Celem niniejszego artykułu jest nie tylko przybliżenie określonych obrazów raju i utopii, które ukazują się w różnych odsłonach w domenach imaginariów europejskich na przestrzeni dziejów, lecz także ukazanie powiązań owych obrazów z domeną dyskursów politycznych dążących do zmiany status quo oraz ukonstytuowania doskonałej, harmonijnej i nieantagonistycznej wspólnoty. Stworzenie takiej wspólnoty – pomimo uniwersalistycznych wizji, które imaginaria raju i utopii implikują – niejednokrotnie opiera się na mechanizmach inkluzji i ekskluzji. Mechanizmy tego typu są charakterystyczne przede wszystkim dla maksymalistycznych wizji i idei (...) politycznych, które dążą do rozwiązania wszelkich ludzkich problemów w sposób ostateczny i całkowity. Z takimi dążeniami należy wiązać nade wszystko rewolucyjne próby realizacji utopii, czy też budowy królestwa Bożego na ziemi. (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)

Seeking the good life: Socrates' erotic revolution -- At home in the universe: the Stoics as Existentialists -- Senses of the self: Augustine and the ascent of the soul -- Overcoming alienation: Rousseau's search for authenticity -- Becoming who we are: Kierkegaard against his age (and ours) -- Single in the crowd: Thoreau's existential experiment at Walden Pond -- No short cut to Paradise: the lonely passion of William James -- Beyond Nihilism: Nietzsche and the ethics of utopia -- Between (...) solitude and solidarity: the two worlds of Albert Camus -- The desire to be God: Sartre and the winding roads of freedom -- Dramatist of a broken world: the soft theism of Gabriel Marcel -- Thinking without banisters: Hannah Arendt and the face of radical evil. (shrink)

The article discusses a relatively obscure but significant aspect of work of the Russian and Soviet thinker Alexander Bogdanov—his science fiction novels. The author points out that, using the form...

No consensus yet exists on how to handle incidental fnd-ings in human subjects research. Yet empirical studies document IFs in a wide range of research studies, where IFs are fndings beyond the aims of the study that are of potential health or reproductive importance to the individual research participant. This paper reports recommendations of a two-year project group funded by NIH to study how to manage IFs in genetic and genomic research, as well as imaging research. We conclude that researchers (...) have an obligation to address the possibility of discovering IFs in their protocol and communications with the IRB, and in their consent forms and communications with research participants. Researchers should establish a pathway for handling IFs and communicate that to the IRB and research participants. We recommend a pathway and categorize IFs into those that must be disclosed to research participants, those that may be disclosed, and those that should not be disclosed. (shrink)

Jane Campion and Gerard Lee's miniseries Top of the Lake (2013) marked New Zealand-born but Australian resident Campion's return to New Zealand for the first time since The Piano (1993). The show's central subject of child sexual abuse by state officials echoes the different yet resonating political situations in twenty-first century Australia and New Zealand, a state of emergency that allows for the emergence of what Rebecca Solnit (2009) calls a ‘disaster community’. Implicitly addressing critiques of her colonialist gaze in (...) the earlier film, the miniseries both decolonises the idea of the Utopian no-place and offers an alternate, emplaced vision of relational, anti-colonial provisional Utopia through the main, mirroring female characters, Detective Robin Griffin and her half-sister Tui Mitcham. In contrast to contemporaneous police procedurals focussed on lone female officers, Top of the Lake rejects the authority of the police state and offers a resolution aslant that critiques generic expectations of individual heroism and resolution within a legal framework. Looking specifically at how the show knows its place—Lake Wakatipu on South Island, New Zealand—the article offers a close reading of Top of the Lake's formal critique of the male colonial gaze and its adoption of a feminist soundscape in relation to Campion's oeuvre; and considers its politics through indigenous media theory, to argue that it marks an initial step towards a decolonisation of viewing practices in relation to feminist conceptions of Utopia. (shrink)

Brand image constitutes one of the most salient, over-defined, heavily explored and multifariously operationalized conceptual constructs in marketing theory and practice. In this Chapter, definitions of brand image that have been offered by marketing scholars will be critically addressed in the context of a culturally oriented discussion, informed by the semiotic notion of iconicity. This cultural bend, in conjunction with the concept’s semiotic contextualization, are expected both to dispel terminological confusions in the either inter-changeable or fuzzily differentiated employment of such (...) terms as brand image, symbol, icon, as well as to address the function of brand image at a deeper level than a mere construct to be operationalized in quantitative studies of purchase drivers. This shift in focus is coupled with a critical turn from the cogito-centric view of the consuming subject through the cognitivist lens of the AI metaphor as decision-making centre at the origin of largely conscious meaning-making, in favor of a psychoanalytically informed approach that considers figurativity as an essential process whereby brand image is formed. In these terms, brand image will be intimately linked to brand images as figurative multimodal expressive units and rhetorical tropes, as figurative syntax, that are responsible for shaping an idiolectal brand language, as well as to distinctive levels of iconicity as textual condition of possibility of a brand language. In order to understand the role of iconicity as fundamental condition of brand textuality, rather than just a procedure for spawning brand images, the discussion is contextualized in a wider framework involving the culturally situated source of brand images, how they become correlated with brand image concepts and how correlations between brand images and brand image result in brand knowledge structures (Keller 1998). This opening up of the discussion on iconicity is enacted against the background of what I call the Brand Imaginarium which involves: (i) a critical engagement with the dominant cognitivist perspective in branding research that prioritizes individual memory in brand knowledge formation, through a cultural branding lens that involves two additional types of memory, viz. communicative and cultural (ii) a critical engagement with the cognitivist perspective on brand knowledge formation that prioritizes conscious processing of stimuli (as ‘brute facts’, rather than as already semiotized expressive units) in a cognitive mechanism from which the faculty of imagination has been expelled, by restoring the importance of imagination in brand knowledge formation, and, concomitantly, by showing that the highly figurative language of brands may not be researched thoroughly unless imagination is posited anew as processing correlate (iii) the adoption of an expansionist approach to the role of the imaginary in brand knowledge formation, from cognitive (or psychic) faculty, to a more sociologically inclined process of inter-subjective mirroring, and concomitantly as imaginary social significations (Castoriades 1985) that are shared by culturally conditioned and habituated subjects that engage in meaningful cultural practices, rather than individual processing monads. (shrink)

In contemporary democracies, the image that political leaders project is of central importance to their electoral appeal, however, studies of image projection have mainly been based on textual messages, undermining often visual content such as photos, memes and postcards. This study explores populist leaders image projection through visuals on Facebook in a cross-national context, with the aim of verifying if politicians use images to promote their political action or if they instead implement more complex strategies of self-branding and personalisation. The (...) analysis focuses on the election campaign period for the 2019 European elections and proposes a comparison between four leaders that joined the European Parliament’s Group of Identity and Democracy, namely Matteo Salvini for Italy, Heinz-Christian Strache for Austria, Marine Le Pen for France and Alice Weidel for Germany. According to our analysis, important differences emerge in the use that leaders make of the images disseminated on Facebook. Some of them, in fact, disseminate almost exclusively images that are strictly related to their electoral campaign, while others seek a true identification with their voters, following the pattern of intimization. (shrink)

The article is devoted to the analysis of the archetypal image of the Promised Land in Russian utopian thought. The subject of the research is the literary utopias of M.M. Shcherbatov, V.F. Odoevsky, A.A. Bogdanov and the philosophical texts of N.F. Fedorov, S.N. Bulgakov, N.A. Berdyaev, reflecting collective hopes for finding social harmony. The object of research is the image of the Promised Land, which contains an archetypal idea of the place of prosperity in earthly reality. The main purpose of (...) the article is to determine the specifics of the functioning of the archetypal image of the Promised Land in the Russian utopia, the features of which can be traced in the models of the best social structure of Russia depicted by the authors. The application of archetypal analysis to utopian pictures of the future is a little-studied technique, which determines the relevance of this study. The article uses comparative historical, hermeneutic and structural-typological methods to identify the genesis and development of the image of the Promised Land, analyze the texts of the authors in a cultural and historical aspect and identify similar features in them, making it possible to identify the image of the Promised Land as archetypal. The scientific novelty is due to the fact that the consideration of utopias is carried out through the prism of the archetypal image of the Promised Land, rooted in the collective unconscious and embodying the hopes of society for finding a world where the ideals of freedom, equality and justice will be embodied. It is determined that the archetypal image of the Promised Land in Russian utopia is a metaphorical expression of the search for a "lost paradise" and appears in utopian plots as a stable motive focusing faith in the coming of a bright future. The main stable components that make up the semantic core of the image of the Promised Land are highlighted. It is concluded that this image functions in utopian plots, on the one hand, as a topological constant indicating the place of action ("the land of Ophir", "the Northern Kingdom", "Mars"), on the other hand, as an idea of the ideal structure of social existence, which can be associated not only with real, but also transcendent reality, the spiritual state of society ("Millennium", "Kingdom of the Spirit", etc.). (shrink)

