What can postmodernism do for, or to, educational research? The article discusses its potential for resisting closure and simplification. Developing a ‘preposterous’, anachronistic postmodern method that is caught up with surrealism and the baroque, the article plays with trompel'oeil paintings and outmoded popular entertainments such as magic lanterns, peep shows and clockwork automata as figures for critique and analysis. It argues for defamiliarisation, fascination, recalcitrance and frivolity as methodic practices for research in the compromised conditions of postmodernity, and as forms (...) of ethical resistance to the risk-averse literalism that pervades contemporary education policy. (shrink)

The article critically analyzes how contemporary image practices involving generative artificial intelligence are entangled with processes of democratization. We demonstrate and discuss how generative artificial intelligence images raise questions of democratization and citizenship in terms of access, skills, validation, truths, and diversity. First, the article establishes a theoretical framework, which includes theory on democratization and aesthetics and lays the foundations for the analytical concepts of ‘formative’ and ‘generative’ visual citizenship. Next, we argue for the use of explorative and collaborative methods (...) to investigate contemporary image practice, before analyzing the central part of our investigation, which takes the form of four collaborative workshops conducted in 2023 with external partners in different domains (the art scene, art therapy, education, and the news media). After analyzing insights from these workshops, the article significantly nuances how visual citizenship is at work in different manners depending on the different concrete image practices using generative artificial intelligence. Finally, we conclude that an aesthetic perspective offers valuable insights into foundational aspects of belonging to contemporary visual communities. (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)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some ontological features (...) that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

Most contemporary political theories of sovereignty – from Giorgio Agamben to Achille Mbembe – have argued that the emergency powers claimed by the Bush administration under the auspices of the War on Terror epitomized what Carl Schmitt calls a state of exception. If so, I argue, perhaps it is time for new visions of sovereignty to emerge, ones attendant to the eccentricities of the present conjuncture. Occupy Wall Street and the Arab Spring are but two obvious examples of counterpublics that (...) seem to have presented new modalities of sovereign life worth reflecting upon. Hardly states of exception, these are scenes of sovereignty that are more fraught and precarious, more democratic. I argue that the theories of sovereignty of George Bataille and Frantz Fanon may hold clues for coming to terms with these new sovereign scenes. Though often under-emphasized in the scholarly literature on Bataille and Fanon, for both thinkers sovereignty is a condition of existence, an expression of a surreal mode of esthetic experience and poetic beauty. I argue that drawing attention to the comparison of the political thought of Bataille and Fanon, and especially to the value of surrealism for contemporary political theory generally, holds promise for those of us interested in challenging the Schmittian consensus. At stake is a refreshed understanding of sovereignty, not as norm or exception, but as a condition of political life lived by everyday subjects caught in a surreal state in-between. (shrink)

This paper tests the aesthetic theory presented in Francis Bacon: The Logic of Sensation against the Foucauldian Turn in art in the 1980s and Damien Hirst's early artworks, in order to ask if the concepts taken from the more general aesthetics to be found in A Thousand Plateaus and What is Philosophy? are better suited to an understanding of contemporary art, before returning to the question of whether there is something truly significant at work in this folie à deux between (...) painter and philosopher. (shrink)

El presente artículo pretende describir el ethos, es decir, el hábito y la morada del historiador del arte, a partir de los elementos que vertebraron a la Historia Social del Arte: la reivindicación de los hechos, la consideración de las obras como el depósito de un intercambio social y la voluntad de ceñirse a los límites de lo históricamente descriptible. Distinguiéndose tanto de las preocupaciones específicas de la estética filosófica como de la reivindicación del pathos anacrónico propia de los recientes (...) programas de antropología de las imágenes, dicha historiografía, que en la generación de Haskell o Baxandall estuvo atravesada por un escepticismo general en relación con la teoría, se postulará, con la llegada de la New Art History, menos como un método que como el terreno sobre el que habría de lanzarse toda pregunta o todo concepto importado de la filosofía. (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)

