From the beginning of history sounds have played a fundamentally important role in humanity’s development as ways of expression and of communication. However in contemporary western society, and indeed globally, we are experiencing an excess of speech and a relentless encouragement to expression. Such excess indicates a misunderstanding about what expression and dialogue should be. This condition encourages us to think about silence, solitude and contemplation and the role they might play in restoring the realm of personal understanding of the (...) Self and of one’s authentic experience of the Other. The purpose of this article is to explore the potency of a silence that arises from our participation in the world. We present first some ideas about silence as a human phenomenon. This is followed by an examination of silence and language, an investigation of silence in dialogue, and of its educational implications. The article concludes by emphasising the value of silence as potency in itself, assisting in recovering the expressive powers of language. We argue that it is important to understand the positive status of silence in order to recognise and avoid repressive speech and to introduce its potential for reflective learning. (shrink)

This paper explores the role and impact of advertising in the French urban planning on citizens’ perception with a close examination of the implications and connections between citizens and outdoor advertising. Significant changes in quantity and form of outdoor advertising have been defined under French regulations. Our knowledge is now mass mediated in public spaces. More and more visible and gargantuan advertising signs surround and even invade our environment for strict commercial benefits. The ‘invasion’ of commercial signs can be compared (...) to a visual pollution affecting our perception, autonomy in thinking and health depending on the part of the population being considered. (shrink)

The Representative Claim is set to transform our core assumptions about what representation is and can be. At a time when political representation is widely believed to be in crisis, the book provides a timely and critical corrective to conventional wisdom on the present and potential future of representative democracy.

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his (...) overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

ABSTRACT In this article I venture the hypothesis that music confronts education with the possibility to think violence in ways that are both inherently educational and radically affirmative. Beginning with a reflection on a poem by Elizabeth Barrett Browning, which emphatically evokes the violence within the genesis of music, I then move in a different direction in the second section, which surveys how extant (music-) educational has thematized violence so far. Concluding that this thematization, notwithstanding many nuances, invariably implies a (...) negative validation of violence, I devote the third section to a search for more affirmative concepts of educational violence. Eventually, this culminates in a return to the issue of a possibly intrinsic, positive relation between violence and music education. I first discuss this possibility more generally, connecting the discussed affirmative concepts of violence to the antipodal music-educational ideas of Plato and Nietzsche. Finally, in the last section, returning to Browning’s poem, I specify it by reclaiming the particular violence of music’s instrumental aspects for music education. (shrink)

Cases taken from the coverage of Canadian/Ipperwash and American/Makah disputes over tribal land and sea claims point up that subtle but entrenched racist assumptions, conclusions, and myths of native culture persist despite attempts by newsrooms to be more culturally sensitive. Traditional journalism standards of practice and ethical approaches must be expanded to consider more of the subtleties of media's problematic representations of aboriginal peoples—as a culture, a culture apart, and a cultural construct. The ethics of continental philosopher Emmanuel Levinas, the (...) ritual model of communication, and frameworks and methodologies used by feminist and cultural studies scholars are applied to show that journalism's current standards, which are rooted in Enlightenment ethics and embrace a transmission view of communication, are inadequate to the challenge of reporting on diversity in an ethnically complex world. (shrink)

The Call for Papers invokes a history of thinking about images in terms of Western traditions, culminating in the ‘apocalyptic discourses of today’s cultural climate’ Jacques Rancière describes in The future of the image. Not considered in this scenario are other ways of looking at, being moved by, thinking about, going with and feeling through images, which I will unfold in this paper. Starting with filmmaker Merata Mita from Aotearoa New Zealand, who contrasts living images of her ancestors in documentaries, (...) ‘very much alive’ to her, with outsiders’ selective collecting of those images ; linking with Natalie Robertson’s tracing of takiaho, by which descendants keep connections with their ancestors in film fragments alive; I will also remember Aby Warburg’s notion of Nachleben – the ‘survival’, ‘continuity’ and ‘metamorphosis’ of images and motifs, and finally engage Mitchell’s consideration of a road not taken by Rancière in contemplating The future of the image. The paper explores a range of experiences, actions, reflections and emotions bundled in the terms appropriation and iconicity: from engaged encounters to consumptive misuse in the first case, from fleeting celebrity fame to a particular form of material presence that contributes to identification and community building in the latter. By bringing Māori and Pacific ways of thinking together with minor European thought traditions the paper shows that images, as appearance into visibility and doability, can not only connect the imagination with reality. They can also open up new and old realms of possibilities through affective and effective iconicity. Whether or not this can happen depends on the prevailing kind of belonging. (shrink)

In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...) is both ‘in’ and ‘beyond’ the image: the depicted subject haunts the image. Borrowing Richard Wollheim’s language, the aim of this study is to determine what it means for a consciousness to see a depicted-subject in an image-depiction, which happens on the basis of seeing an image-object in a material image-thing, like paint, canvas, ink, paper etc. Restricting myself to figurative images, I will argue against the view that the relation to the depicted subject is symbolic or signitive. I argue that the consciousness of the Sujet is quasi-perceptual, which allows for a better account of the depicted subject’s sense of absence. I develop this view on the basis of Husserl’s claims that the depicted subject is the bearer of norms inherent to intuitive appearances, which concern how the profiles and movements of an object ought to unfold, though they fail to do so for image-consciousness. This failure is not a mere privation for the image as a perceptual appearance but is inherent to its status as a mediated and artificial presence. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

This paper proposes a new approach to the performance of Schumann’s music, in particular to his song cycle Dichterliebe op. 48. Starting from the many productive instabilities and inconsistencies that characterize the compositional approach in Dichterliebe, I ask under which conditions we could think a performance practice that embraces these inconsistencies instead of stabilizing them into a finished performance. To do so, I propose the appropriation from music performance of the philosophical notion of “the problem” as formulated by Gilles Deleuze, (...) connecting it with the “pre-individual” in Gilbert Simondon and the notion of “outside,” mostly in the acceptation of Maurice Blanchot and Michel Foucault. A critique is enacted of what I suggest calling the traditional “image of musical thought.” From this critique can emerge a performance practice that moves away from the “problem of performance,” regarded in its traditional form as a representative practice oriented towards recognition, and that embraces instead the “performance of the problem,” where the problematic dimension of Schumann is enhanced and further dynamized. (shrink)