In recent years, Swedish women belonging to a post-migrant generation have made their voices against racism and social inequality prominent within public debate. Engaging in segregated and economically deprived suburbs, these women make use of art in order to counter stereotypical narratives of themselves and their communities. Based on interviews from two research projects, Accessing Utopia and Gendered Islamophobia in Sweden, this article aims to understand the complexities in using art to protest racist structures and stereotypes. In what ways are (...) the young women making room for their own creative expressions in Swedish society, while countering processes of othering? How does the work of representation affect them? What meaning do the women give to the platforms and networks they have been involved in? This article shows that the women’s early experiences of othering and meeting likeminded youths play a central role in order to either enter or create collective platforms where they can creatively engage in expressing their subjectivities and counter society’s controlling images. Projects and platforms such as Revolution Poetry and Swedish hijabis provided collective self-care through support and confidence building among youths from marginalized communities. These platforms can be seen as an artistic homeplace for the interlocutors. The article also shows that the work of representation is sometimes felt as limiting. The activism the women engage in is a deeply personal struggle for self-valuation and seeking ways to live a life on one’s own terms. (shrink)

Black Utopias posits a concept of utopia made possible by black people's exclusion from the human and expressed through the ecstatic practices, community creation, speculative fiction and music. Jayna Brown explores the practices and works of 19th century black women mystics as well as 20th century musicians and speculative fiction writers including mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and writers Samuel Delany and Octavia Butler.

The fall of the Communist regimes in the countries of Eastern Europe and the Soviet Union, and their commitment to social, political and economic reform, represent two aspects of a deep process of social transformation. As in all socio-political transformation which overturns the previous political and economic order, this process needed to develop an ideology and a concrete image of the future in order to mobilize their populations, to invent that certain political rationality which is indispensable for bringing reform to (...) a successful conclusion, and to produce a certain coherence in the changes which occurred in the various fields of life in society. Unlike the preceding revolutions which had gradually nourished hopes for a better life and had expanded the horizons of human possibility with difficulty, movements towards democracy in the former Communist countries found an almost ready-made model. (shrink)

Au vu de l’éclosion soudaine de ce « printemps arabe » qui a essaimé de pays en pays, cet article montre comment, à l’ère de la transparence et de la simultanéité, les moyens d’information et de communication ont créé un champ d’action propice au soulèvement contre les dictatures. Mais, si les réseaux sociaux numériques – Facebook en particulier –, les SMS, et les e-mails, ont donné aux citoyens les moyens de leur révolution, il est aussi question d’imagination constituante. En effet, (...) les chaînes d’information en continu du monde arabe – Al Jazeera principalement –, ont alimenté un imaginaire révolutionnaire à coup d’images télévisuelles, et surtout de discours informationnel « ami », souvent protecteur, qui a en même temps insufflé des idées et du courage à des peuples arabes endormis depuis des décennies, qui soudain croient en une révolution possible et passent à l’action.This article shows how, in the sudden “Arab Awakening” and its domino effect as it spread from country to country, means of information and communication in an age of transparency and simultaneity opened up a sphere for action that could potentially trigger an uprising against dictatorship. But although the social networking sites – especially Facebook –, text messaging and emails gave citizens the means to revolt, there is also the question of the imagination that created that terrain. The 24-hour news channels in the Arab world, especially Al Jazeera, nourished the revolutionary imagination with telegenic images and especially a “ friendly” and often protective informational discourse that, in parallel, inspired people with courage and ideas after decades of slumber, galvanising them into action. (shrink)

'Community' is one of those words that feels good: it is good 'to have a community', 'to be in a community'. And 'community' feels good because of the meanings which the word conveys, all of them promising pleasures, and more often than not the kind of pleasures which we would like to experience but seem to miss. 'Community' conveys the image of a warm and comfortable place, like a fireplace at which we warm our hands on a frosty day. Out (...) there, in the street, all sorts of dangers lie in ambush; in here, in the community, we can relax and feel safe. 'Community' stands for the kind of world which we long to inhabit but which is not, regrettably, available to us. Today 'community' is another name for paradise lost - but for a paradise which we still hope to find, as we feverishly search for the roads that may lead us there. But there is a price to be paid for the privilege of being in a community. Community promises security but seems to deprive us of freedom, of the right to be ourselves. Security and freedom are two equally precious and coveted values which could be balanced to some degree, but hardly ever fully reconciled. The tension between security and freedom, and between community and individuality, is unlikely ever to be resolved. We cannot escape the dilemma but we can take stock of the opportunities and the dangers, and at least try to avoid repeating past errors. In this important new book, Zygmunt Bauman takes stock of these opportunities and dangers and, in his distinctive and brilliant fashion, offers a much-needed reappraisal of a concept that has become central to current debates about the nature and future of our societies. (shrink)

Purpose. The knowledge influence analysis on the formation process of new anthropological images of man in the contexts of scientific achievements and innovative technologies is the basis of this study. It involves the solution of the following tasks: 1) explication of the ontological content of knowledge in the anthropo-cultural senses of the epoch; 2) analysis of the knowledge influence on the process of forming a new type of man; 3) characteristics of the modern anthropological situation in the context of digital (...) culture; 4) substantiation of interrelation of phatic communication with post-truth society in the dimensions of anthropo-social transformations of the present. Theoretical basis. Ontological content of knowledge determines the anthropo-cultural context of the epoch by forming a system of intellectual, value, social meanings of human life. The assertion of new anthropological types of man is caused by the changes in social and cultural space in the context of the growing influence of achievements in scientific knowledge and technology. Digital revolution as the process of expanding the possibilities of informational-digital reality, the substitution of knowledge for information gives rise to Homo digitalis – the digital man. He focuses on phatic communication, which in its intellectual meaninglessness is commensurate with the anthropological dimensions of post-truth society. Originality. It is substantiated that Homo digitalis is the result of a complex set of heterogeneous effects of scientific knowledge, which in modern post-truth conditions appears as different communicative practices. A condition for the formation of a new anthropological type of man in the perspective of scientific and technological progress is the affirmation of ethical wisdom. Conclusions. Knowledge in the process of evolution of socio-cultural life acquires constitutive significance for the process of formation of anthropological situations that manifest themselves in new images of man. Today, he is commensurate with the demands of digital culture, in which human life practices are increasingly becoming information and digital clusters embedded in the reality of a post-truth society. The means of overcoming the passivity of digital man is the formation of a new anthropological type based on a rethinking of the value system. (shrink)

This thesis aims to clarify the intrinsic characteristics of ‘image’ of everything for the image in the society of the fourth industrial revolution by the phenomenological dimention based on Merleau-Ponty’s phenomenology, and to clarify the value of image, the intrinsic characteristics of ‘painting-image’, ‘photo-image’ and ‘film-image’. It will reveal that ‘thing-image’, ‘artifact-image’, ‘digital image’, ‘robot-image’ become the images for society of humanities by these clarifications. The image of everything is ‘appearance-image’ to reveal itself, ‘expression-image’ from the phenomenological, ontic point of (...) view, and ‘image-being’ as ‘being as image and being image’ from the phenomenological, ontological point of view. The augmented reality-image is the image of fusion of virtual image+real image+body-subject image. Things-images in the world of Internet of Things(IoT) become things-images of digital communication. Painting-image, photo-image, film-image are text-images. The painting to paint a correspondence of perceptive phenomena and natural affairs themselves means the painting of the image to fuse the diverse images on horizon-image of natural affairs themselves by the multilateral, intentional vision. The sense of the intentional photo-image, the meaning of being of body-subject, and the facticity and singularity of object itself of photo shoot reveal the intrinsic characteristics of photo-image. The film-images in film manifest the intrinsic characteristics of the connective flesh between them mutually. Finally, it is necessary that the value of the intrinsic characteristics of image in the society of the fourth industrial revolution becomes the value for the righteous personality. (shrink)

