Englert et al. claim that, in certain circumstances, the Bohmian trajectory of a test particle does not match the reports of which-path detectors, concluding that the Bohmian trajectories are not real, but “surrealistic.” However, Hiley and Callaghan argue that, if Bohm’s interpretation is correctly applied, no such mismatch is ever sanctioned. Unfortunately, the debate was never settled since nobody showed where the source of disagreement resided. In this paper, I reassess the debate over such “surrealistic” trajectories (...) and I derive both a necessary and a sufficient condition for there to be a mismatch between the Bohmian trajectories and the reports of which-path detectors. I conclude that the mismatch is possible as a matter of principle, but can be ruled out in practice. I explore in depth the philosophical consequences of such mismatch arguing that it does not render realism about the Bohmian trajectories untenable. In addition, I show that the opposing conclusion of Hiley and Callaghan is due to the fact that they assume a set of trajectories that are incompatible with the postulates of Bohmian mechanics. (shrink)

Several situations, in which an empty wave causes an observable effect, are reviewed. They include an experiment showing ‘‘surrealistic trajectories’’ proposed by Englert et al. and protective measurement of the density of the quantum state. Conditions for observable effects due to empty waves are derived. The possibility (in spite of the existence of these examples) of minimalistic interpretation of Bohmian quantum mechanics in which only Bohmian positions supervene on our experience is discussed.

En esta tesis hacemos un análisis comparativo de las distintas interpretaciones de la mecánica bohmiana en relación con el realismo científico. En primer lugar discutimos si cabe encontrar una interpretación de la teoría que satisfaga el requisito de que toda entidad real existe en el espacio físico tridimensional. Luego, discutimos el desempeño de las distintas interpretaciones de la teoría en relación con el principio de fiabilidad de la medida. Finalmente, analizamos el argumento de las trayectorias surrealistas. De acuerdo con este (...) argumento, una interpretación realista de las trayectorias bohmianas es insostenible puesto que se dan situaciones en las que dichas trayectorias difieren de lo indicado por los detectores de camino. En relación con esta última cuestión derivamos unas condiciones precisas de ocurrencia de las trayectorias surrealistas y defendemos que, si bien es posible que las trayectorias bohmianas difieran de lo indicado por los detectores de camino, no se sigue de ello que una interpretación realista de las mismas sea insostenible. Puesto que siempre cabe encontrar una interpretación de la mecánica bohmiana que satisface los requisitos realistas discutidos, concluimos a favor del vigor realista de la teoría. Además, puesto que la satisfacción de dichos requisitos depende de la interpretación de la teoría considerada, defendemos que en mecánica bohmiana la cuestión de la interpretación es tan relevante como lo es en mecánica cuántica. (shrink)

AI-generated images of “cats” offer novel opportunities to consider the semic role of expectations in sign formation where they act as a constraints on semiosis through the potential identification of the AImage as “correct,” or as a “glitch.” Because the identification of “errors” depends on a range of technical and cultural expertise, they offer valuable insights into the interpretive process. The automated generation of media by AI separates the artist’s decision-making process from image production, continuing a trajectory that began with (...) the invention of photography in the nineteenth century that brings the sign formation process into consciousness by distinguishing “intentional” and “unintentional” encoding. The identification AI-produced images as-glitched provides a vehicle to consider how the sign formation process informs identifications of creative action as an intentional action: aesthetic appraisals are central to this process where cultural beliefs about creativity become ideological constraints on interpretation. The potential to understand AI “glitches” as expressive features of the image-object, rather than errors, proceeds via the aesthetics and affects of earlier art, such as the “painterly motion” shown in old master paintings by Peter Paul Rubens, or via the heritage of Surrealism. These affective constraints on sign formation reveal the central role of “glitches” in the distinction of creative and uncreative action. (shrink)

