Essays explore the significance of Julia Kristeva’s concept of intimate revolt for social and political philosophy. Over the last twenty years, French philosopher, psychoanalyst, and novelist Julia Kristeva has explored how global crises threaten people’s ability to revolt. In a context of widespread war, deepening poverty, environmental catastrophes, and rising fundamentalisms, she argues that a revival of inner psychic experience is necessary and empowering. “Intimate revolt” has become a central concept in Kristeva’s critical repertoire, framing and permeating her understanding of (...) power, meaning, and identity. New Forms of Revolt brings together ten essays on this aspect of Kristeva’s work, addressing contemporary social and political issues like immigration and cross-cultural encounters, colonial and postcolonial imaginations, racism and artistic representation, healthcare and social justice, the spectacle of global capitalism, and new media. Sarah K. Hansen is Assistant Professor of Philosophy at California State University, Northridge. Rebecca Tuvel is Assistant Professor of Philosophy at Rhodes College. (shrink)

In our world we sleep and eat the image and pray to it and wear it too.– Don DeLillo, (2016) Mao II, p.27, Pan Macmillan.Some three years ago we envisioned a project concerning the shift from text...

The following pages sketch the outlines of “a Canaanite reading” of the health system. Beginning with the Black person—African, Afro-diasporic, Aboriginal, and Torres Strait Islander—who is seen by a health professional, the functions and effects of the racializing gaze are examined. I wrestle with Al Saji’s understanding of “colonial disregard,” Whittaker’s insights into the extractive disposition of settler institutions vis-à-vis Indigenous peoples, and Saidiya Hartman and Fred Moten’s struggle with the spectacular. This leads me to conclude that the situation of (...) the Black within the health system is a tragic one. The prescription for the path out of this tragedy that I settle on, responding to Okiji’s opening call, is found in Vernon Ah Kee’s “Unwritten” series. (shrink)

Recent social theory that stresses the ‘nonrepresentational’, the ‘more-than visual’, and the relationship between affect and sensation have tended to assume some kind of break or rupture from historical antecedents. Especially since the contributions of Crary and Jay in the 1990s, when it comes to perceiving the built environment the complexities of sensation have been partially obscured by the dominance of a static model of vision as the principal organizing modality. This article returns to some prior historical articulations of the (...) significance of motility in perception, retracing pathways across art history, architectural theory and the history of neuroscience to argue for an alternative model based on the movement of the eye. Along with subsystems that deal with balance and orientation, I offer parallels between spatial motifs of the interior spaces of the body – labyrinths, vestibules, chambers – and those in artefacts and the built environment that contribute to the heightened physicality of the oculomotor subject. (shrink)

This article examines the limits and potential of hospitality through struggles over auditory space in care at the end of life. Drawing upon empirical research and a nurse’s account of noisy mourning in a multicultural hospice ward, I argue that the insurgent force of noise as corporeal generosity can produce impossible dilemmas for care, while also provoking surprising ethical relations and potentialities. Derrida’s ideas about the aporias of the gift and absolute responsibility are used to make sense of the pushy (...) generosity of alterity as it is made to matter through sound. (shrink)

How does a sense of touch, figuratively and practically, get deployed within equality governance, and to what questions and ways of thinking about the state does this direct us? Taking 2009–2010 as a snap-shot moment in the development of British equality reform—the year leading up to passage of the Equality Act 2010—this article explores the relationship between touch (the haptic) and equality governance from three angles. First, how have governmental bodies used touch language and imagery, including in geometrical representations of (...) disadvantage? Second, what other, more challenging encounters and actions are imaginable; specifically, can touch mobilise the feeling state as a critical form of active citizenship? Third, what re-conceptualisations of the state does the touching, feeling state invoke, and with what effects? Specifically, does conceiving of the state as a multi-identity formation reframe the risks associated with a haptic state, thereby opening up new strategies for political action? (shrink)