L'omniprésence de l'image dans nos sociétés contemporaines, massivement régies par les médias visuels, - photographie, cinéma, télévision, internet - a bouleversé notre culture, longtemps fondée sur le primat de l'écrit. Cette révolution renoue cependant avec les assises les plus anciennes de notre culture où l'image, prise en charge par la peinture, le théâtre et les arts oratoires, était porteuse de savoir et d'émotion esthétique. Ce pouvoir de création et de communication de l'image a fait très tôt l'objet d'un examen critique (...) soucieux d'en dénoncer les dangers : force et forme d'attraction paroxystique, la fascination désigne assez bien ce péril et ces pièges. Platon, le premier, en instruit le procès tandis qu'Aristote s'efforce d'arrimer au logos la puissance imageante du théâtre. A l'âge classique, les Etats modernes établissent leur pouvoir par un contrôle croissant de l'image : J-M Apostolidès et L Marin ont rendu compte, pour la France, de la machinerie fascinatrice du "grand Roi", qui traverse les arts et l'imaginaire classiques. La littérature contemporaine inclut dans sa démarche réflexive cette méditation sur le pouvoir fascinant de l'image : l'oeuvre de Pascal Quignard en reprend et repense ainsi les figures paradigmatiques - Narcisse, Méduse, Médée. Examinant ce phénomène dans la peinture, la littérature et les arts du spectacle, cet ouvrage, transhistorique et pluridisciplinaire, est l'occasion d'un dialogue entre philosophes, littéraires, esthéticiens et historiens qui interrogent ici collectivement, en toute liberté critique, la fascination des images dans son ambivalence, rayonnante et aliénante. (shrink)

This paper shows how solidarity is one of the founding principles in Thomas More's Utopia. In the fictional republic of Utopia described in Book II, solidarity has a political and a moral function. The principle is at the center of the communal organization of Utopian society, exemplified in a number of practices such as the sharing of farm work, the management of surplus crops, or the democratic elections of the governor and the priests. Not only does solidarity benefit the individual (...) Utopian, but it is a prerequisite to ensure the prosperity of the island of Utopia and its moral preeminence over its neighboring countries. However, a limit to this principle is drawn when the republic of Utopia faces specific social difficulties, and also deals with the rest of the world. In order for the principle of solidarity to function perfectly, it is necessary to apply it exclusively within the island or the republic would be at risk. War is not out of the question then, and compassion does not apply to all human beings. This conception of solidarity, summed up as “Utopia first!,” could be dubbed a Machiavellian strategy, devised to ensure the durability of the republic. We will show how some of the recommendations of Realpolitik made by Machiavelli in The Prince correspond to the Utopian policy enforced to protect their commonwealth. (shrink)

A new biography of one of the founding fathers of the Scientific Revolution, Robert Boyle, is no easy undertaking, but no scholar is better poised to give us a revisionist view of this iconic figure than Michael Hunter. For fourteen years Hunter, together with Edward Davis, supervised the definitive fourteen‐volume edition of Boyle's complete works, published and unpublished. This was the first such undertaking since the 1744 edition compiled by the cleric and antiquary Thomas Birch. Almost no Boyle scholar has (...) been as privileged—or as dogged—in probing every bit of Boyle's legendary scribblings as Hunter. With his new biography, which gestated for decades and reflects the accumulating wisdom gained only with disciplined, persistent, and wide‐ranging reading, Hunter has shed new light on Boyle's life and character. Specialists will delight in having Hunter's path‐breaking articles gathered together in one volume from journals as far ranging as the Journal of Ecclesiastical History and Medical History to the more standard venues of the profession.Which Boyle have historians of early modern science more recently encountered, and how does Hunter's book enhance or change our understanding? Richard S. Westfall and Marie Boas Hall produced portraits of Boyle as a bona fide, uncomplicated mechanist devoted to testing his view of the universe by frequent experimentation. Steven Shapin and Simon Schaffer in their Leviathan and the Air‐Pump set the stage for a more complex version of Boyle. They portrayed him as a consummate strategist who craftily used his experimental philosophy to serve his own conservative political and social agendas. Shapin's more recent A Social History of Truth claimed that Boyle relied heavily on his social status to carefully craft his public image as a gentleman in order to gain credibility and trust from his audiences. Lawrence Principe in his Aspiring Adept: Robert Boyle and His Alchemical Quest has shown us a Boyle who was passionately committed to alchemy and fascinated by, if fearful of, magic. Barbara Kaplan in her Divulging of Useful Truths in Physick emphasized Boyle's long‐standing interests in medical issues and medical practices.What sort of Boyle does Hunter offer his audience, and how has his high place in Boyle scholarship enabled him to present such a novel interpretation? Hunter shows us a Boyle whose fully complex personality directly contributed to, and thwarted, his scientific production as an experimenter. Hunter's analysis is not deeply seated in psychoanalytical theory but, rather, emerges from a fine‐grained analysis of Boyle's intense religious preoccupations. In the case of Boyle, Hunter argues, earlier eighteenth‐century biographers—including Gilbert Burnet, Roger North, Henry Miles, and William Wooton—produced adulation for a figure whose deep religiosity enhanced his scientific endeavors. Rather than casting his lot with contemporaries who sought a conservative solution to church and state relations after 1660, Boyle had troubling religious preoccupations so that things for him were not so simple, as Hunter shows. Indeed, Boyle befriended and associated with men who were openly acknowledged as mystics and enthusiasts and never allied himself exclusively—or even primarily—with Church of England spokesmen or ecclesiastics. Moreover, Hunter argues, Boyle felt more acutely aware of the dangers of excessive rationalism than he did of the claims of direct divine inspiration. Boyle's religious anxieties, far from mere youthful preoccupations, plagued him throughout his lifetime. Hunter reproduces Boyle's notes on two full confessional interviews he had with two prominent churchmen toward the end of his life. The two churchmen, Gilbert Burnet and Edward Stillingfleet, appeared unsympathetic with the great man's scruples over the legitimacy of his ownership of considerable lands once belonging to the Church. But for Boyle this was no trivial matter; throughout his life he was similarly plagued about the moral rectitude of inheritances from his wealthy father, about constant incursions of blasphemous thoughts, and about the moral propriety of taking oaths. Indeed, for Hunter Boyle's obsessive concern in salving his conscience induced his refusal to accept the presidency of the Royal Society in 1680 because of the oath‐taking necessitated by the position. His tortuous, obsessive religious preoccupations, Hunter argues, find their parallels in Boyle's equally exacting procedures related to his punctilious scientific experiments. Thus, while some historians might see the scrupulous religiosity of Boyle as “dysfunctional,” the same instincts and personality features made him a highly “functional” scientist.Hunter's careful probing of Boyle's defensive apologies, frequently found as prefatory material in his published treatises, reveals another side of Boyle, hitherto largely ignored by his biographers. Excessively concerned about his reputation for establishing new empirical findings, Boyle reveals himself to Hunter in several instances as a masterful dissembler or plagiarist, careful in the extreme to conceal his debts to empirics, compilers, and less learned or less socially prominent men, including George Starkey, William Salmon, Johann Glauber, J. J. Becher, and Jean‐Baptiste DuHamel. What emerges from Hunter's depiction is the antithesis of the decisive, manipulative, socially prepossessing Boyle that Shapin has depicted. What Hunter furnishes is a Boyle who is perhaps far more insecure than the one historians have allowed themselves to envision and who struggled to hide his own vulnerability and inadequacy.In a satisfying exploration of Boyle's connections with medical circles, Hunter searches to explain why Boyle, well known among his contemporaries for enjoying a constant state of ill health and for his dissatisfaction with learned Galenic medicine passed down by the esteemed physicians of his day, was, nevertheless, so loath to publish his stinging criticisms of the medical profession. Historians have long recognized that Boyle evinced strong interest in medical matters from the time of his early researches with physicians in the 1650s in Oxford and that he continued to write about medical issues for the next several decades of his life. But Boyle was acutely aware—as his prefaces attest—that he was not a member of the profession and that his access to sick bodies was severely constricted by his status as a gentleman. Hunter suggests that Boyle's reticence in publishing his attacks on the Galenists owed something to his social position—he was, after all, on good social terms with many eminent physicians. His deference, Hunter argues, owed not just to his hesitation to attack a well‐respected profession, but also to his diffidence about proclaiming universal truths on matters as changeable—and ultimately untestable—as sick human bodies. Hunter further probes another paradox of Boyle's life. We know that Boyle freely gave out his medical advice and medicines that were produced in his private laboratory to friends and acquaintances and that, furthermore, he saw this as a moral duty and Christian charity. Yet Boyle, the champion of open communication in matters of natural philosophy, steadfastly refused to publish his medicine recipes . His unpublished drafts reveal a Boyle who was sharply committed to widening the access of his poor countrymen to chemically prepared and effective medicines. But Boyle stopped well short of making these recipes available for wider dissemination through the medium of print. Why? Again Hunter presents no simple answers but suggests a medley of motives. Exquisitely sensitive to his own reputation, Boyle, in part, may have censored himself lest he be seen as the equal of empirics, apothecaries, and quacksalvers, all abundant and thriving in London in the 1670s. Despite his high‐minded sense of philanthropy, Boyle was particularly concerned about his public persona, so much so that his private passions at times took second seat. Hunter suggests a similar explanation for Boyle's refusal to forthrightly publish his investigations of supernatural phenomena, including witchcraft, visions, angelic apparitions, and second sight. In addition to his strong religious scruples that such investigations might be tainted by demonic participation, Boyle censored himself out of his fear of the charge of easy credulity. As popular satires of experimenters were beginning to pour forth from the pens of Thomas Shadwell and Samuel Butler, Boyle must have smarted at the thought of being classified among those indulging in magical pursuits unbecoming to a genteel experimenter. Hunter concludes by revealing a Boyle far from being a confident showman and expositor of the new science. Instead he shows us a conflicted, ambivalent man who suffered from his high social status, even as he manipulated it for his own aggrandizement or for that of the Royal Society and its experimental program.Hunter's depiction of a tortured man—hitherto most often conceived as an iconic devotee of experimental science or as a consummate, self‐fashioning, smooth‐talking gentleman—will not sit well with some historians. Nor will his characterization of Boyle's lifelong religious scruples sit well. Just as Lawrence Principe presented readers with a disturbing vision of a Boyle duped by alchemical operators or conversing with angelic voices, Hunter offers up a tentative, hesitant, and uncertain man who does not seem to fit with earlier portraits. With extremely convincing and documented evidence, Hunter draws a complex, strong personality that left its stamp on his scientific agenda. Hunter's most piercing insight is to see Boyle's deep‐seated diffidence not as an obstacle to his science but as a driving force behind his commitment to experimentalism. In the end Hunter's view will outlast earlier, less complex versions. (shrink)

