In times of current crisis, the voices of women are needed more than ever. The accumulation of war and environmental catastrophes teaches us that exploitation of people and nature through violent appropriation and enrichment for the sake of short-term self-interest exacts its price. This book presents contributions on the currently most relevant and most urgent issues: reshaping the economy, environmental problems, technology and the re-reading of history from the non-western and western tradition. With an outlook into the problems of class, (...) race and gender in its intersectional framing, the collection offers a unique overview of current research in these fields and contributes to the renewal and contemporary presentation of feminist thought from partly concrete perspectives with regard to factual issues. (shrink)

In the course of his painstaking study of ancient verse, Ferdinand de Saussure came up with an intriguing theory about the phonetics of the poetry he scrutinised. He postulated that the “jeux phoniques” he detected in the texts he analysed was proof that their authors were attempting to “parasite” the surface level meaning of their verse with a “hypotexte.” This hypotexte consisted of “anagrams” of “mots thèmes” whose phonetic properties were “isosyllabically diffracted” throughout the rest of the host text. Today (...) it is generally accepted that Saussure was wrong about this. Few however maintain that what he discerned in the phonetic depths of the verse he auscultated was no more than the figment of a fertile imagination. But if this be so, what exactly had he detected? This paper maintains that what Saussure stumbled upon was the trace of a contribution made to ancient verse by melodically and metrically organised sounds. This was inevitable. Virtually all the texts he probed were “carmina sacra” that were composed to be sung and accompanied by music. This musical accompaniment had a decisive impact on the phonetics of the “lexemic” words in the Poetry that has survived. This is so because sung verse cannot “euphoniously” accommodate a musical accompaniment unless its phonetics constituents are selected, concatenated and intoned in such a way as to follow the melodic contours and rhythm patterns that modulate their articulation. In addition, the point of making verse consist both of melodically organised arrangements of sound and of organisations of sound in which one can recognise ordinary words was not simply ornamental. The real point was to bi-nature what one was hearing. In other words, the goal was to “over-signify” the usual meanings of the “logocentric” words in the verse with a separate but complementary meaning and narrative encoded in melodised tones and metered rhythms. Why qualify the accompanying music as “acousmatic voices”? Because the music in question was added to song to give a voice to whichever tutelary divinity the song was performed to honour. That’s what makes “acousmatic voices” an especially apt epithet for characterising the melodically and rhythmically structured bodies of sound Saussure so presciently discerned in the phonetic depths of the poésie phonisante he probed. The point of their being in poetry was to give a voice to the agencies to whom the object or occasion of verse is beholden for its Being-in-the-world. (shrink)

This article is interested in ‘voice imaging’ as a technical field through which people experience new relations between organic and inorganic forms of life. Grounded in a study of voice imaging in historical and contemporary scientific research, the article applies and expands on Bernard Stiegler’s ‘General Organology’, with an eye to understanding the voice as a dynamic capacity for volition. By exploring the scientific research into voice imaging, the article argues that the voice, as a cultural image, is an imaginary (...) organ that transgresses the boundaries of technological, biological, physical, psychological, social and cultural frameworks. (shrink)

In this paper I draw some distinctions between the terms “cultural diversity” and “plurality” and argue that a radical conception of plurality is needed in order both to re-imagine the boundaries of democratic education and to address more fully the political aspects of conflict that plurality gives rise to. This paper begins with a brief exploration of the usages of the term diversity in European documents that promote intercultural education as a democratic vehicle for overcoming social conflict between different cultural (...) groups. In contradistinction to these usages, this paper calls for a more robust conception of plurality, one that does not simply denote membership in different cultural groupings but is rooted in the human condition and based on a conception of uniqueness. Following the work of Hannah Arendt and feminist philosopher Adriana Cavarero, I explore how the appearance of unique beings in specific contexts can be understood as an eminently political act and I contend that such a view leads to a better educational understanding of conflict and contestation. The paper sketches the contours of democratic plurality along this line of thought and discusses how these new boundaries have implications for education’s relation to democracy. (shrink)