From starting his intellectual career as a surrealist, communist and co-founder of the Collège de Sociologie in 1937, Jules Monnerot (1911?95) ended it as a candidate for the Front National in 1989.In this article I offer an explanation for the unexpected trajectory of this thinker whose work is little known in the English-speaking world. Without overlooking the idea that the infamous College encouraged such tendencies, I argue that the notion of ?secular religion?, as Monnerot developed it in his Sociology of (...) Communism (1949), goes some way to explain his gradual radicalization from Cold Warrior to fascist, a path that otherwise seems unlikely for a French intellectual after World War II. In order to emphasize the unusualness of Monnerot's case, I contrast it with that of his erstwhile collaborator, Georges Bataille. I show that accusations of fascism often levelled against Bataille should be more accurately directed at Monnerot, indeed that the fascism inherent within the College of Sociology was brought out not by Bataille but by Monnerot. Monnerot's case is unsettling first because his definition of ?secular religion? contributed to his pro-fascist stance; and second, because it forces us tore think what is meant by ?philosophy after Auschwitz.? This term usually brings to mind scholars such as T.W. Adorno, Emil Fackenheimor Emmanuel Levinas. Monnerot provides a rare example of a thinker whose fascism only developed after the Holocaust, a shocking response that demands the attention of all those interested in the relationship between religion and politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elliot Rubinstein BUÑUEL'S WORLD, OR THE WORLD AND BUNUEL* THE line OF descent from Surrealist cinema to chosiste fiction—the line which all the remarks that follow are meant at least to trace—is, if not direct, surely collateral. But the genealogy is so complex as to resist detailing in a brief paper. What I offer may be taken for preliminaries, observations on the cinema of Bunuel prompted in large part (...) by a rereading of Robbe-Grillet's For a New Novel. ' The world of any Bunuel film is first of all, in William S. Pechter's phrase, the worst of all possible.2 But the phrase misleads, implying that better worlds are imaginable, let alone photographable, let alone otherwise available. Neithersexual fascination {L'Aged' or, El [ This Strange Passion], Ensayo de un crimen [The Criminal Life ofArchibaldo de la Cruz], Abismos de pasión [Wuthering Heights], Diary ofa Chambermaid, Belle de Jour) nor faith (Nazartn, Robinson Crusoe, Vindiana, The Milky Way), nor any other agency of spiritual transcendence delivers us to a world fit for human habitation. Trailing clouds, but not of glory, do we come, and beneath these clouds we proceed to make fools and martyrs and killers of one another, of ourselves. Unhappily, such views, seized upon as novelties, leave Buñuel at the mercy of some of the most sophomoric adulators ever to hound a major artist. Happily, Buñuel's vision justifies his views; happily, his career transcends his vision. His particular achievement is the sheer variety of worlds he has discovered or reanimated, none quite like *This article, and the one by Stanley Cavell which follows it, grew out of remarks presented at the annual convention of the Modern Language Association, December 30, 1977. The title of the symposium was "Chosisme and the Cinema: the Perception of Physical Reality in Cinema and Literature." 237 238Philosophy and Literature another except in the way it is seen—and each the worst of all possible. The world of Nazartn appears, on the relentlessly gray surface of its film stock, the most conventional in any of Buñuel's works. (I am not thinking of, for one must try to think as little as possible of, some of the potboilers Buñuel had to produce during his Mexican captivity of the late 1940s and 1950s.) Its story of a persecuted priest is left to progress without worrisome spatial or temporal discontinuities. The myth on which its story feeds, explicit in the title, is the most familiar of all, and the inescapable implications of the Quixote and of Dostoyevsky 's tale of the Grand Inquisitor further cater to our certainty of the correctness of our responses. The sole plainly Surreal moment occurs when the picture of Jesus on the priest's wall explodes into a wicked Bosch-like grin, but the image is subjective, "psychological," reflecting the delirium of a wounded prostitute whom the priest is sequestering, and seen only by her. Emotional valences are respected: there is nothing perplexing about the characters' reactions and interplayings. And things are in their place. Such an account of Nazartn recalls Robbe-Grillet's account of Balzacian fiction: All the technical elements of narrative—systematic use of the past tense and the third person, unconditional adoption of chronological development, linear plots, regular trajectory of the passions, impulses of each episode toward a conclusion, etc.—everything tended to impose the image of a stable, coherent, continuous, unequivocal, decipherable universe. Since the intelligibility of the world was not even questioned, to tell a story did not raise a problem. The style of the novel could be innocent, (p. 32) I trust there is no reason to belabor the frailness (I mean with respect to any reading of Balzac) of an argument that pushes to that last sentence. Still, the point is plain enough, and, in its way, and, in its limits, true enough. Because Nazarin (based, by the way, on a novel of Galdós) tells a story in an age when "To tell a story has become strictly impossible" (p. 33) it cannot lay claim to a place in the realm of New Narrative. But there is more to Nazarin than... (shrink)

Surrealism in North Africa and Western Asia : crossings and encounters -- Multiple surrealisms -- Surrealist encounters.