Considering a number of recent works on the ideology and culture of Fascism, the article explores how the concept of utopia, as formulated by different thinkers, can prove useful in attempting to unlock some of the mechanisms through which Fascism sought to manipulate the imagination and the aspirations of Italians. It focuses on the written accounts of writers and journalists who reported on the supposed achievements of the regime both in Italy and in the newly established colonies. It examines the (...) cult of Rome, which was increasingly to become the symbolic language of Fascism, and explores how, in the writings of one journalist after another, the regime was represented as having recovered the powerful utopia of the ancient past. The article then looks at the kind of rhetoric that surrounded some of the most important building projects that took place in Italy in the 1930s. It suggests that the creation of a blueprint for an ideal society was central to this rhetoric and that the notion of the arrival in an earthly paradise was to form the master narrative for most representations of Mussolini's newly acquired African territories. The article then looks at some of the competing versions of utopia that were presented, albeit subliminally, in the official media of the time. It examines some of the dystopian images of the United States that were manufactured on the eve of the Second World War. It concludes by pointing to the violence and intolerance imbedded within the utopian project of Italian Fascism. (shrink)

Avec l’essor et le succès croissant de la littérature de voyages, nourrie par les grandes explorations et découvertes, les utopistes de l’Âge classique ont commencé à s’intéresser plus au sujet épique qu’à l’encadrement rhétorique de la relation utopique. Avec comme résultat des utopies réalistes dans lesquelles les narrateurs, en imitant le schéma de la littérature de voyages et d’exploration, prétendent avoir découvert des civilisations exotiques idéales, crédibles et applicables, qu’ils offrent en modèle à leurs contemporains. Les principaux procédés de construction (...) des « utopies réalistes » sont la sélection et l’extrapolation utopique. Travaillant sur l’image de son monde historique, l’utopiste fait un choix des traits négatifs et positifs et les regroupe dans deux espaces complémentaires. Les caractéristiques jugées mauvaises sont rassemblées et isolées dans la description de « notre » civilisation, celles bénéfiques sont regroupées et extrapolées dans la configuration de la civilisation exotique. L’exclusion des éléments désagréables, nuisibles et funestes soumet la fiction utopique à une « réduction au positif », ce qui fait d’elle un univers fictionnel eudémonique, capable de susciter l’adhésion rationnelle, morale et affective des personnages, ainsi que des lecteurs. Nurtured by the great explorations of the period, the emergence of voyage literature in early modern Europe led classical utopian writers to shift from the dialogical form of Renaissance utopias to voyage narratives. A great many of the classical utopias worked in a realistic code, mimicking the voyage epic, in which fictional voyagers discovered exotic ideal civilizations that were offered as a contrastive example to the European countries. The main construction procedures of these “realistic utopias” were utopian selection and extrapolation. The utopian writer started from the “neutral” image of his contemporary world and operated a separation between its positive and negative features. He regrouped the negative features into the image of “our” civilization and the positive features into the image of the antipodal civilization. By excluding the bad and harmful elements, the utopian writer submitted his ideal society to a “reduction to the positive” and transformed it into a eudemonic fictional world, meant to prompt a rational, moral and emotional adhesion response in the characters, as well as in the readers. (shrink)

Following the socialist revolution, a colossal shift in everyday realities began in the 1920s and '30s in the former Russian empire. Faced with the Siberian North, a vast territory considered culturally and technologically backward by the revolutionary government, the Soviets confidently undertook the project of reshaping the ordinary lives of the indigenous peoples in order to fold them into the Soviet state. In Agitating Images, Craig Campbell draws a rich and unsettling cultural portrait of the encounter between indigenous Siberians and (...) Russian communists and reveals how photographs from this period complicate our understanding of this history. Agitating Images provides a glimpse into the first moments of cultural engineering in remote areas of Soviet Siberia. The territories were perceived by outsiders to be on the margins of civilization, replete with shamanic rituals and inhabited by exiles, criminals, and "primitive" indigenous peoples. The Soviets hoped to permanently transform the mythologized landscape by establishing socialist utopian developments designed to incorporate minority cultures into the communist state. This book delves deep into photographic archives from these Soviet programs, but rather than using the photographs to complement an official history, Campbell presents them as anti-illustrations, or intrusions, that confound simple narratives of Soviet bureaucracy and power. Meant to agitate, these images offer critiques that cannot be explained in text alone and, in turn, put into question the nature of photographs as historical artifacts. An innovative approach to challenging historical interpretation, Agitating Images demonstrates how photographs go against accepted premises of Soviet Siberia. All photographs, Campbell argues, communicate in unique ways that present new and even contrary possibilities to the text they illustrate. Ultimately, Agitating Images dissects our very understanding of the production of historical knowledge. (shrink)

Did you know that More’s Utopia was first translated into French in 1550, into Hungarian in 1910, into Mandarin in 1935, into Brazilian Portuguese in 1937, into Polish in 1947, and into Greek as late as 1970? Did you know that there were more translations of Utopia into French at the time of the Enlightenment and the French Revolution than at any other point in French history? That the readers of the second translation into Hungarian never got to know that (...) there was no private property on the island of Utopia? That there is a translation into Mandarin that, although it excludes most of the original paratexts, offers 191 individual illustrations and images? That the first direct translation into... (shrink)

Abstractabstract:The aim of this article is to analyze the close relation between social theory (“sociological phenomenalism”) and the political ideology of the Polish thinker Edward Abramowski. Abramowski’s “applied sociology” involved: (1) the sociology of “fraternity,” examining basic forms of socialization; (2) combining social revolution with ethical self-improvement; and (3) the dissemination of “social laboratories” through the development of a network of cooperatives. As “experiments of the will,” the cooperatives allowed Abramowski to combine science, imagination, and ethics in a coherent project (...) of political utopia-building, extending the possible forms of community. Finally, the article shows that in Abramowski’s case, the meaning of utopia as an element embedded in a wide range of political practices derives from his vision of social science. Due to the influence that Abramowski’s thought had on political reality in Poland, the concept of “experimental” utopia entered the vocabulary of modern social sciences in Poland for good. (shrink)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)

