pathway specificity. In particular, on‐pathway—i.e., “functional”—become those interactions thermodynamically and kinetically stable enough to survive the incessant onslaught of the many off‐pathway (“nonfunctional”) interactions. Consequently, to better understand the molecular biology of the cell a further paradigm shift is needed toward mechanistic experimental and computational approaches that probe intracellular diversity and complexity more directly. Also see the video abstract here https://youtu.be/T19X_zYaBzg. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric and Capitalism:Rhetorical Agency as Communicative LaborRonald Walter GreeneIt is a commonplace to describe rhetorical agency as political action. From such a starting point, rhetorical agency describes a communicative process of inquiry and advocacy on issues of public importance. As political action, rhetorical agency often takes on the characteristics of a normative theory of citizenship; a good citizen persuades and is persuaded by the gentle force of the (...) better argument. More radical visions of argument might include strikes, sit-ins, and boycotts in the rhetorical arsenal of good citizenship, and some might even flirt with violence as rhetorical action. This model of rhetorical agency requires a translation of the conceptual apparatus of rhetoric and its alignment with the problematics of democratic theory and actually existing democratic regimes. Classical models that hoped to harness rhetorical agency to the making of the "orator-statesman" (sic) must reimagine political participation in terms of publics and counterpublics, social movements, electoral campaigns, communication media and technologies, as well as supra- and sub-national institutional settings. As the classical norms of citizenship rub against (post) modern realities, a permanent anxiety over the meaning and potential of rhetorical agency seems destined to be lodged in the critical imagination of rhetorical studies. If politics today is, in Jodi Dean's words, "a domain of financially mediated and professionalized practices centered on advertising, public relations, and the means of mass communication," then actually existing rhetorical agency manifests itself in efforts to "raise the money, buy the television time, register the domain names, build the website, and craft the accessible, user-friendly, spectacular message" (2003, 96).If we recognize Dean's description of the political as an accurate description of the rhetorical situation today, rhetorical studies is left with three strategies: It can refashion a deliberative vision of rhetorical agency into a normative ideal for critiquing the structural conditions (capital, media [End Page 188] concentration) of political participation. Second, it can enlarge the field of normatively acceptable ways and means of political participation, for example, by embracing the more spectacular politics associated with visual and body rhetorics. Finally, rhetorical studies can work on the "demand" side and design new strategies and tactics for activating the rhetorical participation of citizens, for example, by encouraging the creation of communicative norms necessary for reinvigorating voluntary and civic organizations. However, while each of these approaches provides a research agenda, none of them gets at the root cause of the anxiety over agency: the attachment of rhetorical agency to a vision of political change. The anxiety over agency pushes rhetorical critics and theorists into becoming moral entrepreneurs scolding, correcting, and encouraging the body politic to improve the quality and quantity of political participation.The purpose of this paper is to offer an escape route from theorizing rhetorical agency as a model of political communication.1 In opposition to a political-communicative vision of rhetorical agency, this paper suggests a different materialist ontology, one that imagines rhetorical agency as a form of living labor. I will argue that rhetorical agency belongs to the domain of communicative labor, a form of labor increasingly necessary to the workings of contemporary capitalist production. In other words, I want to replace a political-communicative model of rhetorical agency with a materialist-communicative model. To highlight the similarities and differences between the two models, I will focus on how the interface between politics, communication, and economics plays out in the Marxist tradition of rhetorical studies. I will organize this tradition into two sections: the first, represented by James Aune, advocates a hermeneutic approach to rhetorical agency, and the second, represented by Dana Cloud, argues for imagining rhetorical agency as a class-based social movement. By focusing on the work of my comrades, the paper risks being received as a "left sectarian" polemic.2 As I will demonstrate in each section, the problem with these two approaches has less to do with Marxism and more to do with how they turn to hermeneutics and social movements to imagine rhetorical agency in the idiom of communication theory. In the third section of the paper I will resituate rhetorical agency into a materialist ontology of labor and capitalist production. In so... (shrink)

In the Fall 1988 issue of Informal Logic, John McMurtry suggests that the current mass communication system "obstructs and deforms our thinking and our reasoning by a general system of deception" (p. 133). This essay suggests that McMurtry's view of the mass media is inaccurate. The mass media needs to make choices about what material it includes; McMurtry's description of the media could be explained by a rational theory of media agenda setting. Finally. it is argued that critical thinkers need (...) to go beyond the mass media to make decisions; the mass media should not be expected to provide all arguments and viewpoints. (shrink)

The Hutchins Commission's notion of media responsibility is being re-invigorated by the Corporate Social Responsibility/sustainability movement among U.S. and European corporations, though media companies tend to lag behind in adopting these programs. One exception is Britain's Guardian News that is, that the concept is too vague and poorly elaborated.