Bohmian trajectories have been used for various purposes, including the numerical simulation of the time-dependent Schr¨ odinger equation and the visualization of time-dependent wave functions. We review the purpose they were invented for: to serve as the foundation of quantum mechanics, i.e., to explain quantum mechanics in terms of a theory that is free of paradoxes and allows an understanding that is as clear as that of classical mechanics. Indeed, they succeed in serving that purpose in the context of (...) a theory known as Bohmian mechanics, to which this article is an introduction. (shrink)

Surrealism remains an object of fascination for scholars and the public alike, with ebbs and flows ranging from rejection and devaluation to moments of exciting rediscoveries and theorizations. Following a long period of scholarly disdain in the 1970s, the period of the mid-1980s to mid-1990s was one such moment of reevaluation. Until then a mostly literary movement invested in the production of obscure texts, surrealism was revisited as a dynamic art movement and gained a position in the narratives of modernist (...) art. Parallel blockbuster exhibitions in London, Paris, and New York underscored the ongoing appeal of surrealist art for a contemporary public. Scholarly work of the last ten years shows that surrealism... (shrink)

ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's (...) artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language. (shrink)

Written in 1936, this work was compiled by a key Surrealist entrepreneur to promote the movement in America. It includes: sculpture by Duchamp and Oppenheim; photographs by Atget and Man Ray; poems by Peret and Picasso; paintings by Arp, Magritte and Miro; and essays by Breton and Bachelard.

There is a mental geography that may find its explorers, but never its cartographers.Annie Le BrunThe nature of the relationship between surrealism and anthropology has been a focus of recent anthropological debate. This relation has not been considered at the level of methodology and the aim of this article is to consider surrealism in specific methodological relation with anthropology, particularly about how the idea of travel has been conceptualized.

Surrealism holds that observables behave as if T were true, whereas scientific realism holds that T is true. Surrealism and scientific realism give different explanations of why T is empirically adequate. According to surrealism, T is empirically adequate because observables behave as if it were true. According to scientific realism, T is empirically adequate because it is true. I argue that the surrealist explanation merely clarifies the concept of empirical adequacy, whereas the realist explanation makes an inductive inference about T. (...) Therefore, the surrealist explanation is a conceptual one, whereas the realist explanation is an empirical one, and the former is not an alternative to the latter. (shrink)

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery (from May to July 2006) and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to (...) represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space. (shrink)

Andre Breton discusses the meaning, aims, and political position of the Surrealist movement.

Realism and surrealism claim, respectively, that a scientific theory is successful because it is true, and because the world operates as if it is true. Lyons :891–901, 2003) criticizes realism and argues that surrealism is superior to realism. I reply that Lyons’s criticisms against realism fail. I also attempt to establish the following two claims: Realism and surrealism lead to a useful prescription and a useless prescription, respectively, on how to make an unsuccessful theory successful. Realism and surrealism give the (...) credit for the success of a theory to an appropriate factor and to an inappropriate factor, respectively. Finally, I point out that surrealism is vulnerable to my pessimistic induction :3–21, 2014a) against antirealism. (shrink)

Easy-road mathematical fictionalists grant for the sake of argument that quantification over mathematical entities is indispensable to some of our best scientific theories and explanations. Even so they maintain we can accept those theories and explanations, without believing their mathematical components, provided we believe the concrete world is intrinsically as it needs to be for those components to be true. Those I refer to as “mathematical surrealists” by contrast appeal to facts about the intrinsic character of the concrete world, not (...) to explain why our best mathematically imbued scientific theories and explanations are acceptable in spite of having false components, but in order to replace those theories and explanations with parasitic, nominalistically acceptable alternatives. I argue that easy-road fictionalism is viable only if mathematical surrealism is and that the latter constitutes a superior nominalist strategy. Two advantages of mathematical surrealism are that it neither begs the question concerning the explanatory role of mathematics in science nor requires rejecting the cogency of inference to the best explanation. (shrink)