Russia did not participate in the bourgeois revolution, the revolution occurred in Russia after the Tsar absolute doctrine, dictatorship, terrorism, superstition and personal police state. Stalinist Marxism beyond recognition, damaged Marx's own image. Impoverishment of the proletariat of Marx and Engels theory, crisis theory has been declared invalid, the Marxist dialectics is still valid is that the theory of contradiction. Contradictions of capitalism can be accurately understood as the general alienation, self-alienation. Inherited estate will determine the natural rights of free (...) face of communism. Straight orthopedic surgery is the most urgent task of socialism, and humane socialism contains the highest human rights as straight. Marxism is not is not a utopia, but a concrete utopia. Russia did not join in the bourgeois revolution, and there appeared absolutely Tsarism, autarchy, terror, individual superstition and police country after its revolution. Stalinism made the Marxism distorted beyond recognition and destroyed the figures of Marx himself. The theory of Proletarian poverty and the theory of crisis of Marx and Engles' were declared invalid, while its dialectic, that is Contradiction, is still valid. The contradiction of Capital can be understood precisely as Total-alienation and Self-alienation. Inheriting natural rights will decide the freedom face of Communism. Orthopaedic surgery of upright way is the most urgent mission of Socialism, and human Socialism contains the upright way as the highest human rights. Marxism is not non-Utopia, but concrete Utopia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.1 (2006) 104-110 [Access article in PDF] Film Studies, the Moving Image, and Noël Carroll Edward Sankowski Department of Philosophy University of Oklahoma Engaging the Moving Image, by Noël Carroll. New Haven, CT: Yale University Press, 2003, 420 pp., $45.00 hardcover. Noël Carroll is the leading writer today about philosophy and film studies among those with an Anglo-American analytic philosophy emphasis. He needs to (...) be read in a larger intellectual context also, as a leading interdisciplinary writer about film. On the positive side, he has expanded the resources of Anglo-American analytic philosophy (and has at the same time contributed work of distinction to scholarship in related areas). He profits from the virtues of analytic philosophy as well as putting to good use his broad acquaintance with other scholarship. He is refreshingly innovative, sometimes operating with valuable results beyond the current conventional borders of the discipline of philosophy in his choice of topics about film (or better, in his view, about the moving image). A collection of his essays written in the second half of the 1990s, Engaging the Moving Image, is thus very welcome. It is fascinating and often persuasive reading.The essays take up a wide range of topics, including (but not limited to) critiques of, and constructive proposals about, film studies. Carroll especially criticizes film studies writing that focuses on "the film medium." "Forget the Medium!" he urges, in the first essay. This is associated for him with attacks on "mediumistic essentialism" (xiii). Indeed, for him the criticism of essentialism is a favorite theme. Many other overlapping topics of great interest are also explored in Carroll's approach. These include the "naturalistic" study of film communication, horror films, film evaluation, the criticism of (Continental) "Big Theory" in film studies, the nature of documentaries, "moving-picture dance," the relationship between TV and film, Siegfried Kracauer on film, Eisenstein on nation building, the political subtext of American Westerns with plots involving Mexican revolutions, and "prospects for film theory," which are discussed in a lengthy concluding piece.While Carroll is characteristically often on the attack, and seems to relish polemics, he is far from predominantly a negative, critical critic. He often formulates fruitful questions for constructive inquiry in a characteristically [End Page 104] clear and reasonable way. He is, however, perhaps not at his strongest in these essays in furthering discussions of what is arguably most moving about "moving images." By this is meant the aesthetic and emotional heights and depths of what films can offer, as art or in other ways. But what he says about movies is sensible, carefully done, and repays repeated study. (One example is Carroll's instructive "cognitively oriented" discussion of emotions in "Film, Emotion, and Genre.")Greatness in film, as in other arts, sometimes makes it more difficult to be reasonable. Carroll's account of evaluation, "Introducing Film Evaluation," notably has a self-avowedly limited scope. That account, as Carroll says, focuses on "evaluating films in terms of whether they are good, bad, better or worse specimens of a kind or category." He writes that "We may also wish to evaluate genres" (162). But beyond genres, the greatness of some films seems well beyond the comparative evaluation of genres. While Carroll writes that his account of evaluation is only introductory and abbreviated, it nonetheless also seems too driven by the desire to emphasize the possibility of agreement about evaluation and to counter radical skeptical worries rather than to understand why evaluation of the very good or great film might matter to us beyond fixing the captured butterfly in its place by assigning a film to a genre.Carroll has seen a lot of movies and read a lot of film theory and other writing about film or the moving image. Some of the theory is awful, in his view, but some of it he considers valuable, and what he claims is plausible on both scores. Carroll thinks and writes incisively about many topics. He is eclectic on principle, but eschews obscurity and pretension. What emerges... (shrink)

: ‘Ecological civilization’ has been put forward as a utopia, as this notion has been defended by Ernst Bloch and Paul Ricoeur. It is a vision of the future that puts into question that which presently exists, revealing its contingency while offering an inspiring image of the future that can mobilize people to create this future. Ecological civilization is a vision based on ecological thinking, seeing all life as interdependent communities of communities. Humanity’s place in nature is redefined as participating (...) in communities, both human and non-human, including the global ecosystem. From this perspective, the end of life in both ethics and politics should be to augment life through augmenting the conditions for life, that is, through ‘ecopoiesis’ or ‘home-making’. What is involved in this has been clarified by work in biosemiotics and biohermeneutics where life is identified with semiosis, the production and interpretation of signs. Advancing biosemiotics and biohermeneutics, I will argue that living processes can be understood as proto-narratives organizing living processes to advance the conditions for life. They are inchoate in Ricoeur’s sense because they are not reflectively formulated as such but are being lived out. Developing our understanding of the world involves understanding these inter-related proto-narratives, including the proto-narrative that has operated in the creation of the biosphere and semiosphere, and recognizing the potential of human culture as part of this semiosphere to make explicit and re-emplot these proto-narratives. Most importantly, it is to make explicit and further develop the proto-narrative of the global ecosystem to augment the conditions for life. This will involve articulating a new grand narrative of not only humanity but of terrestrial life, orienting human communities at all levels to create and sustain a global ecological civilization. (shrink)

South Korean educators and curriculum scholars have attempted to challenge Eurocentric points of view in history education. Despite these efforts, the dominant textbooks and teaching practices in South Korea continue to project colonial epistemologies. This article argues that postcolonial inquiry into knowledge production can help expand the debate. Grounded in a framework of postcolonial theories, we examine three Korean high school world history textbooks for the ways in which they reproduce Eurocentric colonial hegemony. To conduct our study, we developed four (...) analytical criteria: (a) constructions of Subject/Other, (b) discourses of inclusion/exclusion, (c) silencing of voices, and (d) narratives of re/colonization. Focusing on two major historical themes in the textbooks?the Discovery of New Trade Routes and the Industrial Revolution?we postulate the need to pluralize historical consciousness, reflect the contributions of the East to world history, and rethink curriculum and teaching practices. (shrink)

A caring approach to knowledge production has been portrayed as epistemologically radical, ethically vital and as fostering continuous responsibility between researchers and research-subjects. This article examines these arguments through focusing on the ambivalent role of care within the first large-scale experimental beagle colony, a self-professed ‘beagle utopia’ at the University of California, Davis (1951–86). We argue that care was at the core of the beagle colony; the lived environment was re-shaped in response to animals ‘speaking back’ to researchers, and ‘love’ (...) and ‘kindness’ were important considerations during staff recruitment. Ultimately, however, we show that care relations were used to manufacture compliancy, preventing the predetermined ends of the experiment from being troubled. Rather than suggesting Davis would have been less ethically troubling, or more epistemologically radical, with ‘better’ care, however, we suggest the case troubles existing care theory and argue that greater attention needs to be paid to histories, contexts, and exclusions. (shrink)