Fish has always been adept at revising his position to incorporate what he’s learned from his critics while repaying the favor by assigning them a position they never took. The latter practice naturally helps conceal the borrowings, but as Fish’s position evolves it becomes progressively difficult to determine who is the author of his essays. I am, of course, gratified to see how much Fish has learned from me. It is salutary to find that Fish is finally just a humble (...) historian working with others at “recovering a system of thought and feeling” that will enable us to establish the historical context of Milton’s most probable intentions and realizing, as many historians of literature don’t, that we can only do so by bringing concepts provided by literary theory—form, function, artistic purpose, and so forth—to bear on the mass of historical materials at our disposal.3 It is also gratifying to see that Fish has discovered the law of context and now realizes that there are no local matters. Had he discovered that earlier, we’d have been spared Aunt Tilly and the discussion of Mr. Collins—as well as the general notion extrapolated from those examples that anything a sizable group decides to do will fly since nothing else constraints interpretation. We’d also have been spared the concepts of reading and affective criticism presented in Fish’s early work and the unchecked linguistic hijinks used to sustain those readings. I derive my deepest pleasure, however, from finding that Fish has finally discovered the conflict of interpretations proper and its primacy—“the resistance offered by one interpretively produced shape to the production of another” —though I must sadly abridge this progress report by noting that he finds himself powerless to do anything with this recognition. That is as it must be, for the most interesting thing about Fish’s borrowings is where he stops—and why he has to. Having let me write the first 5 ½ pages of his reply, he suddenly stops taking dictation so that he can simply reassert, in all its abstract glory, his tried-and-true resolution of all interpretive controversy by community interest. Had he read further, he would have discovered that a good deal more emerges if one attempts to preserve and deal with the conflict of interpretations rather than to do away with it. He would even have discovered my epistemology and would have learned the main lesson—that his position is not an alternative to mine but an early moment it contains and sublates in a larger context.Have taught Fish so much, I found myself, instead, poorly repaid by the position he foists upon me. Constantly caught up in an effort to reiterate the dichotomy on which his entire theorizing depends, Fish’s fixed need is to rework all disputes into an opposition between the party of independent fact-disinterested reason and the party of interest so that he might triumphantly resolve all difficulties by once again discovering the simple fact of interests. Lest this strategy hide behind a common misconception, our debate is not a case where distinct frameworks are simply misreading one another, as they must, but one where one framework must deliberately and seriously misread others since it has no other way to sustain itself. If the account Fish gives of my argument is the way things must look from his framework, all that this fact signifies is the paucity of his framework and its inability to achieve even minimal descriptive adequacy. 3. But even here things are a good deal more complex than Fish imagines. For a good statement of the logic and problems of historical interpretation, see Robert Marsh, “Historical Interpretation and the History of Criticism,” in Literary Criticism and Historical Understanding, ed. Philip Damon , pp. 1-24. (shrink)

Probabilism is a Scholastic discussion of conscience beginning in the sixteenth century and lasting over four hundred years. To tackle historical issues in normative ethics, the participants had to work out a general "metaethical" theory relating epistemic and deontic logics, the logics of knowledge and virtue. May I act if I am unsure that I may? How, when I am in doubt, can I acquire the critical mass of rationality that virtue demands? The normative aspect of the controversy has been (...) studied in its historical setting, but its interesting and original metaethics has been largely ignored outside the Scholastic circle itself. The discussion is obviously relevant, even practical, today; in fact, any treatment of conscience and relativism already includes the material of probabilist analyses. (shrink)