This paper traces the origins of two technological trajectories in the contemporary history of wind power technology: the American Smith-Putnam Wind Turbine and the Danish Gedser Wind Turbine. Describing the two wind turbine projects in terms of their technical design characteristics, the professional background of the individuals involved, the organizational features of the technological knowledge production, and the historical context, the paper builds on the notion of technological trajectories in the making as a means of identifying emerging selection (...) mechanisms for possible engineering problem solutions, scientific methods, material artifacts, and financial assessment techniques. Conceived during the Great Depression and World War II, respectively, both projects promoted the idea that wind power could make a cost-effective contribution to the existing electric utility system. The two projects resulted in distinctive wind turbine innovations that paved the way for two technological trajectories in the contemporary history of wind power. Studying the emergence of technological trajectories, it is argued, requires the historian of technology to attend to well-known features of technological design and its cultural context that in retrospect appear to be significant, but also to tackle the creation of novelty and the inevitability of technological uncertainties about which the logic of trajectories has little to say. (shrink)

Octavio Paz: Ontology and Surrealism discusses poet Octavio Paz (1914-1998), one of Mexico's most controversial intellectuals. Over several decades, Paz has been celebrated for his impact on literature and culture as a poet as well as an essayist, and he is recognized as a great thinker and as a student of German ontology and phenomenology. Roberto Sanchez Benitez analyzes in detail Paz's training within the European philosophical thinking of the twentieth century, as well as in the artistic avant-garde, to illustrate (...) the way in which philosophical, anthropological, linguistic, sociological, literary, and artistic proposals enriched his work and Mexican culture during the post-revolutionary period. Sanchez Benitez posits that Paz moved from a phenomenological ontology to a historicism of the human condition, wherein morality, politics, and the arts all reside in an ideological context where dogmatisms where impose in the face of a lack of internal criticism. This book explores the themes of the poetic act that Paz associated with his ontological and surrealist readings, leading up to when they were transformed by his experience in India and the assimilation of Eastern philosophies, along with going through a set of Western proposals relating to love, eroticism, and art. Scholars of literature, philosophy, Latin American Studies, and history will find this book particularly useful. (shrink)

This paper explores the trajectories of food and how culinary practices evolve over time in relation to a migrant’s experience. Our focus is on international mothers adjusting to life in London. We identify a connection between eating practices and evolving identities. In line with a stream of research in cultural psychology, we consider food as a symbolic resource mobilized by migrants to provide some material support to their processes of adaptation to a new country. In this respect, we introduce (...) the notion of malleable symbolic resource in order to highlight the ductility of food in relation to an individual’s evolving personal culture. On this basis, we propose to describe ductile trajectories of food in relation to three important steps: where food and eating practices come from; with whom food is consumed and for what goal it is chosen. (shrink)

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery (from May to July 2006) and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to (...) represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space. (shrink)

"I believe," André Breton said, "in the future resolution of the states of dream and reality--in appearance so contradictory--in a sort of absolute reality, or surréalité." The Surrealist movement, born in the 1920s out of the ferment of Dada, committed to revolution against bourgeois rationalism, and inspired by Freudian exploration of the unconscious, has reverberated more widely and deeply than perhaps any other art movement in our century. Its automatism, biomorphic shapes, visionary mode, and manipulation of found objects mark the (...) work of artists as different as Ernst, Miró, Magritte, and Dali. Maurice Nadeau's History of Surrealism, first published in French in 1944 and in English in 1965, has become a classic. It is both lucid and authoritative--by far the best overall account of this complex movement. Nadeau traces the evolution of Surrealism, bringing to life its many internal debates about politics and art. He relates the movement to its intellectual and artistic environment. And he provides the statements and manifestos of Breton, Aragon, Tzara, and others. (shrink)

In discussion about basic theoretical approaches in a non-Cartesian psychology several candidates for a key concept were proposed, such as action, activity, relation, dialogue and discourse. None of these concepts, however, sufficiently grounds psychological theories of individual psychology in social practice. To accomplish this we need to conceptualize subjects as participants in structures of ongoing social practice. In this paper I argue why and address issues of subjectivity as encountered by persons in their participation in complex structures of social practice. (...) I introduce the concept of personal conduct of life and life-trajectory as elaborations of my theory. And I discuss this theoretical approach and show what is at stake in developing it by comparing it to similar approaches in the current literature on the person, self, and identity. (shrink)

This out-of-print, two-volume, photocopy packet, in the area of "Surrealism and the Politics of the Particular" includes readings on language, meaning, and surrealism from Adorno, Benjamin, McCumber, Breton, Heidegger, Freud, Kristeva, Ricouer, and Bataille.