Manila is one of the world’s most fragmented, privatized and un-public of cities. Why is this so? This paper contemplates the seemingly immutable privacy of the city of Manila, and the paradoxical character of its publicity. Manila is our prime exemplar of the 21st-century mega-city whose apparent disorder discloses a coherent order which we here call ‘neo-patrimonial urbanism’. Manila is a city where poor and rich alike have their own government, infrastructure, and armies, the shopping malls are the simulacra of (...) public congregations once found in cathedrals and plazas, and where household order is matched by streetside chaos, and personal cleanliness wars with public dirt. We nominate the key characteristics of this uncanny approximation of chaotic and discordant order – a polyphonous and polyrhythmic social order but one lacking harmony – and offer a historical sociology, a genealogy that traces an emblematic pattern across the colonizing periods of its emergent urban forms into the contemporary impositions of gated zones and territories. The enduring legacy of patrimonial power to Manila is to be found in the households and on the streets that undermine and devalue public forms of social power in favour of the patriarch and his householders (now relabelled as ‘shareholders’ in ‘public companies’) at the cost of harmonious, peaceable and just public order. Such a state of affairs is not only destructive of the historic built environment of the city, especially its public parks and plazas and heritage districts, its streets, footpaths, public transport and utilities, but is directly injurious of its citizens. To address the question of Manila’s private order and public chaos is to reopen the quest for the good city as the just polis. It is also to take us beyond arguments of indigenous versus colonial forms of urbanism that are mired in nationalist and modernization ideologies respectively, and it is to reject the reductive logics of globalization arguments that Asian mega-cities are but variations of American logics of urbanism. (shrink)

This article seeks to situate the athletic activities of Spartiates and their unmarried daughters during the Classical period in their broader societal context by using theoretical perspectives taken from sociology in general and the sociology of sport in particular to explore how those activities contributed to the maintenance of social order in Sparta. Social order is here taken to denote a system of interlocking societal institutions, practices, and norms that is relatively stable over time. Athletics was a powerful mechanism that (...) helped to generate consensus and to socialize and coerce individuals. It thus induced compliance with behavioral norms on the part of both females and males and thereby contributed meaningfully to the maintenance of social order in Sparta. Athletics inculcated conformity to norms that called for females to be compliant, beautiful objects of male desire. Athletics had an equally profound effect on Spartan males because it inculcated compliance with norms that valorized subordination of the individual to the group, playing the part of the soldier, and meritocratic status competition. Athletics may well have also to some degree empowered both Spartan females and males, but its liberatory dimensions can easily be unduly amplified. There is an ever-present dialectic in athletics, between its ability to reinforce norms that underpin the prevailing social order and its ability to foster individual autonomy. In the case of Sparta, the balance in that dialectic always inclined very much toward the former. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and Sartre) he (...) draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

Modern Western thought and culture have envisaged their task in terms of a metaphorics, a metaphysics and a technics of 'enlightenment'. However, the ethical and environmental implications of this determination to dispel all shadows have become increasingly pernicious as modernity both extends and alters the conceptualization and employment of (a now artificial) light as a tool of discovery and control. Drawing on the work of Foucault and Benjamin amongst others, this paper seeks to illustrate, through a critical ethopoietics, the 'speculative (...) aporia' of contemporary society from the perspective of radical ecology. The world does not just reflect our own instrumental interests: it has an elusive, shadowy existence of its own that can impinge upon our ethical perceptions. (shrink)

Considering formative twentieth-century theories in relation to contemporary technosocial developments, this article examines ideas of spectacle and surveillance as ways of approaching visual politics. I argue that the historically important relationship between the visual and political fields is now intensifying and mutating. First discussing Guy Debord’s The Society of the Spectacle, I show how his influential approach proves inadequate to the politics of image-saturated societies. I next show how critics of imperial and racial spectacles, from Michael Rogin to Claudia Rankine (...) and Tina Campt, provide better ways of engaging power and political contestation in the visual field. Third, I examine how Michel Foucault deployed notions of spectacle in his own work but argued for leaving the term behind, presenting surveillance as not just a different modality of power but also spectacle’s temporal successor. This account remains essential for both historical understanding and reckoning with contemporary surveillance. Fourth, however, as Simone Browne argues, Foucault’s separation between spectacle and surveillance is too stark, his history too prone to occlude race. Furthermore, recent surveillance technologies and practices have changed in ways that confound his terms, while extending and also altering the racial dynamics explored earlier in the essay. Today, even surveillance based on optical media contributes to a “postvisual” image world in which algorithmic, machine-machine communication abets forms of power neither tied to human perception nor graspable as subject formation. With surprising assistance from Debord, I end by discussing the significant theoretical and political challenges posed by the ironies of postvisual visuality. (shrink)