Mass media images offer audiences models for how to perform the social roles they depict. Opinions and other attributes of credible media models may likewise be embraced by audience members seeking to identify with those models. Thus farm magazine narratives about “successful” farmers may encourage readers to model or aspire to featured farmers' production and management techniques and ascribe legitimacy to models' responses to current agricultural issues. However, production of agrarian images in the mass media — including images of farms, (...) farmers, and farmers' values — are inevitably biased such that media representations of successful farmers selectively present objective characteristics in terms of the media's own ideological frameworks, which in turn reflect the dominant ideology of the social relations in which the media are engaged. As a first step in identifying farm magazines' role in creating social models for farmers, this study analyzes articles featuring “successful,” “leading,” or “innovative” farmers in leading agricultural magazines. The featured farmers are categorized according to enterprise characteristics and characterizations of them and their management philosophies. Findings show that farmers in farm magazines have larger than average operations and are portrayed in a way that blends a “farming as business” orientation with more conventional agrarian values but that generally omits non-business aspects of farm life. (shrink)

L’industrie de la culture qui est apparue en parallèle avec l’affaiblissement du dipôle travail social – art contemporain, a en même temps affaibli la possibilité des avant‐gardes de constituer une activité purement intellectuelle et artistique. C’est clair que l’apparition de cette culture de masse vient se lier avec l’évincement de l’art moderne authentique et la disparition quasi-totale de la culture populaire. Je pense que c’est indispensable de mentionner les points de vue des philosophes allemands, Theodor Adorno et Walter Benjamin (...) car je considère que malgré leurs limites historiques, ils exercent une influence déterminante sur la pensée contemporaine qui se relate à l’art dans le cadre de la société moderne postindustrielle. (shrink)

Adapt!: On a New Political Imperative, by Barbara Stiegler, reveals how neoliberalism in the 1930s took the shape of an entire social philosophy; it also shows how her book must be updated today. As Stiegler reviews, Walter Lippmann insisted that major state and social institutions must be reformed to support neoliberal aims of capital priority and rapid growth, the primacy of technical experts, management of mass opinion to insulate those inviolable ends, and courts equipped with neoliberal jurisprudence and authority (...) to secure the entire complex. Stiegler’s brilliance, however, falls below her discernment of new phases in this evolution. The last third of this paper explores the formation of supplements that intensify the regime. White triumphalism, spiritual callousness, denials of climate change, evasion of planetary circuits of imperial power, and aspirational fascism grow together in several countries as sacrosanct ends of neoliberal capitalism face inflows and obstacles its leaders can neither admit nor control. (shrink)

The purpose of this article is to indicate the dimensions of Walter Benjamin’s conception of "technique". It is argued that the only way to understand his problematic technique is by considering the concepts of experience and political action. The present article emphasizes the philosopher’s transitivity of technical understanding through a wide range of reflections including Benjamin’s thoughts on Scheerbarts to "second technique" (zweite Technik), from his idea of collective corpus (Leib) to his understanding of experience (Erfahrung), and from the (...) canonic feature of architecture in modern time to revolutionary action. We focused on the common issues in the texts of Benjamin entitled "Experience and Poverty", "Capitalism as Religion" and "The Work of Art in the Age of Mechanical Reproducibility". At the same time, we stress why the technical question and technicality are central issues in order to understand other Benjamin texts. We use the thematic continuity and differentiation thesis as a method instead of disengagement in his writings. Our essential thesis in this article is that according to Benjamin, a true political organization is an action which puts an end to the domination of the first technique over the second technique. In other words, Benjamin's conception of technique implies on the one hand a radical criticism of the existing order and on the other hand a political moment where all the phantasmagorias of the masses dissolve. In this context, the phantasmagorias, made visible through urban space, are at the same time possibilities for a revolutionary action in order to actualize the hidden forces of humanity. (shrink)