This book analyzes the relationship that Mexican poet Octavio Paz had with Heidegger's ontology and French surrealism, as well as his contact with Hindu philosophy, both of which were instrumental in the formulation of his poetry. His case represents the modern conformation of the Mexican post-revolutionary culture.

This chapter presents the text of a lecture on the legacies of surrealism in Latin America given at the 2009 British Academy Lecture Series. This text discusses the tensions between surrealist internationalism and local cultural nationalisms, the contested relationship between surrealism and Magic Realism, and the enduring surrealist fascination with Pre-Columbian art and architecture. It analyzes the works of Mexican artists Frida Kahlo and Gunther Gerzso and works of contemporary Brazilian artist Cildo Meireles. It contents that art from Latin America (...) has flourished in recent years without claiming surrealism as an exclusive source. (shrink)

The arts were created from an appeal to freedom. There can be no general aesthetic that defines how that freedom must express itself. Movies offer a seductive example. Of all the major arts, cinema is the only one that was invented during the lifetime of some who are now living. From this perspective, Earle argues that filmmakers were far more inventive in their early days than now, when commercial film has settled into a realist routine with occasional and timid forays (...) into the personal and imaginative. Earle suggests that unsympathetic readers should look again at the possible sources of film poetry, sources that have almost dried up in the flood of boredom experienced nightly in theaters throughout the world. Surrealism in Film is largely a manifesto against realism; it ends in a clash of sensibilities. The book encourages new exploration of absolute poetry. The intention of these essays is to destroy the absolute authority of the realist sensibility. Within that sensibility is everything thought necessary to "sense": narrative plot, recognizable and nameable passions, continuity and integration within the film, a gist or moral for the whole affair, social commentary, and psychoanalytic depth-meanings. Earle argues for a self-critique that should be performed if movies are not to remain encapsulated within its own delusions. (shrink)

In a new introduction, Balakian discusses the influence of surrealism on contemporary poetry. This volume includes photographs of the poets and reproductions of paintings by Ernst, Dali, Tanguy, and others.

Despite her hostility to surrealism, Simone Weil received a paradoxical reception in the work and thought of Georges Bataille. From this point onwards she has attracted the interest of psychoanalysis up to the present day. After their meeting and exchanges at the beginning of the 1930s, Bataille wrote a novel in which he created a portrait of Simone Weil and asks, through her, questions which served to develop and enrich the next stages of his theoretical constructions. This pathway to progress (...) through reference to Simone Weil has often gone unnoticed. However, it deserves to be reconstituted because it brings a disturbing light that Weil would not have approved but that could help us to renew our understanding of her personality and her work. (shrink)

Trajectories along which phase-space points of the Wigner distribution function move are computed for a Gaussian wave packet moving under the influence of a weak perturbative potential. The potentials considered are a potential step, a potential barrier, and a periodic potential. Trajectories computed exhibit the complex, nonlocal nature of quantum dynamics. It is seen that quantum interference, which takes place in the time development of the wave packet, is taken care of in a simple way by the Wigner (...) trajectory method presented here. (shrink)

The correspondence between the philosopher Theodor W. Adorno and his politically active graduate student Elisabeth Lenk offers fresh insights into both Adorno's view of surrealism and its relation to the student uprisings of 1960s France and Germany. Written between 1962, when Lenk moved to Paris and persuaded an initially reluctant Adorno to supervise her sociology dissertation on the surrealists, and Adorno's death in 1969, these letters reveal a surprisingly tender side of the distinguished professor. The correspondence is accompanied by a (...) selection of documents that bring additional depth and context to the letters and their engagement with the art and politics of the period. Filling in the background of Adorno and Lenk's lively exchange, the volume includes new translations of classic essays by Walter Benjamin ("Surrealism: Last Snapshot of the European Intelligentsia") and Adorno ("Surrealism Reconsidered"), along with a collection of short prose readings by Adorno and the writer-scholar Carl Dreyfus and three original essays by Lenk: her afterword to Paris Peasant by Louis Aragon, her Introduction to the German edition of Charles Fourier's The Theory of the Four Movements and the General Destinies, and her incisive essay "Critical Theory and Surreal Practice." An Introduction by Lenk's student, the contemporary writer and critic Rita Bischof, points to the continuing challenge of surrealist politics. This remarkable body of correspondence appears here in English for the first time, as do Adorno and Dreyfus's surrealist readings and the essays by Lenk. Together, they provide a rich mine of critical material for reassessing the significance of the surrealist movement and its successors. (shrink)