This essay excavates the pre-capitalist influences of the thought of Guy Debord, French postwar critical theorist and founding member of the Situationist International. Tracing a lineage of what can be described as Debord’s aristocratic sensibility, we discover not simply an aesthetic approach to navigating social life, or guidelines for outmanoeuvring an adversary, but also contempt for honest labour, monetary transactions in cultural affairs, and conventional political gestures. Together these themes remain part of a legacy of an aristocratic past, one that, (...) as will be examined here, informed Debord’s acrimony towards his own mid-20th-century moment. The following discussion will advance a genealogy of Debord’s thinking with these themes from late antiquity to the Italian Renaissance, and finally with an extended examination of the baroque, a concept that helps advance Debord’s diagnostic concept of the society of the spectacle. (shrink)

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

This article examines an experimental genre of philosophical writing known as the Denkbild (‘thought-image’) practiced by members of the Frankfurt School to show how it is resurrected in the Augmented Reality installation of the artist-scholar Caitlin Fisher. It argues that Circle (2012) renews the Frankfurt School’s project of reaching to art to find a way for critical theory to bring about ‘a transformation of consciousness that could become a transformation of reality’. However, as a material and virtual artifact that produces (...) a unique circuit of exchange, the digital artwork is able to provide a sharper picture of that reality, positing community as the context and goal of philosophical thinking. Through a complex sculpting of its form, content, and image of its own thoughts, Fisher’s Denkbild strives to create a fluid, ‘disconnected and non-binding’ form capable of building what Adorno described as a ‘shared philosophy from the standpoint of subjective experience’. (shrink)

Using the exemplary case of 19th-century American state penitentiaries, the authors explore penitentiary control from the perspective of sensing agents who navigate a controlled sensory ecology – the prison, as structured by institutional rules, differential power relations, and architectural plans. Moving beyond Foucault’s Discipline and Punish and Goffman’s Asylums, they stress a pragmatist approach to understanding human sensing and explain inmates’ creativity under constraints. Employing wardens’ disciplinary journals and other secondary reports, the article emphasizes three theoretical issues that explain why (...) Panoptical prisons’ attempts to control sense experiences can sometimes fail: architectural designs that inadequately negotiate the contradictory demands of visual and acoustic control; inmates’ active mobilization of perceptible objects as means of resistance; and power differences between prison authorities and inmates that prevent actors from sharing a common sensory field. The authors’ overarching goal is to advance, via pragmatism, a sensory analysis of institutional control. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

This article draws from the reading protocols developed by José Esteban Muñoz to advance a political reading of Georges Bataille. It argues for a consistent and coherent anti-fascism across Bataille’s work, from the early “political” writings to the mature turn toward mysticism. Focusing in particular on his writings from the 1930s, this article clarifies some of the key concepts in Bataille’s critical theory of fascism: expenditure, heterology, base materialism, and democratic anguish.

Within the past couple of decades, art-historical scholarship has developed a more acute awareness of the need to reassess and re-evaluate its dominant narratives. It has become apparent that the value judgements that have guided modernist historiography can no longer be taken for granted, and there has been an ever-increasing demand for more diverse perspectives. One central issue which has gradually surfaced into broader consciousness, is the impact of occult and esoteric ideas on artistic theories and practices since the late (...) nineteenth century. This article looks into the background of this phenomenon, locating a point of culmination in the new Symbolist direction of art that emerged towards the end of the nineteenth century. The aim is to demonstrate that central Symbolist principles, such as inwardness, intuition, and dematerialisation are linked with popular esoteric beliefs, and that the late nineteenth-century aesthetic theorisations of these issues have had significant effects on later artistic developments. The artists of this new movement were no longer satisfied with the old ‘window on the world’ paradigm. Instead of copying a tangible reality as it appeared to their eyes, they turned inward, towards the world of dreams, fantasies and nightmares, visions and hallucinations, ancient myths and fairy tales. But they were not merely looking for new kinds of subject matter in order to ‘shock the bourgeoisie’. The innovative aesthetic attitude that they developed in both theory and practice rested on a philosophical foundation that was deeply rooted in occult and esoteric ideologies and their quest for new directions and forms of expression in art was paralleled by an intensive religious searching. (shrink)

We begin with a puzzle about how to intelligibly combine the active and passive elements of perception. For counsel, we turn to Augustine’s account of perception in De Trinitate. Augustine’s trinitarian account of perception offers an attractive resolution of our puzzle. Augustine’s resolution of our puzzle, however, cannot be straightforwardly adopted. It must be adapted. We end with speculation about how this might be done.