Walter Benjamin est le penseur de la reproductibilité technique au XXe siècle, et il nous a donné de nombreuses pistes de lecture pour comprendre ce que la technique fait et défait dans nos sociétés industrielles fondées sur l'exploitation de l'autre. Déclin de l'aura, disparition de l'original, exposition généralisée, vulgarisation, performance, émergence de la star et du dictateur, choc, contrôle des masses et émancipation, il nous laisse un précieux viatique de fragments, célèbres ou méconnus, qui nous permettent de poser cette (...) question : Comment appréhender le monde digital qui est en train de révolutionner notre siècle? Dans cet essai, nous faisons l'hypothèse, soufflée par Benjamin lui-même, que nombre de ses intuitions fulgurantes, suscitées par l'essor de la photographie et l'irruption du cinéma, puis de la radio, sont restées en sommeil à son époque, et se réveillent maintenant à la faveur de l'irruption du monde digital. La logique de l'accessibilité mondiale prend racine dans le monde de la reproductibilité mécanique et en révèle le sens. De la même façon que le philosophe a pris au sérieux la technique de la radiodiffusion, au point de devenir lui-même réalisateur d'émissions à la fin des années 20, nous proposons de relire ses textes à l'aune d'une observation matérialiste du monde numérique, où chaque lecteur est en train de devenir auteur et producteur, témoin de sa propre existence en voie de dédoublement."--Page 4 of cover. (shrink)

Post-critical pedagogy, which offers a significant alternative to the dominant trends in contemporary philosophy of education, objects to seeing education as instrumental to other ends: it attempts to conceive of education as autotelic, namely as having intrinsic value. While there are good reasons for accepting the post-critical reservations with the instrumentalization of education, I argue that its autonomy is equally problematic, as it risks turning the philosophy of education—perhaps education itself—into a privileged activity, out of touch with the most important (...) issues in the contemporary world. In this paper I offer post-critical pedagogy a way out of this dilemma, by drawing on Walter Benjamin’s essay “The Work of Art in the Age of Its Technological Reproducibility”. After presenting the thesis concerning the autonomy of art held by Benjamin’s Frankfurt School friends, and pointing to the similarity between their view and that of post-critical pedagogy, I articulate six Benjaminian theses on post-critical pedagogy. Following Benjamin’s claim that the technological reproducibility of art changes the way it is perceived as well as its political function, I argue that school is an educational technology that reproduces the world to the masses without an “aura”, in a way that allows for political critique that does not reduce education to politics. Next, I highlight the importance of the school to post-critical pedagogy, and contribute to developing the critical-political aspect that remains essential to post-critical pedagogy. Finally, the Benjaminian perspective also makes it possible to reflect on the relation of digital technologies of reproduction to post-critical pedagogy. (shrink)

This article identifies principles for global journalism ethics in speeches and essays by the early 20th century journalist and founder of the first American journalism school, Walter Williams. Williams is not known as a media ethicist, nor is he a prominent figure in ongoing scholarly work on global journalism ethics. However, his nascent ethical principles offer an important foreshadowing of current discussions on how journalism ethics might work in a global context. The global perspective he brought to journalism was (...) formulated at a critical period in the development of American journalism and codes of ethics. Tracing the evolution of global journalism ethics is important because the search for universal ethical principles in journalism has intensified today. That is because “media technologies are increasingly and dramatically global. Our work in media ethics should be commensurate with them” (Christians, 2005, p. 3). A century ahead of current attempts to develop principles for global journalism ethics, Williams was confronted with pluralism and globalization, just as he and other key figures in American journalism's history were shaping journalism into a profession and an academic discipline. While Williams discussed such principles as global responsibility and awareness of difference, he also contended that a specifically Christian, American, pastoral model should set the global standard. This paradoxical, unwieldy stance is discussed in the context of the Progressive Era. Implications for current scholarship on global journalism ethics are explored. (shrink)

In 1936, Walter Benjamin published two important essays. The first and certainly the most celebrated is “The Work of Art in the Age of Mechanical Reproduction,” which considers the place of art in contemporary mass society.1 In this essay, Benjamin offers an account of art that emphasizes its origin in religion and ritual. We may think of the magnificent cave paintings that were discovered in Lascaux, the frescoes that filled churches in Renaissance Italy, and the correlative sense of art (...) as an aspect of the sacred. Indeed, Benjamin argues that, until quite recently, the individual artwork has always possessed an “aura” insofar as it is unique and commands the viewer with its own aesthetic authority or status.... (shrink)