This book begins by considering responses by French artists to the First World War, showing how Purism, Dada, and early Surrealism are related to the ethos of post-war reconstruction. The authors then discuss the language of construction in places as dissimilar as France, Germany, and the Soviet Union; the contrasting demands of the utility and decoration of objects and paintings; and the relationship of surrealism to questions of sexuality and gender and to Freudian theory. The book concludes by addressing the (...) widespread debate over realism in art: whether it represents an alternative to the elitism of the avant-garde or whether avant-garde art should play a role in the development of a modern realism. (shrink)

Emerging from the disruption of the First World War, surrealism confronted the resulting ‘crisis of consciousness’ in a way that was arguably more profound than any other cultural movement of the time._ _The past few decades have seen an expansion of interest in surrealist writers, whose contribution to the history of ideas in the twentieth-century is only now being recognised._ Surrealism: Key Concepts_ is the first book in English to present an overview of surrealism through the central ideas motivating the (...) popular movement. An international team of contributors provide an accessible examination of the key concepts, emphasising their relevance to current debates in social and cultural theory. This book will be an invaluable guide for students studying a range of disciplines, including Philosophy, Anthropology, Sociology and Cultural Studies, and anyone who wishes to engage critically with surrealism for the first time. _Contributors:_ Dawn Ades, Joyce Cheng, Jonathan P. Eburne, Krzysztof Fijalkowski, Guy Girard, Raihan Kadri, Michael Löwy, Jean-Michel Rabaté, Michael Richardson, Donna Roberts, Bertrand Schmitt, Georges Sebbag, Raymond Spiteri, and Michael Stone-Richards. (shrink)

The formulation of quantum mechanics developed by Bohm, which can generate well-defined trajectories for the underlying particles in the theory, can equally well be applied to relativistic quantum field theories to generate dynamics for the underlying fields. However, it does not produce trajectories for the particles associated with these fields. Bell has shown that an extension of Bohm’s approach can be used to provide dynamics for the fermionic occupation numbers in a relativistic quantum field theory. In the present (...) paper, Bell’s formulation is adopted and elaborated on, with a full account of all technical detail required to apply his approach to a bosonic quantum field theory on a lattice. This allows an explicit computation of trajectories for massive and massless particles in this theory. Also particle creation and annihilation, and their impact on particle propagation, is illustrated using this model. (shrink)

British social survey movement ‘Mass-Observation’ (M-O) was founded in 1937 by a poet, a film-maker and an ornithologist. It purported to offer a new kind of sociology – one informed by surrealism and working with a ‘mass’ of Observers recording day-to-day interactions. Various commentators have debated the importance and precise identity of M-O in its first phase, especially in light of its combination of social science and surrealism. This article draws on new archival research, in particular into the ‘paperwork’ practices (...) of Charles Madge, arguing that M-O is best understood as an attempt to define a new relationship between the survey subject and information organiser. The latter – as sociologist, planner or artist – was a distinctive interwar persona, central to ‘scientific humanism’. Bathos, as a formal strategy in modernist aesthetics, is introduced as an explanation of the failure of this particular part of the M-O project. Questions of subjectivity and data link M-O to a longer history of heterodox sociological inquiry. This analysis resolves some of the apparent paradoxes that have been prominent in studies of M-O, and draws attention to the unfulfilled promise of a vast archive of social data. (shrink)

Using the example of a harmonic oscillator and nondispersive wave packets, we derive, in the frame of the causal interpretation, the equations of motion and particle trajectories in one- and two-particle systems. The role of the symmetry or antisymmetry of the wave function is analyzed as it manifests itself in the specific types of corelated trajectories. This simple example shows that the concepts of the quantum potential and the quantum forces prove to be essential for the specification of (...) the dynamics of a microsystem and the resulting statistical behavior. (shrink)