:The theme of sacrifice appears in Jean-François Lyotard's writings on cinema not in terms of any representational content but in terms of the economy of the images from which a film is formally constructed. Sacrifice is here understood in a sense derived from Bataille, and related to his notions of general economy, and of sovereignty. Lyotard's writings on cinema have received some attention in English-language scholarship, but so far this attention has been focused almost exclusively on two essays which have (...) appeared in English translation: “Acinema” and “The Unconscious as Mise-en-Scène.” I offer an analysis which also incorporates his two other important essays on cinema, “Deux métamorphoses du séduisant au cinéma” [Two Metamorphoses of the Seductive in Cinema] and “Idée d'un film souverain” [The Idea of a Sovereign Film]. The interest of the former is that it makes most explicit the aesthetic politics – evident in many of Lyotard's writings on art – specific to cinema. In the latter, Lyotard gives his most extensive treatment of cinema, and frames it in terms of Bataille's notion of sovereignty. I offer an interpretation of Lyotard's philosophy of cinema which links these quite disparate essays, foregrounding the political dimension of the sacrificial economy of images he proposes: films of any variety, even commercial cinema, may include some sequences and images which are “sacrificial” in that they are “other” to the chronological narrative of the whole. These images liberate us from the seductive effects of the narrative, and the invitation to fantasise, which act as means of imposing and reproducing dominant social and cultural norms. (shrink)

:This paper explores a form of corporeal copying which it terms mimetic communication, and explores the way it is not limited to human communication but can and does operates across species. Focusing on the way movement and vision can be seen to be at work in this kind of mimetic communication, the paper argues that it constitutes an important form of affective knowledge about both human and non-human others. Taking the work of early twentieth-century documentary filmmaker Jean Painlevé, who worked (...) extensively with marine creatures, as a case in point, it explores the way in which certain technologies – in this case, cinema – can make use of mimesis as a communicational strategy which comprises the key feature of an aesthetic practice. It examines the implications of this for the way we conceive of affective spectatorship in cinema and for the way we understand our relations with animals, especially as we seek to study them. (shrink)

[opening paragraph]: An intriguing element of Paul Cezanne's legacy is that while he aligned his paintings with the classical Renaissance tradition of Western art, his innovative body of work ushered in a decisive break with the standards of that tradition in the twentieth century. The many ways in which Cezanne's representational system deviates from the pluralistic art of the twentieth century suggests that probing his allegiance to classicism offers a unique vantage point for studying visual art, perception, and consciousness. It (...) is for this reason that this paper examines Cezanne's contributions from both the painterly and the cognitive science perspectives, asking what artists in fact contribute to our studies in these areas. [A response to this article from Semir Zeki is published in Trends in Cognitive Science.]. (shrink)

:This paper explores a form of corporeal copying which it terms mimetic communication, and explores the way it is not limited to human communication but can and does operates across species. Focusing on the way movement and vision can be seen to be at work in this kind of mimetic communication, the paper argues that it constitutes an important form of affective knowledge about both human and non-human others. Taking the work of early twentieth-century documentary filmmaker Jean Painlevé, who worked (...) extensively with marine creatures, as a case in point, it explores the way in which certain technologies – in this case, cinema – can make use of mimesis as a communicational strategy which comprises the key feature of an aesthetic practice. It examines the implications of this for the way we conceive of affective spectatorship in cinema and for the way we understand our relations with animals, especially as we seek to study them. (shrink)

This article mounts a defense of my and Slavoj Žižek’s co-edited anthology, Subject Lessons: Hegel, Lacan, and the Future of Materialism, against the two main criticisms of it made throughout Graham Harman’s article “The Battle of Objects and Subjects”: (1) that we and our fellow contributors are guilty of gross overgeneralization when we classify thinkers from various schools of thought – among them New Materialism, object-oriented ontology, speculative realism, and actor–network theory – under the broad rubric of the “new materialisms”; (...) and (2) that despite our pretensions to the mantle of materialism, our Lacano-Hegelian position is actually a full-blown idealism. In responding to and attempting to refute these criticisms, I make the case that our Lacano-Hegelian model of dialectical materialism is an “extimate materialism.”. (shrink)

Many considerations of Walter Benjamin's oeuvre refer to the central role of the image and of the visual. Much has been written on terms such as the “optical uncon...