The concept of the gesture is explored in relationship with its moral significance rather than, for example, its aesthetic significance. It is argued that the concept can be used in order to make clear how morality relates to the body. This is not to suggest that gestures can be neatly defined. On the contrary, they always seem to be ambivalent and somewhat nebular. However, it will be shown that some of their significance might well be related to popular concepts such (...) as ‘transparency’, ‘authenticity’, ‘integrity’ and ‘responsibility’. In order to make this clear, the role of some particular gestures in politics and organizational life, most notably ‘apology’ and ‘trust’, will be discussed throughout the paper. (shrink)

The concept of the gesture is explored in relationship with its moral significance rather than, for example, its aesthetic significance. It is argued that the concept can be used in order to make clear how morality relates to the body. This is not to suggest that gestures can be neatly defined. On the contrary, they always seem to be ambivalent and somewhat nebular. However, it will be shown that some of their significance might well be related to popular concepts such (...) as ‘transparency’, ‘authenticity’, ‘integrity’ and ‘responsibility’. In order to make this clear, the role of some particular gestures in politics and organizational life, most notably ‘apology’ and ‘trust’, will be discussed throughout the paper. (shrink)

In this article I rethink death and mortality on the basis of birth and natality, drawing on the work of the Italian feminist philosopher Adriana Cavarero. She understands birth to be the corporeal event whereby a unique person emerges from the mother’s body into the common world. On this basis Cavarero reconceives death as consisting in bodily dissolution and re-integration into cosmic life. This impersonal conception of death coheres badly with her view that birth is never exclusively material but always (...) has ontological significance as the appearance of someone new and singular in the world of relations with others. This view of birth calls for a relational conception of death, which I develop in this article. On this conception, death is always collective, affecting all those with whom the one who dies has maintained relations: As such, our different deaths shade into one another. Moreover, because each person is unique in virtue of consisting of a unique web of relations with others, death always happens to persons as webs of relations. Death is relational in this way as a corporeal, and specifically biological, phenomenon, to which we are subject as bodily beings and as interdependent living organisms. I explore this with reference to Simone de Beauvoir’s memoir of her mother’s death from cancer. Finally I argue that, on this relational conception, death is something to be feared. (shrink)

This article reflects on an ongoing artistic research practice that deals with sound, gender, power, spatiality, and human–nonhuman entanglement. Sparked by a sound design for a less crunchy “lady-friendly” crisp, the research inquires the relationship between gender and sound at human–nonhuman encounter through making and thinking. Drawing on queer theory, sound studies, and posthumanism, it aims to transcend essentialist, vision-focused, and anthropocentric conceptualisations of gender and, as an insight gained from working with low-frequency sound waves, it reflects on sound as (...) material-philosophically demonstrating human–nonhuman interconnectedness. The latter, as this article proposes, may encourage us to horizontalise hierarchies between the human and nonhuman. Finally, this text situates sonic thinking as a mode of trans*formative thinking: a process-oriented philosophy that aims to embrace the messy, queer ways of human–nonhuman relationality, which characterises a vibrant space from which this artistic research will further develop. (shrink)

In relationships ‘I’ and ‘you’ become ‘we’; despite individual differences, couples obtain an interdependent identity due to their shared interactions. During a serious illness, biological and biographical disruptions can put any reciprocal relationship under strain. Through intermedial analysis of Judith Fox’s photographic project, I Still Do: Loving and Living with Alzheimer’s, I will explore ways the couple make sense of illness, how illness is communicated through text and image and also to identify the limits of representation. Here the photographs, I (...) argue, solidify their relationship and echo the stuck-in-the-present state of mind brought on by Alzheimer’s. (shrink)