I explore virtue and love in Maximus the Confessor’s theology with an aim to drawing an ethics from it relevant to the present day. I use a meta-ethical framework derived from contemporary virtue ethics and look at virtue as an instance of love within the context of Maximus’ cosmic theology. Virtue becomes a path that leads us towards love – who is God Himself. Virtue is thus about movement towards theosis. I describe virtue as a relationship between humans and God, (...) brought about through the mutual practice of a life of ascesis from humans and grace from God. I look at the mediatoral role of humans as microcosms gathering up the universe in an image of Christ’s activity. In particular I analyse the way that human activity is simultaneously cosmic and ascetic; personal and communal. The ethic of virtue that we pursue is always caught up in a conversation about what creation gathered in love looks like. Using a number of tools derived from Maximus’ thought, I suggest that this ethics will necessarily transform our current communities and personal practices. Recognising the cosmic dimension of personal behaviour means that our communities must be scrutinised as extensions of our actions. As an example, I critique the state as an inadequate form of loving relationship, illustrating its systemic reliance on violence and ideologies of alienation and hatred. I give examples of alternative ways of human organising drawn from anarchist thought that might better enable us to love and, more importantly, enable us to call to account failures to love. I conclude that to seek theosis after the manner Maximus describes involves recognising our personal and communal failures to love. His holistic understanding of human purpose can help us see the cosmic dimension to personal ascetic practice and consequently set our sights on a more cosmic vision of love here in the present world. (shrink)

Signs and States, programme financé par l'ERG (European Research Council), a pour but d'explorer la sémiologie de l'Etat du XIIIe siècle au milieu du XVIIe siècle. Textes, performances, images, liturgies, sons et musiques, architectures, structures spatiales, tout ce qui contribue à la communication des sociétés politiques, tout ce qu'exprime l'idéel des individus et leur imaginaire, est ici passé au crible dans trois séries de rencontres dont les actes ont été rassemblés dans une collection, Le pouvoir symbolique en Occident (1300-1640). Ces (...) volumes, adoptant une perspective pluridisciplinaire et comparative dans une visée de long terme, combinent études de cas, analyses conceptuelles et réflexions plus théoriques. Et les réponses à ce questionnaire, issu d'une réflexion sur une histoire culturelle poursuivie sur plus de cinq siècles, remettent en cause une histoire de l'Occident latin où l'on opposerait Eglise et Etat : la mutation culturelle engendrée par la réforme grégorienne qui, tout en assurant d'abord le triomphe de la papauté, a donné à l'Etat moderne les moyens d'assurer sa propre légitimité en créant les conditions d'une révolution du système de communication. Elle engendre un partage du pouvoir symbolique et des processus de légitimation avec l'Etat : la capacité de ce dernier à se légitimer par le consentement de la société politique en dehors de la contingence religieuse est une spécificité de l'Occident latin, clé de l'essor des Etats modernes européens. (shrink)

From the start of the Arab revolutions in late 2010, a connection between the law, state, political economy, gender norms and orientalist ideology has formed the foundation of women's systematic exclusion from politics. By unmasking processes in Egypt that have created the ideological and material conditions of externalising women's revolutionary acts, estranging their political involvement, and exposing them to various forms of violence, this article offers a gendered political reading of the concept of alienation. The article suggests that gender-normative (...) ideology's characterisation of women's images, roles and acts during and after revolutions, corresponds to the most profound form of alienation. The article identifies the externalisation and subjugation of women, and objectification of their revolutionary acts as modes of alienation. Moreover, it proposes that the implementing of these modes of alienation are necessary for creating conditions that allow for the reconfiguration of power dynamics that restore the authoritarian power of the state. This discussion suggests that the sphere of politics not only relates to political activism and conflict between revolutions and counterrevolutions, but that it is also a battlefield for the (re)production of gender-normative knowledge. (shrink)

In this paper, I analyse Alison Landsberg’s concept of prosthetic memories from a phenomenological perspective. Prosthetic memory, while sharing similarities with both personal and collective memory, is neither exclusively personal nor strictly collective, emerging as a product of new media in mass communication. According to Landsberg, prosthetic memories have four main characteristics: the recaller experiences them as firsthand accounts despite not personally living through the events, these memories often revolve around traumatic events, have a commodified form, and are ethically useful. (...) Using Husserl’s theories on memory consciousness and image consciousness, and contemporary phenomenological research on violence, I provide a phenomenological account for the first three characteristics of prosthetic memory. The key factors contributing to their quasi-personal and quasi-collective nature lie, on the one hand, in the presence of imagistic violence and, on the other hand, in their mass-mediated image character. (shrink)

How is music implicated in the politics of belonging? Provocatively fusing recent European philosophy with music theory, Music and Belonging explores the instrumental music of Haydn, Mozart, and Beethoven, reveals connections between listening and constructions of community, and testifies to Classical music's enduring political significance in an age of neoliberal exclusion.

From Herder to Benedict Anderson, language and nation have been at the centre of ideas about community. This hypothesis, however, poses a problem for analysing ideas about Europe. How can we understand “Europe” as a concept or form of identity when language and nationality are considered the foundation of imagined communities and loyalties? This article addresses this difficulty. It uses J. G. A. Pocock’s definition of “sub-languages” to suggest that one can investigate the rhetorical strategies, images and vocabularies with which (...) texts articulate ideas about Europe. These sub-languages evoke imagined communities, most obviously when texts name and identify particular groups of people as “Europeans.” But by using images and rhetorics about Europe, these texts also appeal to a readership that comprehends—even if it does not fully accept—certain assumptions about the continent. In this way, texts evoke an imagined community of readers who purportedly share a similar way of understanding Europe, or who can perhaps be persuaded to think about it in similar terms. These processes are historically particular, and so the article concludes with concrete examples. It focuses on how early-nineteenth-century philhellenes evoked a European imagined community to solicit support for the Greek Revolution. (shrink)

ITC technologies have come to comprehensively represent images and expectations of the future. Hopes of ongoing progress, economic growth, skill upgrading and possibly also democratisation are attached to new ICTs as well as fears of totalitarian control, alienation, job loss and insecurity. Currently, with the terms "Industry 4.0." and ‘Fourth Industrial Revolution”, public institutions, private institutions, and literature refer to the inchoate transformation of production of goods and services resulting from the application of a new wave of technological innovations: interconnected (...) collaborative robots; machine learning; Artificial Intelligence; 3D printers connected to digital development software; simulation of interconnected machines; integration of the information flow along the value chain; multidirectional communication between manufacturing processes and products. According to the main representations of Industry 4.0. by private and public institutions, its effects are expected to be mainly positive, for what regards productivity, economic opportunities and the future of work. The positive potentials now attributed to the new cycle of innovation evoke and expand those attributed to the previous waves of innovation linked to ITC technologies, and, even before, to the transition from Fordism to Post-Fordism. However, these transformations have so far not achieved any of the promises they raised. Improvements for workers in terms of work conditions, work performance and work relationships cannot be determined by any technical innovation in itself, being technological innovation always socially shaped. (shrink)

The article analyzes the ethical and political stakes in Giorgio Agamben's The Coming Community. The book was first published in Italian in 1990 and was translated into English in 1993. It was then republished in Italian in 2001, with a short new apostil by the author that reaffirms its persistent and actual “inactuality.” In this text Agamben establishes the philosophical foundations of the long-lasting project started with the publication of Homo sacer. Its republication in 2001 seems thus to reaffirm the (...) politics of his analysis of the past fifteen years. The argument revolves around the analysis of the “whatever singularity” as the subject of the “coming community,” a singularity that presents an “inessential commonality, a solidarity that in no way concerns an essence.” Whatever must not be understood as “indifference” but, rather, as “being such that it always matters.” The ethical and political proposal consists in the call to adhere to this singularity without identity and representation in order to construe a community without postulates and thus also without “subjects.” The paradigm of this politics is identified in Nancy's term inoperativeness, a messianic “de-creation.” The inoperative whatever is directed toward a politics che viene, à-venir as distinct from futura, future: It implies in fact the renunciation of construing images of the future—“utopia is the very topicality of things.”. (shrink)

The article discusses the forms and ways of the impact of modern digital media on people, groups, and society as a whole. The unilateral communication effect on a person is emphasized. The accent is made on the transmission model of information dissemination, taking into account the formation of its ritualized form. The author pays his particular attention to the status and role of an individual in interaction with mass media; provides arguments about the exclusion of a person from the (...) communication dimension. The activity of modern digital media structures is substantiated as social constructors of reality. The researcher shows the technological and visual possibilities of mass media in the creation of artificial, illusory simulated models of the world perceived by a person as objective, authentic, and real. Mass media are presented as an integral social institution of modern society, operating autonomously, based on its own rules and norms, technological and content principles, conditions of network communication, digitalization, and mediatization of society. The article presents the concepts of theoretical comprehension of mass media as a self-sufficient autopoietic system of N. Luhmann, and consideration of media communication implementation as a non-communication of J. Baudrillard. The author stresses the role of spectacle and visuality in the process of TV influence on the subjects, in the construction of images and models of the world, comparable with the already available information consumers pictures of the world. The contradictory and ambiguous conceptual assessments of the activity and influence of mass media on the modern man are emphasized. (shrink)