This paper considers a key text in the field of Cultural Studies for its relevance to questions about the identity of knowledge in education. The concept of ‘aura’ arises as being of special significance in ‘The Work of Art in the Age of Mechanical Reproduction’ as a way of understanding the change that occurs to art when mass reproduction becomes both technologically possible and industrially realised. Aura seems to signify something of the symbolic halo generated by objects of special significance (...) that is both powerful and indefinite. This paper argues that aura is in fact the necessary property of symbolic representation—and that it attaches as much to the figure of Walter Benjamin as it does to any canonical work of art. But the paper also claims that Benjamin’s argument about the significance of popular forms of art—particularly photography and film—can be updated and applied to critical questions about the established order of knowledge in education. This is particularly relevant to those curriculum domains where specific objects—texts, for example—are invested with powerful auras. It may also be applicable to all forms of established knowledge and curricula. (shrink)

Walter Benjamin's writings on the Paris shopping arcades and nineteenth- century urban industrial culture are frequently referenced in contemporary examinations of ‘modernity'. In current cultural studies Benjamin's investigation of the aesthetics of merchandise and his insights into the social fact of mass consumerism are repeatedly invoked. Indeed these investigations may be alluded to even more frequently than reference is made to Benjamin's once much reproduced essay ‘The Work of Art in the Age of Mechanical Reproduction'. A decade and a (...) half ago Benjamin's ‘Artwork’ essay was one of the most frequently cited essays in new art history and cultural studies academic textbooks. To put it crudely, a turnaround has occurred. In the 1970s academic attention spotlit Benjamin's materialist history of artistic production, distribution and reception as presented in the ‘Artwork’ essay and in ‘The Author as Producer’. The political events of 1968 had made Benjamin extremely readable. His thoughts discharged after some years delay. Most alluring to the German 68ers were the statements on political art and Benjamin's dissections of fascism. Also entrancing were Benjamin's analyses of experience. Benjamin wrote extensively, and from early on, about ways of expanding the conceptualisation of experience: sometimes philosophically - by means of Kant-critique, sometimes aesthetically — by a probing of surrealism and psychoanalysis, and sometimes practically – through experiments with hashish, which were later written up as protocols. John Berger's Ways of Seeing represented an original attempt to introduce Benjamin to an English audience, via the appropriately mass mediation of television. Benjamin was adopted as a leftist mascot, and a materialist who could recommend directions for art interpretation and more importantly, cultural practice. The approaches of the 1980s and 1990s, inflected by the priorities of feminist and postmodernist scholarship as they have loomed in cultural studies, art history and sociology, increasingly turned to those aspects of Benjamin's work that appear to illuminate a burgeoning interest in urbanism and consumerism. Interest has shifted away from cultural production and critique towards consumption and characterization. These days, Benjamin is regularly served up as one of the theorists who can vindicate a feel-good consumerism, lending a glamourizing and theoretical loftiness to the activity of shopping. Indeed, far from blasting the chimeras of commodity fetishism, Benjamin becomes the commodity's high-priest. (shrink)

La genèse de la vedette de cinéma qu’effectue Walter Benjamin au chapitre 10 de L’Œuvre d’art à l’époque de sa reproductibilité technique (dernière version, 1939) trouve une résonance politique dans une note de bas de page du même chapitre où la star acquiert un statut analogue au dictateur, quand la technique (de reproduction) de l’œuvre d’art devient elle-même, à travers le cinéma, œuvre d’art. Si les démocraties bourgeoises contiennent, dans leur rapport aux médias de masse, la possibilité de leur (...) basculement dans le fascisme, c’est parce que leurs gouvernants, au même titre que l’acteur de cinéma, deviennent des marchandises, soumises à la loi de la forme équivalente (de la marchandise). L’« esthétisation de la politique » doit dès lors être comprise comme la restitution de l’« aura » et de la « valeur cultuelle » qui l’accompagne, dans et par les conditions qui par définition en constituent la liquidation, à savoir la technique, qui sont l’attribut du pouvoir. Sublimer la marchandise en la présentant sous les espèces de l’œuvre d’art quand celle-ci devient marchandise – ainsi s’institue la star –, et identifier l’homme politique à une œuvre d’art – à une star –, revient à faire de lui l’incarnation du pouvoir : un dictateur. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and (...) Georges Franju. This work also reflects on kitsch, the star system, racial and gender stereotypes, and the nature of audience participation. While defining the conditions under which the symbiotic relationship between high and mass culture can be cross-fertilising, this study stresses their inevitably contradictory characteristics. (shrink)