Long recognised as a painting ‘about’ painting, Velázquez’s Las Meninas comes to Lacan’s aid as he explicates the object a in Seminar XIII, The Object of Psychoanalysis (1965–1966). The famous seventeenth century painting provides Lacan with a visual mapping of the ‘ghost story’ he discovers in the Cartesian cogito, insofar as it depicts the unravelling of the Cartesian representational project at the moment of its founding gesture. This article traces Lacan’s argument as he turns to art, linear perspective and topology (...) to model how the object a persistently eludes the grasp of scientific knowledge. Following a discussion of distance-point perspective in Renaissance Italy and the role this innovation played in enabling distorted depictions of objects in space, I propose Henry James’s ghost story, “The Jolly Corner,” as the sequel to Lacan’s reading of Las Meninas. In James’s tale, we obtain a narrative account of what the figures in Velasquez’s painting might ‘see’ as they return our gaze towards us. (shrink)

Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.

. An Ethics of the Ephemeral? The Possibilities and Impossibilities of Zygmunt Bauman's Ethics: a Review of Some Recent Books by Zygmunt Bauman. Ethics, Place & Environment: Vol. 2, No. 2, pp. 275-285.

For nearly a quarter of Darwin's Descent of Man , it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable (...) graphic image called a spectrogram. This article narrates the terms under which the image, rather than the sound, of birdsong has become a sign of humanity's ability to reason objectively. Drawing examples from the strange evolutionary tales that exist at the juncture of ornithology, music history, illustration, and linguistics, this story suggests how it was that the human ear disappeared in the unbridgeable gap between the sciences and the study of aesthetics so tellingly termed "the humanities.". (shrink)

Axel Honneth distinguishes between recognitive practices according to the social domain in which they occur and this allows him to theorise the relationship between power and recognition. 'Love-based recognition', which suggests the centrality of recognition to the relationships that nurture us in the first instance, is located in the family. Honneth argues that relationships encompassed by this category are pre-political, thereby repeating the distinction between the public and the private common to much political theory. This article explores the structure of (...) this delineation in his thinking. I argue that Honneth's analysis marginalises feminist concerns with how power functions through recognition in the private sphere. Honneth also robs himself of a rejoinder to recognition sceptics, who suggest that the desire for recognition is a condition of subordination. The article argues for an alternative approach to the analysis of 'love' within recognitive theory. © 2010 Macmillan Publishers Ltd. (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault dismissed the (...) image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)

: This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the "glare" of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

Self-presentation is a term that indicates conscious and unconscious strategies for controlling or managing how one is perceived by others in terms of both appearance and comportment. In this article, I will discuss the phenomenology of self-presentation with respect to the phenomenological insights of Edmund Husserl and Merleau-Ponty regarding the visibility of the body within intercorporeal relations through ‘behaviour’ and ‘expression.’ In doing so, I will turn to the work of the Canadian sociologist and social theorist Erving Goffman. Goffman’s account (...) of self-presentation suggests why embodied subjects adopt certain styles of ordered bodily behaviour as determined by the broader social order, giving existential and social significance to the ontological structures of intercorporeal bodily communication. Following Goffman, I will suggest that the embodied subject is continuously—and constitutionally—engaged in implicit and explicit strategies to manage how the body is presented to others. In articulating self-presentation as a feature of intercorporeality, my aim in this article is to use Goffman’s insights to extend Husserl’s and Merleau-Ponty’s accounts of bodily communication by demonstrating that bodily communication that is instantiated at the level of intercorporeality is always expressed through social life with its various historical, cultural and linguistic dimensions. (shrink)

In the aftermath of a normalized Foucaultian world with an all encompassing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which (...) are chronicled and labeled by Michel Foucault as the normalizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normalizing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characterization to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimbleness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. (shrink)

Jean Baudrillard's first simulation stage re-interpreted in the light of architectural theory and psychoanalysis.