While vocal acts, such as interpellation and speech acts, constitute a network of theoretical nodes in Butler’s writings, her theory of gender performativity neglects to theorize the mediation of such acts through the voice and its technologies. In a close reading of Butler’s influential texts, the paper examines the ramifications of a notion of gender performativity that ignores the performative aspects of the voice, asking what it means to think a body without a voice. What notions of materiality and subjectivity (...) does such a thinking it assume? How does it understand the relationship of performativity, performance and sound technology? I argue that the repression of the sonoric aspects of the voice can be read as a symptom of the role of materiality in the theory of gender performativity. Despite Butler’s attempts to attend to the material body within a discourse of the performative, the notion of materiality is constrained through the economy of the sign and remains subordinated to the realm of intelligibility, a hierarchy that Butler explicitly rejects. However, the material voice will finally supplement and subvert the theory of gender performativity. (shrink)

Drawing upon feminist, queer, and crip phenomenology, this essay argues that the distinct temporality of the lived, stuttering body disturbs the normalized “choreography” of communication and thereby threatens the disabled speaker's recognition as a speaking subject. Examined through the phenomenology of Maurice Merleau-Ponty and Alfred Schutz, the disabled speaking body is temporally “out of step” with the normalized bodily rhythms and pace of communicative practices in relation to both lived and objective time. Disciplined for his incalculable and therefore irrational bodily (...) choreography, the disabled speaker is foregrounded against an objective, instrumentally ordered world constituted by a disembodied and hegemonic “straight-masculine” time. Although dominant communicative choreographies may often be unlivable for disabled speakers, cripping communicative time rejects the cardinal value of futurity and invites interlocutors to gather in a noninstrumentalized and nonproductive present. This reshaping of communicative space enacts new modes of relationality and opens up an array of communicative futures suppressed or cut off by straight-masculine time. (shrink)

In this essay, I examine the concept of thinking in Hannah Arendt's writings. Arendt's interest in the experience of thinking allowed her to develop a concept of thinking that is distinct from other forms of mental activity such as cognition and problem solving. For her, thinking is an unending, unpredictable and destructive activity without fixed outcomes. Her understanding of thinking is distinguished from other approaches to thinking that equate it with, for example, problem solving or knowledge. Examples of a ‘problem-solving’, (...) skills-based approach to thinking that place a premium on behavioural change are drawn from the context of the prison. I offer an alternative example of thinking with others from my philosophy classes in the prison. I draw upon Arendt's insights to develop a concept of ‘thinking-in-concert’. Whilst Arendt believes that thinking must be a solitary activity, I argue that the concept of ‘thinking-in-concert’ helps to capture experiences of thinking with others in a manner that is more hesitant and provisional than some descriptions of communities of enquiry or democratic education. The embodied presence of others matters when ‘thinking-in-concert’. I describe this approach as educational as well as conversational. This helps to communicate the way in which we turn towards others and may be pulled up short by them as we strive to think together or experience moments of conversion or insight whilst enjoying the ordinary activity of talking with others. This concept may help us to understand the difference between the experience of thinking, teaching and learning when we are physically present to one another and the experience of virtual learning or teaching. (shrink)

This article explores interpersonal and human–computer interaction in the era of big data through the lens of Martin Buber’s relational ethics. Doing theory otherwise, it analyses the importance of other voices and speech through the case of digital assistants, questioning the implications of naming them ‘companions’. Following recent proposals to ascribe legal subjectivity to synthetic agents, the article explores the effects on agency, interaction with flesh-and-blood others and democracy in an attention economy enmeshed with technologies of behavioural manipulation powered by (...) users’ utterances that enable novel forms of social control by owners of the means of communication. (shrink)