There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...) as functioning as a direct method of ‘proof’ (i.e., attempt to convince the reader of some thesis), and (2) as an indirect method of ‘proof’ -- proof by reductio ad absurdum. This essay will be devoted to clarifying (2) by forging an analogy with surrealism in art. (shrink)

A comparison is made between the Bohm trajectory and Feynman path approaches to the long-standing problem of determining the average lime taken for a particle described by the Schrödinger wave function ψ to tunnel through a potential barrier. The former approach follows simply and uniquely from the basic postulates of Bohm's causal interpretation of quantum mechanics; the latter is intimately related to the most frequently cited approaches based on conventional interpretations. Emphasis is given to the fact that fundamentally different transmission (...) (T)-reflection (R) decompositions, particlelike and wavelike respectively, are central to the two methods: ¦ψ¦2=[¦ψ¦2]T+[¦ψ¦2]R (Bohm trajectory approach); ψ=ψT+ψR (Feynman path approach). (shrink)

This article argues that the later philosophy of Wittgenstein has significant affinities with surrealist approaches to the ordinary. It links the question of ordinary language first to the dilemmas of poetic speech after Mallarmé, then to a current of thought on everyday life that emerges in France in the wake of surrealism. Finally, a reading of prose texts by Breton and Aragon brings together these two lines of argument, demonstrating that surrealism appeals to ordinary language and everyday life as a (...) remedy against the threat of scepticism. Surrealist manipulations of language are less a departure from the real than an attempt both to restore and to renew the human relation with the world. Obscured by its very familiarity, the everyday comes into view as what Cavell calls the ‘surrealism of the habitual’. (shrink)

Contemporary feminist critics have often described Surrealism as a misogynist movement. In Automatic Woman, Katharine Conley addresses this issue, confirming some feminist allegations while qualifying and overturning others. Through insightfuløanalyses of works by a range of writers and artists, Conley develops a complex view of Surrealist portrayals of Woman. Conley begins with a discussion of the composite image of Woman developed by such early male Surrealists as Andrä Breton, Francis Picabia, and Paul Eluard. She labels that image ?Automatic Woman??a term (...) that comprises views of Woman as provocative and revolutionary but also as a depersonalized object largely devoid of individuality and volition. This analysis largely confirms feminist critiques of Surrealism. The heart of the book, however, examines the writings of Leonora Carrington and Unica Z_rn, two women in the Surrealist movement whose works, Conley argues, anticipate much contemporary feminist art and theory. In concluding, Conley shows how Breton?s own views on women evolved in the course of his long career, arriving at last at a position far more congenial to contemporary feminists. Automatic Woman is distinguished by Katharine Conley?s judicious understanding of how women?and the image of Woman?figured in Surrealism. The book is an important contemporary account of a cultural movement that continues to fascinate, influence, and provoke us. (shrink)

We examine “de Broglie-Bohm” causal trajectories for the two electrons in a nonrelativistic helium atom, taking into account the spin-dependent momentum terms that arise from the Pauli current. Given that this many-body problem is not exactly solvable, we examine approximations to various helium eigenstates provided by a low-dimensional basis comprised of tensor products of one-particle hydrogenic eigenstates.First to be considered are the simplest approximations to the ground and first-excited electronic states found in every introductory quantum mechanics textbook. For example, (...) the trajectories associated with the simple 1s(1)1s(2) approximation to the ground state are, to say the least, nontrivial and nonclassical.We then examine higher-dimensional approximations, i.e., eigenstates Ψ α of the Hamiltonian in this truncated basis, and show that ∇ i S α =0 for both particles, implying that only the spin-dependent momentum term contributes to electronic motion. This result is independent of the size of the truncated basis set, implying that the qualitative features of the trajectories will be the same, regardless of the accuracy of the eigenfunction approximation.The electronic motion associated with these eigenstates is quite specialized due to the condition that the spins of the two electrons comprise a two-spin eigenfunction of the total spin operator. The electrons either (i) remain stationary or (ii) execute circular orbits around the z-axis with constant velocity. (shrink)

Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the writing, films, and (...) art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese _Ring_ ; and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema's perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century. (shrink)