Social theory draws energy not just from the concepts it articulates but also from the images it invokes. This article explores the image of the veil in social theory. Unlike the mask, which suggests a binary account of human conduct (what is covered can be uncovered), the veil summons a wide range of human experiences. Of special importance is the veil’s association with religion. In radical social thought, some writers ironize this association by “unveiling” religion as fraudulent (a move indistinguishable (...) from unmasking it.) Baron d’Holbach and Marx offer classic examples of this stratagem. But other writers, notably Du Bois and Fanon, take a more nuanced and more theoretically productive approach to both religion and the veil. Refusing to debunk religion, these authors treat the veil—symbol and material culture—as a resource to theorize about social conflict. Proceeding in three stages, I, first, contrast the meanings of mask and unmasking with more supple veil imagery; second, identify anti-religious unveiling that is tantamount to unmasking; and, third, examine social theories of the veil that clarify the stakes of social adversity and political struggle. Du Bois’s and Fanon’s contributions to veil imagery receive special attention. (shrink)

This paper attempts to draw out the political import of Merleau-Ponty’s ontology of the flesh, by engaging the critique levelled against it by his student and literary executor Claude Lefort. In suggesting a tension in Merleau-Ponty’s work that obscures alterity, Lefort seems to miss the rich political import of Merleau-Ponty’s ontology of the flesh. Founded in his development of the concepts of écart and reversibility, Merleau-Ponty’s ontological position breaks with many of the standard tenets of political thinking, and offers a (...) multifaceted conception of alterity. I will suggest that Lefort’s own claim to alterity buckles under the immanent weight of his critique of Merleau-Ponty, offering at best a conception of otherness limited to a self-relational non-identity. This conception ultimately fails to adequately consider the relations existing between different beings-in-the-world. In thinking being as flesh, Merleau-Ponty offers us an ethico-political optic that attempts to think alterity and ontology in a manner that unhinges us from our closed and autonomous being, opening us to the world, others and to the non-identical becoming that characterizes being as such. (shrink)

In this paper I discuss a framework for the analysis of media discourse – the ‘analytics of mediation’ – that takes into account the embeddedness of media texts both in technological artefacts and in social relationships and, hence, seeks to integrate the multi-modal with the critical analysis of discourse. On the methodological level, the analytics of mediation applies a multi-modal discourse analysis onto media texts in order to study their visual and linguistic properties: camera/visual; graphic/pictorial or aural/linguistic. On the social (...) theory level, the analytics of mediation addresses critical concerns on the ethical and political role of television and other media in our ‘global village’. Can television foster a cosmopolitan consciousness or does its ‘fake proximity’ alienate the spectator from the rest of the world? Can we talk about the media as agents of global citizenship or do the media lead to compassion fatigue – a Western denial of humanitarian problems? I illustrate such questions by drawing on one concrete example of television news. (shrink)

One aspect of Foucault's thought brings him much closer to Freud than many commentators believe. This Freudian “moment” in Foucault is formulated in the following dictum: the soul is the prison of the body. For Foucault, the modern soul is formed when the norms that govern disciplinary training and exercise are internalized. Once internalized, these norms affect our self-understanding and conduct. This paper focuses on Foucault's account of internalization. It shows that this Freudian moment in Foucault mitigates his criticisms of (...) the repressive hypothesis, but it also suggests a conception of interiority that can be interpreted as the modern instantiation of the rapport à soi. (shrink)

This article opens a special section on the politics of opacity and openness. The rise of transparency as a political and cultural ideal has left secrecy to accumulate negative connotations. But the moral discourse that condemns secrecy and rewards transparency may cause us to misread the symbiotic relationship between these terms. After providing a historical account of transparency in public and political life, this article therefore makes the case for working with the tension between these terms rather than responding to (...) the dyad as a choice. We need to find different ways of staying with the aporia of transparency-as-secrecy and secrecy-as-transparency. Despite common demands to support either transparency or secrecy in political and moral terms, we live with the tension between these terms and its inherent contradictions daily. The theoretical questions posed by this material reality need to be asked and responded to. This article and the special section as a whole begin such an enterprise. (shrink)

While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, (...) there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski. (shrink)

This response article addresses the conception of “film as philosophy” developed by Shawn Loht in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), with specific attention to the relevance and implications of Loht's approach for the broader debate beyond a strictly Heideggerian film-philosophy. The article proceeds in three distinct takes. The first take examines Loht's later-Heideggerian inspirations, arguing that although these more fundamental notions of philosophy open significant possibilities for film as philosophy, they nevertheless run (...) the risk of being too embracive, as well as too elusive, to make a distinctive contribution to the debate. For its second take, the article resets its initial point of departure by considering how the earlier Heidegger of Being and Time cues in Loht's approach a special – albeit, ultimately, untenable – investment in cinematic reflexivity, with the stylistic hallmarks of Terrence Malick serving as a test case. In its final take, the article concludes by venturing a possible solution to the questions raised in the first two takes. Here it is proposed that, in contrast to Loht's general interest in cinematographic devices, the voiceover holds a far more sustainable promise of reflexivity, while at the same time giving more prominence to the viewer's acts of listening – which is what a quintessentially Heideggerian film phenomenology surely asks for. (shrink)