The lack of attention to the role of emotions generally has led modern learning theories to neglect the importance of emulation as a pedagogical support to students’ learning. One reason could be that the influence of teacher personality is not considered in relation to learning outcome. Another reason may be that the concept of emulation has been used as a psychological conception for one-way transmission. From a pedagogical rhetorical perspective, it is here argued that emulation and its pedagogical function is (...) rooted in three human conditions: the biological, moral and political. The framework for this reasoning is discussed, as well as historical changes in pedagogical focus. Finally, it is concluded that the educative character of the teacher has a crucial impact on how willing students are to interact and share the teachers’ knowledge, skills and values. Therefore, there is a need for a greater awareness of these aspects to be developed among teachers. (shrink)

I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially (...) helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for feminist teaching. A person’s (...) actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

The concept ‘silence’ has diametrically opposed meanings; it connotes peace and contemplation as well as death and oblivion. Silence can also be considered a practice. There is keeping the rule of silence to still the mind and find inner truth, as well as forcibly silencing in the sense of subjugating another to one's own purposes. The concept of teaching runs the gamut between these extremes, from respectfully leading students to search and discover, to relentlessly bending them to one's own will. (...) This article examines contradictory connotations and practices of silence and teachers’ ambivalent perceptions of it in order to conceptualize a positive practice of silence for teacher education. (shrink)

A feminist phenomenological analysis of voice, rooted in both the feminist understanding of the role of voice in identity, agency, and the creation of meaning, and the phenomenological thematization and theorization of phenomenal, lived experience, leads to a deeper understanding of the importance of the materiality of the voices with which we speak, and their role in both subjective and intersubjective experience. Starting from an analysis of the intertwined associations and imageries of the feminine, voice, and embodiment, I discuss the (...) denaturalization and abstraction of voice in standard narratives of voice and voice metaphorization, and the corresponding forgetting of the living, bodily voice. In looking to recall a re-naturalized and immanent corporeality and retrieve the material voice through an account of embodied vocality, I consider examples of the power and immediacy of the corporeal voice in the female operatic voice, and in contrast, the compromised agency and attenuated (inter)subjectivity which attends the impaired or lost physical voice. These vocal counterpoints of presence and absence are often separated by corporeal disturbance or limitation, underscoring the importance of corporeality and the material voice as intermediary between the individual and the social world. This sets the contours of a phenomenology of embodied voice and vocality, holding implications for accounts of identity and intersubjectivity, gendered vocality and expressive agency, and an intercorporeality mediated by the living material voice. (shrink)

Who is the autonomous moral agent? The individual? The exemplary/typical knowing, acting, suffering, or thriving human being? Such questions in diverse modalities, originating in multiple circumsta...

This paper seeks to destabilize the silent privilege given to the secured juridical-political position of the citizen as the stable site of enunciation of the problem/solution framework under which the stranger (foreigner, immigrant, refugee) is theoretically located. By means of textual, intertextual, and extratextual readings of Antigone, the paper argues that it is politically and literarily possible to (re)invent her for strangers in the twenty-first century, that is, for those symbolically produced as not-legally locatable and who resignify their ambivalent ontological (...) status between life and death as an alternative sociopolitical location of speech and action in equality with “others.”. (shrink)

Acousmatic sound is often defined as a sound whose source is unseen, that is, in terms of a separation between the senses of hearing and seeing. Discussions about the acousmatic have generally focused on the ontological relation between the sonic effect and the visually unavailable source that produces it. This article examines the function of acousmatic sound in Argentine auteur Lucrecia Martel's La ciénaga ( The Swamp, 2001), arguing that the film's distinctive employment of acousmatic sound and acousmatic listening constitutes (...) a strategy of disruption, challenging the traditional concept of the “animal” – an ideological and oppressive notion produced by dominant Western philosophical discourse. My reading gives close attention to what seems to be the barking of an unseen dog and its effects on human listeners, contending that, as the semiotic stability of the figure of the dog gradually erodes within Martel's cinematic territory, listening to the canine voice becomes an unsettling sensory-cognitive experience; the sound of the barks presents an irresolvable epistemic problem. I draw on Jacques Derrida's late writings on nonhuman animals, borrowing the term animot, to argue that Martel's film brings into audibility an animality irreducible plural: an alterity exceeding logocentric economies of knowledge. The film's experimental aesthetics and construction of narrative, I suggest, are concerned with perceiving and making perception itself perceptible, while exposing the limits of human perception – impassable limits marked by an animality which gradually withstands conceptual domestication. Through its use of acousmatic listening, La ciénaga expands our perception of ecological ontology. (shrink)