The iconic revolution changing the routine of everyday communication is gradually leading to the creation of a linguistic structure that combines visual and verbal tools in both formal and semantic aspects. Computer and mobile applications today enable high-tech imaging that ensures the spread of iconic communication in mundane interactions and the possibility of a creative combination of verbal and iconic codes for language users who navigate in a world of images in an increasingly confident manner. The iconic revolution that accompanies (...) this expansion of new communication technologies thus leads to serious changes in language use, thereby enhancing the transmission of verbal and iconic language to become a key element of mundane communication. This article argues that this turn in communication technology guided the attention of Kristóf Nyíri, an eminent figure in contemporary Hungarian philosophy, to the problem of the relationship between icon, language, and tradition. The aim of the present essay is twofold: to shed light on the relevance of Nyíri’s analysis and thoughts on the relationship between tradition and language in the history of communication, and to identify, using Nyíri’s model of pictorial meaning as a starting point, the relevant aspects of the conception of technological determinism in answering questions from the philosophy of language and mind. (shrink)

Thirty Israeli disabled people were asked to describe their most memorable interactions with mass mediated images of disability as part of a tentative endeavor to delve into their reception patterns. Two stereotypes are discussed in this paper, namely the supercrip and the pitiful disabled. The interviewees seek examples to corroborate their belief that physical, social, and cultural obstacles can be overcome. Highly regarded supercrips embody one example as ‘regular’ people are especially coveted. Well-known, successful disabled people are put on a (...) pedestal for their demonstrated ability to triumph. This triumph is used to validate the disabled individual and to alter societal perceptions. Consequently, the wish to see disabled who ‘have done it’ is particularly intense while the pitiful disabled trigger antipathy because they reproduce and reinforce disabled people's inferior positionality and exclusion. (shrink)

abstract Many reasons have been given as to why humanitarian intervention might not be justified even where rebellion with similar aims would be a morally legitimate option. One of them is that intervention involves the imposition of alien values on the target society. Michael Walzer formulates this objection in terms of a people's right to a state that ‘expresses their inherited culture’ and that they can truly ‘call their own’. I argue that this right can plausibly be said to extend (...) sovereignty to at least some illiberal governments, and therefore to impose at least some moral constraints on humanitarian intervention. The problem for Walzer is that this right cannot form the basis of a constraint that applies to foreign intervention exclusively. Once the details of Walzer's argument are teased out, it becomes apparent that civil war and revolution must be equally restricted by this right. Hence a people's prerogative to be governed in accordance with familiar traditions cannot coherently be invoked to show that intervention is impermissible in cases where insurrection is taken to be justified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 65.2 (2004) 251-276 [Access article in PDF] British Geography's Republic of Letters: Mapping an Imagined Community, 1600-1800 Robert Mayhew University of Bristol Introduction: Geographies of the Republic of Letters One of the main ways in which scholars molded their self image in early modern Europe was as citizens of the "republic of letters." At the level of professed ideals the concept of the (...) republic of letters was simple: scholars would create an egalitarian world amongst themselves, where views could be expressed without the rancor of national, religious, historical, or other barriers to their exchanges. Recent studies have highlighted the impressive degree to which eighteenth-century scientists ignored war and xenophobia to exchange ideas, thereby enacting the cosmopolitan ideal of a republic of letters.1 Yet the details of this ideal have been the subject of intense scrutiny and debate, in part because there were many versions of scholarly cosmopolitanism,2 but more importantly because the reality of the republic of letters was in most instances at some distance from the ideal.3 There have been debates about the chronology of the rise and fall of the republic of letters, Miller seeing it as having risen to prominence in the later sixteenth century but in terminal decline by 1720. By contrast Goldgar shifts the era of the republic of letters to 1660-1750, and most recently Brockliss has argued for the essentially healthy state of the republic of [End Page 251] letters into the era of the French Revolution.4 Such chronological debates have themselves been prompted by a major disagreement over the relationship between the republic of letters and the Enlightenment of the philosophes: was the former a mere token of the ancien régime which was destroyed by an incipiently radical Enlightenment,5 or was the ideal of egalitarian cosmopolitanism which the republic of letters championed the seedbed for such radicalism, thereby making Enlightenment philosophes a subset of the republic of letters rather than their successors?6Clearly, debates about the meaning of the republic of letters have been sparked by its status as a quasi-political republican body and the extent to which this was mere terminology or was a real spur to new forms of political association. Yet the notion of a republic also presupposes a geography: a polis, fictive or real, needs a territorial scope over which it holds sway. Concerning the geography of the republic of letters, recent scholarship has been both more consensual and less critically acute. A number of scholars have documented the extent to which the republic's cosmopolitan ideals were undermined by national antagonisms and religious schisms.7 Furthermore, feminist scholars have pointed to the complexities of female participation in this arena, their salons enabling while their gender undermined their ability to negotiate a relationship with the public sphere of the republic.8 Clearly, there was a tension between nationalism (together with other forms of parochialism such as gender discrimination) and cosmopolitanism in the political geography of the republic of letters.At a more concrete level, several studies have analyzed the geography of the republic of letters by trying to map its spatial extent in diagrams or prose. Ultee has looked at the spatial extent of Leibniz's correspondents, and Brockliss has likewise mapped Esprit de Calvet's web of communications.9 Parallel studies of scientific correspondence networks have been conducted for Albrecht [End Page 252] von Haller and the natural historians clustered around Buffon.10 In this respect perhaps the most theoretically sophisticated work has been produced by historians of science galvanized by the work of Latour.11 Thus Lux and Cook have looked to the chains of contact and epistolary exchange by which Oldenberg came to credit knowledge claims for inclusion in the Proceedings of the Royal Society, while parallel methods have been used to analyze the geography of Jesuit scholarly exchange.12Other elements of the circulation of knowledge in early modern Europe beyond correspondence have also been examined to give readings of the geography of... (shrink)

This article will address Edith Stein's interests in relation to the microcosm of man, whether as a material, living, animated or spiritual body, as well as in his social, historical, community and cultural position. For Edith Stein, only through this set of interrelated and exclusive instances, each with its own particularities and yet dependent on the others. The phenomenological study of the SELF presented by the author, in the search for the Divine, for awareness of “character”, in the experience of (...) each part of one's own being, in experience, in empathy, where through philosophical anthropology Edith Stein conceives everyone as living beings, with man as a microcosm. For this reason, in the first part it will be discussed regarding The Centrality of the Body in Stein's Philosophical Anthropology. It has become a necessity within anthropology to refer to the body/empathy element. These two realities are established as essential in Stein's considerations and they are what will determine the scope of what refers to the empathic process and the Constitution of the self, elements so necessary for the recovery of the affirming reality of the human in its specification’s man/woman. In the second stage will address about the Soul and Spirit in Stein's Philosophical Anthropology. The living body is established in the fact that in addition to possessing external sensory characteristics, which can be grasped by consciousnesses, they themselves are holders of the ability to feel. Stein postulates as the first characteristic of the experienced body The Binding of the latter to an individual consciousness, to a subject. In his doctoral work, Stein turns to the characterization of an individual who has an essence that is established not only in the corporeal-psychic dimension, but also in that of spiritual appreciation. Finally, and will be closed with conclusions. (shrink)