A growing interest in Claude Lefort is bringing to light his radical insights on modern democracy, totalitarianism, and human rights. While the notion perhaps most closely associated with Lefort is that of ‘the empty place of power,’ this article offers a reading of Lefort from a unique angle: his concept of the myth of the One. I demonstrate that to Lefort, the phantasmagorical appeal of the One – the desire for harmony, unity and stability – is the force that continually (...) endangers the democratic project, while the distinctive and unavoidable characteristic of democratic society is its ‘inability’ to name itself as One – a coherent and established social self. Thus, the main challenge of society is its symbolic self-institution. The discussion illuminates Lefort’s singular stance in the study of totalitarianism (Arendt), his rejection of the imaginary (next to Castoriadis), his debt to the structuralism scheme (Lévi-Strauss), as well as his conversation with anarchist voices (La Boétie, Clastres) and with psychoanalysis (Lacan). Ultimately, what Lefort coins ‘symbolic division’ condenses the pledge of democracy to embrace a neurotic self, a bodiless body, a nameless identity in an empty space of power. As such, Lefort’s anti-myth of the One promises to be a vexing objective. (shrink)

This study places Nāgārjuna and Plato in dialogue regarding how both seek to orient philosophy in the face of indeterminacy observed at the elemental level of existence, specifically, the indeterminacy of fire’s light. Looking to the elemental within Chōra and Śūnyatā, a directive becomes discernible for calibrating philosophy to this indeterminacy, and crucial limitations are disclosed, which expand philosophy by enabling a productive relation to the non-philosophical. What emerges are directives for language, which serve to modify philosophy’s violence towards the (...) world by striking a middle way between the binaries of reification and nihilism, speech and silence. (shrink)

For the better part of the past decade, global social movements have drawn popular attention to the power of image production and acts of representation, particularly the ways ubiquitous cameras challenge the exercise of power This essay lays out a theoretical schema for interrogating a broader “politics of visibility” at work in the early twenty-first century, most readily apparent through the activities of smartphone-enabled and visually-savvy activists. As new media technologies have opened up new strategies of representation, these modes of (...) representation have been incorporated into existing media practices that delimit the ways in which the consequentiality of various movements and political projects can be understood. Theoretically revisiting the concept of visibility, this essay critiques the relationship between technology and the production of knowledge in media studies before arguing that the visibility of an event presages a consequentiality partially determined by the ways in which it is rendered perceptible and thus, intelligible. (shrink)

This article argues that the descriptive turn evident in contemporary capitalism challenges orthodox sociological emphases on the central importance of causality and the denigration of descriptive methods. The article reviews the different evocations of descriptive sociology pronounced by three very different contemporary sociologists: Andrew Abbott, John Goldthorpe, and Bruno Latour, and lays out their different approaches to the role of the `sociological descriptive'. It is argued that their apparent differences need to be placed in a broader re-orientation of sociology away (...) from its historical interface with the humanities and towards the natural sciences. How this reorientation involves a new role for visual methods which have traditionally been decried in orthodox sociology is examined, and the article concludes with suggestions for how sociology might best orient itself to the descriptive turn. (shrink)

The lived experience of COVID-19 forcibly returns us to our bodies. This essay uses this return to embodiment to consider how our senses, as well as our “sense” of space, have been reoriented by this pandemic. It turns to certain strands within feminist philosophy that have questioned the privileged place vision has been accorded in the history of Western thought, as well as to mid-twentieth century phenomenologist Maurice Merleau-Ponty’s aim to rediscover the world of perception by philosophically centring the body, (...) as touchstones to put forth a phenomenology of contagion. Contagion makes us confront our phenomenological and embodied experience of tactility. This focus on tactility undermines the philosophical hierarchy of the senses that accords sight as the most “noble” of the senses in Western canonical thought. While COVID-19 results in us rediscovering our bodies through touch in a moment of fear and panic, this essay considers how this rediscovery may be harnessed for different, possibly more just, futures. (shrink)