The kind of collective improvisation attained by free jazz at the beginning of the sixties appears interesting from the perspective of contemporary debates on collective intentionality for several reasons. The most notable of these, is that it holds a mirror up to what analytical philosophers of action identify as “the complexly interwoven sets of collective intentions” that make a group more than the sum of its parts. But at the same time, free jazz poses a challenge to these philosophical theories (...) of collective intentionality, because what happens is not planned in advance but arises from spontaneous interactions in the group. The second and no less decisive reason is that jazz musicians act together in a very distinctive way, which casts into clear relief the interplay between togetherness and agonism, individual freedom and group commitment, which is contained in every human interaction. In other words, in free jazz we find what Hannah Arendt calls the “paradoxical” or “twofold” character of “human plurality.” Starting with the analysis of two paradigmatic case studies—Charles Mingus’s Folk Forms No. 1 and Ornette Coleman’s Free Jazz: A Collective Improvisation—my main concern in this paper is to provide a phenomenological account of the individual-yet-plural intentionality that emerges and runs through the improvisatory process in the free jazz case. After having made the negative point that this phenomenon represents a challenge to the analytical theories of collective intentionality, I shall argue that it can be accounted for from a phenomenological perspective. My basic thesis is that the overall cohesiveness of the improvisatory process must be regarded as a meaningful realization of an overall feeling, shared and shaped together by musicians over time—and not as the execution of an advanced plan. (shrink)

Can human rights in education enhance students and teachers capacity to reimagine their local community and to rethink the rules and laws that support such a social community? This paper is a political philosophical inquiry into human rights in education, drawing on the work of Hannah Arendt, Cornelius Castoriadis and Adriana Cavarero. By placing learning at the center of political philosophy through the notion of paideia, we need to ask how such an education can look like. According to Castoriadis, society (...) exists only insofar as it is embodied in its social individuals. Society and its individuals are in a constant process of becoming toward relational autonomy that implies a moral self-limitation. At the core of my philosophical inquiry into moral subjectification is the need to re-think human rights and the pedagogical subject in relational terms that imply self-limitation and political engagement in a wider cosmopolitan community. (shrink)

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening (...) by distinguishing between l’écoute and l’entente. L’écoute is an attending to and answering the demand of the other and l’entente is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of l’écoute, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (il s’écoute) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (se fait entendre) as he makes himself listened to (se fait écouter). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both l’entente and l’écoute when it listens as Chaplin listens. (shrink)

Break Up Variations is an annotated score by means of which we consider the document as a break-up from — and with — the thinking of performance. We explore the formal categories of page-based and stage-based scores and documentations of performance, asserting the simultaneity of the document and its performance in their mutual departures, theorising the break-up as a form of relation, not as its absence. As a committee of interdisciplinary researchers and practitioners, we consider annotation in terms of affective (...) and theoretical responses to each other’s subject positions. Break Up Variations relates to the problems particular to working in groups: the challenges of collaboration, the disagreements and community-led conflict resolutions, the difficulties with acting professionally, and the desires to keep working together, despite it all. We ask the following questions of each other and ourselves: What are the strategies that art, science, politics and theory might offer each other for navigating — possibly circumventing — the demise of relationships? If the working relationship breaks down, could the end of the group be considered a constitutive aspect of that group? We consider these questions to be about institutions as much as they are about interdependence on personal and planetary scales. Riffing on ideas about romantic break-ups, political dissolutions and ecological collapse, Break Up Variations considers the possibility that an end to a dream of symbiotic life is exactly what makes that dream possible and important. (shrink)