Cet article interroge les échelles multiples à travers lesquelles nos imaginaires scientifiques actuels cadrent et cartographient les activités de notre cerveau. Le réduit-on à l’encéphale? au système nerveux qui le nourrit de stimuli, depuis les doigts jusqu’aux talons? aux réseaux de communication qui alimentent nos sensations d’images et de sons venant des quatre coins de la planète? La façon dont Gilbert Simondon modélise la dynamique transindividuelle des images dans son cours sur l’imagination et l’invention offre des ressources encore insuffisamment exploitées (...) pour nous aider à imaginer notre cerveau individuel comme un nœud formé de lignes s’étendant bien au-delà de nos personnes corporelles. Notre cerveau apparaît alors tout autant comme un lieu occupé par les images qui circulent à travers nous que comme un lieu d’émergence d’images inédites. This article questions the multiple scales though which our current scientific imagination frames and maps our brain’s agency. Do we focus exclusively on the chestnut-shaped organ located inside of the skull? Do we extend it to the whole nervous system, from the toes to the fingertips? Why not include the network of wires which fuels our senses with sensations, coming from the four corners of the world? The way Gilbert Simondon conceptualises the transindividual dynamics of images, in his course on Imagination and Invention, helps us envision our individual brain as a knot within a meshwork of lines extending a long way beyond the limits of our individual body. Under this light, our brain appears as much as a place of “occupation”, invaded by the flows of images which circulate through us, as a place of emergence for innovative ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The King and the Crowd: Divine Right and Popular Sovereignty in the French Revolution Robert G. Hamerton-Kelly Stanford University We French cannot really think about politics or philosophy or literature without remembering that all this— politics, philosophy, literature—began, in the modem world, under the sign of a crime. A crime was committed in France in 1793. They killed a good and entirely likable king who was the incarnation of (...) legitimacy. We cannot not remember that this crime was horrible... When we speak about writing, the accent is on what is necessarily criminal in writing. (Jean-François Lyotard, "Discussion Lyotard-Rorty" 583; quoted in Dunn 165) The condemnation ofthe king is at the crux ofour contemporary history. It symbolizes the secularization of our history and the disincarnation of the Christian God. (Albert Camus, The Rebel 120; quoted in Dunn 140) Susan Dunn makes a well-documented case that the death of Louis XVI was unconsciously understood, especially by the Jacobins, as a human sacrifice that was necessary for the founding of the republic. "Louis must die because the patrie must live," said Robespierre at the king's trial, and the representative Carra considered Louis "the source of corruption and servitude... the fatal talisman ofall our ills" whose death would cause the people to be "regenerated in morality and virtue" (Dunn 15-37). The king was a monster and the source ofall the ills, and his death 68Robert G. Hamerton-Kelly had the power to alleviate those ills and regenerate the nation. This image of the king as sacrificial victim persisted throughout the first half of the nineteenth century in French literature and politics, sometimes assimilating itself to the image of Jesus Christ who died for the sins of the world. Legitimist writers like Joseph de Maistre saw his death precisely in this light as a great Christian sacrifice that would do France and the world good (Dunn 28-37). The king as a sacred monster whose life causes all ill and whose death brings healing is the classic figure of the scapegoat or sacrificial victim identified by René Girard. Susan Dunn recognizes this but because she does not know Girard's mimetic theory she is not able to explain the significance of the scapegoat king. Her work is, indeed, as Conor Cruise O'Brien says in the foreword, a work ofdemonstration rather than argument, of evidence rather than interpretation. I offer a mimetic interpretation ofthe Jacobin claim that the death ofthe king was the human sacrifice that founded the republic, and an argument that a universally operative generative mechanism forged the historical events of the revolution.1 There is no essential difference between the sovereignty ofthe king and the sovereignty of the people. In both cases sovereignty arises from a metaphorical contract that threatens death to anyone who violates it. The royal metaphors are organic while the revolutionary metaphors are legal and rational, but they all express the sacrificial structure ofpolitical power. Revolutionary democracy imports the fiction ofrationality to obscure its sacrificial structure. The desire ofthe general will for contractual equality is a transformation of mimetic desire in search of a victim around which the bad violence ofmimetic rivalry can coalesce into the good violence of sacred order. Sovereignty, therefore, is structurally single and simple; it is violence transformed through the sacred into the powers oforder. Max Weber understood this in general ifnot in its particulars when he defined sovereignty as the monopoly of the means of violence within a single territory.2 1 Mimetic theory was discovered by René Girard. I have given an account of my understanding of it in 7Ae Gospel and the Sacred 129-52. The idea of a mechanism universally operative in human history isjustified in the emerging discipline ofevolutionary psychology. Such mechanisms are the result ofthe interaction ofgenetic and environmental factors in the process of evolution (see Robert Wright). 2 The precise quotation from Weber is as follows: "The state is a human community that (successfully) claims the monopoly of the legitimate use of physical force within a The King and the Crowd69 The transition from royal to popular sovereignty is a transformation of the basic pattern of victim and group. The... (shrink)

The modern era is characterised by global changes based on the acceleration and continuous «incitement» of civilisational processes. The complex collisions of life were reflected in the public consciousness by the actualisation of the identity problem, which acquired special significance. Therefore, many reasons can be given, but we will emphasise only such. First, the existing anthropological situation is marked by all the signs of novelty and unusualness; social life reveals a steady tendency to weaken individual identifications with traditional (ethnos) and (...) modern (nation) communities. Secondly, in a situation where ethnic and national factors of identification are blurred, society becomes quite fragmented; under such conditions, a person exists at the intersection of local cultures, in an open cultural space, surrounded by a multitude of cultural forms, lifestyles, and traditions; all these forms become significant for a person at the same time and require ordering. Thirdly, the cultural self-determination of a modern person requires the interpretation of those models of cultural existence that represent other communities and the establishment of an individual relationship with them. Thus, identification processes in modern society, on the one hand, become problematic; on the other hand, they act as a driving force of cultural development. The purpose and task of the article are to study identity issues in the context of spectacular forms of mass communication. The research task is to analyse specific forms of mass visual production, ready-made visual images (images, brands, lifestyles) associated with the production of the phenomenon of «partial» identity. Research methodology. The application of the phenomenological method for revealing the content of human identity and the specificity of the phenomenon of human identification in modern society was important for this article. The theoretical basis of the article is also made up of approaches that emphasise the ontological openness of human existence, the universal significance of communicative interaction about human subjectivity, and the influence of spectacular forms on the construction of human identity. The results.In modern scientific discourse, the key term «identity» denotes a set of phenomena that cannot be reduced exclusively to psychological or socio-psychological forms; therefore, the following components are inherent in the phenomena of identity: a). – complex cognitive and figurative content; b). – a variable cultural component that changes due to many life factors, such as ethnic, speech, religious, political, professional, informational, gender, and virtual differences. We propose to consider «hyper-real reality» from the point of view of a special spectacular form of mass communication; the entire set of modern media resources is aimed at creating this form. In the conditions of the spread of spectacular forms of mass communication to all spheres of human life, popular images, lifestyles, and well-known brands become effective identification factors. At the same time, these factors are closely related. For example, acquiring a popular image and desired lifestyle by a person requires the consumption of positional goods and services. The production of such positional goods and services is aimed at meeting the needs of those groups of consumers who strive to be different from others in terms of level and quality of life.Many positional goods and services offered by global manufacturers and actively promoted on the market with the help of brands are created to meet urgent life needs and satisfy a certain human dream. Modern marketing strategies, represented in brands, contain certain signs of spectacular models of mass communication.Appealing to human feelings and inciting imagination, brands present the worlds of high fashion, entertainment and leisure as those that imitate the signs of the real world, creating the illusion of fulfilling desires. Therefore, the task of well-known brands as identification factors consists of the unification of personal meanings, goals, and desires, with the further transformation into one artificially narrowed meaning and one general need for material consumption. Conclusions.The article analyses specific forms of mass visual production, visual images, such as images, lifestyles, brands; in the conditions of the spread of spectacular forms of mass communication to all spheres of human life, these images become effective factors of «partial» identification; their task consists in the unification of personal meanings, goals and desires, followed by their transformation into one artificially narrowed meaning, into one general need for material consumption; it is believed that the conducted research on identity issues in the context of spectacular forms of mass communication will contribute to the development of scientific strategies and concepts of identity formation, will help to work out philosophical problems related to personal existence, creativity, and self-development. (shrink)

This article discusses Peter Galison's views on the structure and evolution of experimental and instrumental cultures in 20th century particle physics, which are unfolded in his recent book Image and Logic. A Material Culture of Microphysics. First a description is given of the uncomfortable predicament in which the Kuhnian tradition finds itself in the past two decades. It is then explained how Galison distinguishes a layered structure in the practice of modern particle physics. Physics as a practice consists of three (...) relatively autonomous levels: the experimental level, the instrumental level and the theoretical level. This paper focuses mainly (but not exclusively) on the instrumental level in particle physics. Subsequently an analysis is given of Galison's metaphor of the wall, which Galison offers as an alternative to the Kuhnian image of paradigms and scientific revolutions. Galison's model is also compared with Laudan's reticulational model of the evolution of scientific research traditions. To conclude, an analysis is made of Galison's attempt to solve the incommensurability problem. (shrink)

Robert Darnton has recently found that L.S. Mercier's utopia, L'An 2440, was the most widely sold clandestine work of the late eighteenth century. This article first attempts to explain the appeal of the book to contemporaries. It then notes the sudden and complete eclipse of the work and offers an explanation for this based on the political achievements of the French Revolution on the one hand and on a shift in the climate of opinion on the other.