El presente artículo intenta señalar y valorar las ideas comunes que, en torno a la tradición, la modernidad, el arte y la cultura, existen entre los pensamientos de Walter Benjamin y Hannah Arendt. Para esto, se reconstruyen algunos de los aspectos de la visión histórica de ambos pensadores, para después valorar sus comprensiones estéticas en el marco de la sociedad de masas moderna. Los conceptos de autoridad y aura son centrales en este recorrido para entender la forma en que (...) la “ruptura de la tradición” y la tendencia social contemporánea hacia la “reducción de las distancias” ofrecen una nueva circunstancia esencial para la cultura moderna. (shrink)

Les figures de Benjamin – oxymore, chiasme, ellipse, emploi particulier du gérondif – préfigurent la « langue universelle » également annoncée par Rimbaud dans sa lettre du voyant (1871). Les « illuminations » de l'un, largement inspirées par la Commune de Paris, et la « prose messianique » de l'autre, portée notamment par l'élan de l'URSS naissante, refondent les oppositions dominantes – raison⁄ivresse, théologie⁄matérialsme... – au nom d'une société sans classes. Or Rimbaud voit également venir « le temps des Assassins (...) » ; et Benjamin de nouvelles exterminations du masse. La clairvoyance d'un Kafka, écrit-il à ce propos en 1938, résulte du désenchantement réciproque produit par l'interaction de deux forces inégales, la vieille mystique ruinée et la modernité ruineuse, chacune à elle seule étant inefficace et honteuse. Un essai antérieur, Sur le pouvoir mimétique, voit un désenchantement analogue – la liquidation⁄sublimation des anciens pouvoirs de clairvoyance – à l'œuvre dans la genèse du langage humain. Celui-ci aurait-t-il donc tracé la voie que l'histoire devra encore emprunter? Cependant l'Ange de l'Histoire voit, médusé, l'innommable catastrophe du soi-disant Progrès tout entraîner dans sa Chute, surtout le langage. Comment donc résister au Capital déchaîné? Deuil ( Trauer ), lamentation ( Klage ), grève ( Stillstellung ), détour ( Umweg ) retournement ( Umkehr ), écart ( Abweichung ), démantèlement ( Abbau ) : autant d'affects et de gestes qui comptent pour Benjamin parmi les seules véritables réponses humaines à la honte persistante de l'humain... (shrink)

Walter Ong points out that no one can write naturally, because writing is a completely artificial technique we need to acquire through education. The technology of literacy as writing letters begets a dividing line between “literates” and “illiterates,” since literacy cannot be acquired otherwise. When we review the early history of literacy, we notice that letter-writing was a specialized technology, and that in its center resided a small number of elites who could write. Thereafter, in the Modern Era, the (...) center of discussion on literacy turned to the issue of the illiterate masses, mainly on how to bring them to literacy through school education. As the interest in popularizing literacy increased, though, another kind of increased interest arose: the interest in literacy education for blind people. On purpose or not, blind people had been excluded or alienated from literature and/or letter-based culture. However, the stronger the power exerted to exclude blind people, the more blind people aspired to write/read letters. Such aspiration and attempts to write/read letters in their own way may establish a distinct touch-centered world of letters and literacy and, importantly, may relativize its sight-centered world counterpart. If so, how will such a practice revise sight-centered literacy and open new horizons? I would like to consider this topic by reviewing its historical background and examining a case of writing practice by Kuzuhara Kôtô, a blind musician, in 19th century Japan. (shrink)

This article evaluates the role of art – particularly mechanically reproduced forms of art – in the writings of Walter Benjamin and Theodor W. Adorno. The central claim is that both thinkers share the same conviction as to the emancipatory potentials of the work of art. Yet, they evaluate the effects of technological innovation differently. The underpinnings of this later resolved discord, however, are philosophical. In contrast to Benjamin’s belief in the possibility of mass mobilization, for Adorno the relevant (...) category remains unequivocally the individual subject. (shrink)

