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  1. John Cage, Gilles Deleuze, and the Idea of Sound.Iain Campbell - 2017 - Parallax 23 (3):361-378.
    In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...)
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  2. Editors' Introduction.Jussi Backman, Harri Mäcklin & Raine Vasquez - 2017 - Journal of Aesthetics and Phenomenology 4 (2):93-99.
    A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.
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  3. Alain Badiou's Anabasis: Rereading Paul Celan Against Heidegger.Tom Betteridge - 2015 - Textual Practice.
    The essay examines Alain Badiou's concept of ‘anabasis’ and its disclosure in the poetry of Paul Celan. As a conceptualisation of the process of subject formation, anabasis is read as a rejoinder to that of ‘homecoming’, found in Martin Heidegger's appropriation of Friedrich Hölderlin's poems. Following an excursus on the philosophical and the ethical stakes at the heart of these movements, the essay close-reads two of Celan's poems in order to reveal poetry's own attempts to think through trajectories of emergent (...)
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  4. From "No Future" to "Delete Yourself ".Robin James - 2013 - Journal of Popular Music Studies 25 (4).
    Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...)
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  5. The Joy of Difference: Foucault and Hadot on the Aesthetic and Universal in Philosophy.Cory Wimberly - 2009 - Philosophy Today 53 (2):192-203.
    The intersection of Foucault and Hadot's work in the philosophy of antiquity is a dense and fruitful meeting. Not only do each of the philosophers offer competing interpretations of antiquity, their differences also reflect on their opposing assessments of the contemporary situation and the continuing philosophical debate between the universal and the relative. Unpacking these two philosophers’ disagreements on antiquity sheds light on how Hadot’s commitment to the Universal and Foucault’s commitment to an aesthetics of existence stem from their diagnoses (...)
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  6. Undying and Unborn and Unbound Base of Space and Light.Rudolph Bauer - 2012 - Transmission 1 (Awareness).
    This paper focuses on the base of awareness as space and light.
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  7. Dossier Chris Marker: The Suffering Image.Gavin Keeney - 2012 - Cambridge Scholars Press.
    This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...)
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  8. The Madness of Sight.Emmanuel Alloa - 2007 - In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Publishing: 40-59. pp. 40--59.
    Viewing Vermeer with Merleau-Ponty's eyes.
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  9. 'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making.Alison Ross - 2008 - Research in Phenomenology 38 (1):18-40.
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different (...)
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