This article analyses ethnographic material gathered in Sweden amongst dancers in the Church of Sweden. With the help of the writings of Sarah Coakley and Simone Weil I explore if, and how, dancing could be considered a contemplative practice in the Christian traditions of the Latin West.

© 2015 Macmillan Publishers Ltd. Many have pointed to Blade Runner's humanization of its 'replicants' as a compelling statement against exploitation and domination. I argue, however, that the film has another kind of agenda: a Rousseauvian concern about the dangers of representation, about confusing the imitation with the real and confusing the consumption of images with political action. Rather than humanizing the other, Blade Runner's central concern is to humanize our own social and political relationships, which are in danger of (...) falling into the same trap Rousseau outlined in his Letter to D'Alembert. To do so, we must learn to appreciate the difference between mutual surveillance and mutual regard. To live freely in any regime, we must understand the dangers of representation, even if, in a large state, we must continue to make use of it. (shrink)

© 2015 Macmillan Publishers Ltd. Many have pointed to Blade Runner's humanization of its 'replicants' as a compelling statement against exploitation and domination. I argue, however, that the film has another kind of agenda: a Rousseauvian concern about the dangers of representation, about confusing the imitation with the real and confusing the consumption of images with political action. Rather than humanizing the other, Blade Runner's central concern is to humanize our own social and political relationships, which are in danger of (...) falling into the same trap Rousseau outlined in his Letter to D'Alembert. To do so, we must learn to appreciate the difference between mutual surveillance and mutual regard. To live freely in any regime, we must understand the dangers of representation, even if, in a large state, we must continue to make use of it. (shrink)

This paper proposes a relational history of media artifacts, which decentralizes the dominance of the photographer or filmmaker as the absolute author of the work. It adds an alternative account to understanding the creative process and the subsequent study of media forms by discussing film and photographic practices as the reciprocal affective relationship between the maker, their intentions, materials, technologies, non-human agents and the environment. By reorganizing the anthropocentrism of art historical narratives, which typically exclude corporeality and materiality as drivers (...) of human history, we are able to discuss the complex dynamic meshwork of determinants that bring photographic artifacts into existence: the lived, animate, vital materialism at once emergent and mixing of different causalities and temporalities. (shrink)

Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the (...) renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema. (shrink)

This article engages with the philosophical reflections of the French historian of science Hélène Metzger (1886–1944) in order to develop a vocabulary for understanding the rise of non-reductive Continental naturalism in the contemporary humanities. The bibliography of current naturalist approaches in the arts and the human sciences is still in the making, but it is altogether clear that the trend is not scientist or historicist or relativist. This epistemological diagnosis refers us to Metzger, who found herself surrounded with the logical (...) positivism of the Wiener Kreis, on the one hand, and the historicism of her French colleagues, on the other, as well as with the infiltration of the history of science by a chronological empiricism. In this article I will take the most recent book of Vicki Kirby – Quantum Anthropologies: Life at Large from 2011 – as an exemplary case of non-reductive Continental naturalist scholarship in the humanities today and by reading it through the concepts of Metzger, I will demonstrate how this type of research leads to refreshing insights in what constitutes positive humanities knowledge and what is the role of the a priori in the field. (shrink)

“Feminicity” is the term for a predicate register that enables feminist work be accounted for as relational “active-points” that collectively can be seen through what they have achieved. But going further, it marks where those active-points contribute to the dynamic field of feminist epistemologies and where change occurs. This article contributes to my larger project’s discussion of this concept. Broadly, feminicity argues that the active-points of feminist practices need to be understood within their situated fields as materialist informatics. In the (...) digital era, examples of the affects of digital feminicity are as identified in works such as those by Wajcman ; Haraway, Hayles, VNSMatrix, Adam, Plant. Collectively, such authors and artists opened a creative, and sometimes radical discourse of the digital field as multidirectional, multidimensional, multitemporal platform of “gender actions”. Taken as a predicated field sense of the term “predicate”), this work contributes to the feminist materialist reappraisal of feminist epistemology, and larger radical feminist deconstructive projects. Thus conceived, the genealogy of digital feminicity problematizes the monopolitical terms of feminism in its collation of actions, enabling a re-situation of feminist practices as positive material interventions and expressions of the ontological constitution of the political sphere. Feminicity does not propose a chronological account of the active-points, but processually and systemically addresses the terms of generational epistemological political change. This article describes the ways in which a materialist constructed register – “feminicity”– can be used to think about encounters between the domains of gender, politics and technology, as manifested by materialist informatics. For reasons of brevity, this article focuses on just two aspects of feminicity: the terms of predication of the female as gendered, and the issue of the image, as digital informatics, comprised of activitypoints of feminist practice. Consequently, these are measurable and offer practical resources for the general problem of gendering politics that operate in governance, resource distribution and a non-equal opportunity social/cultural power structure, under which minorities are disadvantaged. Feminist practice here refers to forms produced through feminist activities, ie, forms generated through relations with the matter of life through specific modalities of needs-based practices. (shrink)