:Roger Griffin’s paper points towards the importance of historical time when discussing fascism. Walter Benjamin’s Theses, the discussion of which informs Griffin’s paper, engages with the topic of historical time at several points, especially in its discussion of the theory of progress that Benjamin found in German Social Democracy, to which the Theses was directly opposed. Revisiting sympathetically a theory of progress akin to that of Karl Kautsky and other Marxist writers enables us to add substance to the key (...) Marxist concept of fascism as a reactionary movement. Combining this idea with an emphasis on the autonomous, mass character of fascism enables us to grasp the dynamics of fascism as a contradictory whole: a future-orientated and activist politics without revolutionary content. (shrink)

Resumo: Este estudo analisa as narrativas radiofônicas de Walter Benjamin, como forma e conteúdo através do qual o autor buscou proporcionar para a infância de seu tempo uma possibilidade de experiência com o contemporâneo. Ao se pensar as peças do ponto de vista didático e do ponto de vista da aprendizagem, pode-se encontrar nelas a intencionalidade de Benjamin, bem como a atenção e o cuidado dado por ele a elementos aparentemente irrelevantes para o esclarecimento como Aufklärung, no cotidiano prosaico (...) das massas. Esse cuidado o levou a questionar, a exercitar e a experimentar a transmissão do conhecimento por meios novos e metodologias inovadoras para a época, sem perder de vista a perspectiva dos vencidos, em sua batalha diária, ou seja, em seu cotidiano. As peças, portanto, não são modelos apenas em sua estrutura narrativa, mas também de uma intencionalidade pedagógica emancipadora que pode dialogar com a criança, mediante a ludo-linguagem de domínio e fluência das crianças. A infância, nesse sentido, é signo de uma nova subjetividade fortalecida e, assim, capaz de resistir e de se desviar dos encantos e das promessas do populismo fascista que, no século XXI, não deixou de rondar a todos. Palavras-chave: Narrativas Radiofônicas; Experiência; Walter Benjamin Radiophone tales: the emergency of a modern form of narration in Benjamin Abstract: This study analyzes Walter Benjamin's radio narratives as a form and content through which the author sought to provide the childhood of his time with a possibility of experiencing the contemporary. Whenever thinking about the pieces from the didactic point of view and from the learning point of view, it could find Benjamin's intentionality among it, as well as the attention and care given by him to elements apparently irrelevant to the clarification, such as Aufklärung, in the prosaic daily life of masses. This care led him to question, exercise and experiment with the transmission of knowledge through new means and innovative methodologies for the time, without losing sight of the perspective of the losers, in their daily battle, that is, in their daily lives. The plays, therefore, are not models only in their narrative structure, but also of an emancipatory pedagogical intentionality that can dialogue with the child, through the ludo-language of mastery and fluency of children. Childhood, in this sense, is a sign of a new, strengthened subjectivity and, consequently, capable of resisting and deviating from the charms and promises of fascist populism that, in the 21st century, did not cease to haunt everyone. Keywords: Radio Narratives; Experience; Walter Benjamin Cuentos radiofónicos: la emergencia de una forma moderna de narración en Benjamin Resumén: Este estudio analiza las narrativas radiofónicas de Walter Benjamin, como forma y contenido a través del cual el autor buscó proporcionar para la infancia de su tiempo una posibilidad de experiencia con lo contemporáneo. Al pensar en las piezas, desde el punto de vista didáctico y desde el punto de vista del aprendizaje, se puede encontrar en ellas la intencionalidad de Benjamin, así como la atención y el cuidado dado por él a elementos aparentemente irrelevantes para el esclarecimiento como Aufklärung, en el prosaico diario de las masas. Ese cuidado lo llevó a cuestionar, a ejercitar y a experimentar la transmisión del conocimiento por medios nuevos y metodologías innovadoras para la época, sin perder de vista la perspectiva de los vencidos, en su batalla diaria, o sea, en su cotidiano. Las piezas, por lo tanto, no son modelos solo en su estructura narrativa, sino también de una intencionalidad pedagógica emancipadora que puede dialogar con el niño, mediante el Ludo lenguaje de dominio y fluidez de los niños. La infancia, en ese sentido, es signo de una nueva subjetividad fortalecida y, así, capaz de resistir y de desviarse de los encantos y de las promesas del populismo fascista que, en el siglo XXI, no dejó de rondar a todos. Palabras clave: Narrativas Radiofónicas; Experiencia; Walter Benjamin Data de registro: 07/03/2023 Data de aceite: 22/11/2023. (shrink)