In this paper, I argue that we face a challenge in understanding the relationship between the ‘value-oriented’ and ‘other-oriented’ dimensions of shame. On the one hand, an emphasis on shame's value-oriented dimension leads naturally to ‘The Self-Evaluation View’, an account which faces a challenge in explaining shame's other-oriented dimension. This is liable to push us towards ‘The Social Evaluation View’. However The Social Evaluation View faces the opposite challenge of convincingly accommodating shame's ‘value-oriented’ dimension. After rejecting one attempt to chart (...) a middle course between these extremes, I argue that progress can be made if we reject the widespread assumption that the other-oriented dimension of shame is best understood primarily terms of our concern with the way we appear to others. Instead, I outline an account which treats shame as manifesting our desire primarily for interpersonal connection and which elucidates the property of shamefulness in terms of merited avoidance. (shrink)

This paper offers a way to think philosophically about Andy Warhol’s Screen Tests and in particular their ethical implications. I focus on how the faces of the Screen Tests’ participants appear on the screen, making a link to the philosophy of Emmanuel Levinas. For Levinas, the human face signifies the possibility of transcending day-to-day structures of perception based on understanding, knowledge and visual representation, and can therefore invite an encounter with radical alterity. I make a connection between Levinas’s reading of (...) the face and the observations of a number of film theorists who see the cinematic close-up as a unique image, transcending the status of an ordinary perceptual phenomenon. I examine two Screen Tests, those of Bob Dylan and Ann Buchanan, using them as concrete examples of how film close-ups can open viewers to the face, in a Levinasian sense: the epiphany of radical alterity. This allows me to claim that despite Levinas’s declared hostility towards the visual, his philosophical articulation of the notion of the face helps to show the ethical implications of the appearance of the human face in cinema in general, and in Warhol’s Screen Tests in particular. (shrink)

The concept of shame is important for Deleuze's ethics and politics. In this essay, shame is positioned within a nexus of concepts: the intolerable, seeing, resistance, powerlessness, and belief in this world. If one has fallen short, it is not because of who one is, how one is seen, or how one has been judged, but it is, in part, because of one's failure to see what is intolerable. In this respect, shame, in particular ‘the shame of the world’, has (...) the potential to be a proto-political and proto-ethical affect because it suspends and precludes the ready invocation of clichés and explanations that buttress us against reality. This disruption in turn opens a space for creativity and resistance. (shrink)

In 1930 Husserl wrote that phenomenology is ‘a transcendental idealism that is nothing more than a consequentially executed self-explication in the form of an egological science, an explication of my ego as subject of every possible cognition, and indeed with respect to every sense of what exists, wherewith the latter might be able to have a sense for me, the ego.’ In transcendental-phenomenological theory, according to Husserl, ‘every sort of existent itself, real or ideal, becomes understandable as a “product” of (...) transcendental subjectivity, a product constituted in just that performance.’ This appears so inimical to the fundamental bases of feminist theory that the question of the very possibility of a ‘feminist phenomenology’ inevitably arises, not least because so much associated with the contributions of feminist theory to philosophy concern precisely the critique of the transcendental, isolated, disembodied subject. This chapter explores the different kinds of feminist phenomenology of pregnancy and birth with this problem in mind. Although phenomenology has developed and transformed itself in ways more accommodating to feminist theory we are still entitled to ask what makes it phenomenology? What are the presuppositions of any feminist phenomenology if it is still to count as phenomenology, rather than descriptive social-psychology or feminist metaphysics or feminist ethics? Is phenomenology essentially tied to first-personal description, or can third-person accounts be a legitimate part of its analyses? If third-person descriptions are accepted as a legitimate, what considerations govern the inevitable interpretative aspect of their analysis? Can there be any phenomenology, feminist or otherwise, without some conception of transcendental subjectivity? And what is at stake in the continued use of the transcendental problematic, granted its immanent phenomenological criticism and its various theoretical transformations? This chapter addresses the question of the philosophical specificity of feminist phenomenology by pursuing its distinction from the use of phenomenological research methods in practice disciplines and qualitative psychology, via two of the pivotal questions raised above: can there be any phenomenology, feminist or otherwise, without some conception of transcendental subjectivity? And what is the role of third person testimony in phenomenology? I will argue that the first of these questions remains a problem for feminist phenomenology, in a way that is not easily solved with recourse to third person testimony, the use of which remains under-theorized in the feminist phenomenological literature. Finally, I will show how the problem of transcendental subjectivity is particularly acute for the feminist phenomenology of pregnancy and birth when we consider the generative metaphorics of its philosophical origin in Kant’s philosophy. (shrink)

Examines how violence has been conceptually and rhetorically put to use in continental social theory.

This paper aims to establish a distinction and relationship between two types of noise – active noise and passive noise – while giving emphasis to the latter. Active noise is the discourse of negativity and violence that some theorists associate with noise’s materiality, an association particularly pronounced in engagements with Japanoise. The problem with this discourse is that it relies on a culturally normative understanding of noise as well as novelty. This narrative inevitably leads to a dead end. Noise, and (...) artistic practices like Japanoise that draw on noise sounds, have a short lifespan if their entire purpose is one of shock and disturbance. However, Japanoise is not dead: it persists both as a genre and as a sonic idea/gesture. This article suggests that noise persists, and Japanoise remains relevant, because it comes from a region not exhausted by categories of negativity and violence. This article will show how underneath active noise there resounds a deeper, more profound a-cultural noise. Drawing on Maurice Blanchot’s account of passivity, which names the anarchic region of absence in his thought, this noise will be described as passive noise. In this context, passivity must be understood differently from the conventional sense as something opposed to activity. Likewise, passive noise does not refer to background noise. Instead, passive noise will be described as the interiority of excess that manifests as a breach in the closure of active noise. This breach will be shown to be consistent with Blanchot’s view of the inexhaustibility of art and will be described, specifically in the context of Japanoise, as the intimacy of excess that is the lifeblood of maximalist forms of noise-making. This will also amount to a reconsideration of the idea of transgression by reframing Japanoise in terms of inertia. (shrink)

_Examines how violence has been conceptually and rhetorically put to use in continental social theory._.

This paper aims to establish a distinction and relationship between two types of noise – active noise and passive noise – while giving emphasis to the latter. Active noise is the discourse of negativity and violence that some theorists associate with noise’s materiality, an association particularly pronounced in engagements with Japanoise. The problem with this discourse is that it relies on a culturally normative understanding of noise as well as novelty. This narrative inevitably leads to a dead end. Noise, and (...) artistic practices like Japanoise that draw on noise sounds, have a short lifespan if their entire purpose is one of shock and disturbance. However, Japanoise is not dead: it persists both as a genre and as a sonic idea/gesture. This article suggests that noise persists, and Japanoise remains relevant, because it comes from a region not exhausted by categories of negativity and violence. This article will show how underneath active noise there resounds a deeper, more profound a-cultural noise. Drawing on Maurice Blanchot’s account of passivity, which names the anarchic region of absence in his thought, this noise will be described as passive noise. In this context, passivity must be understood differently from the conventional sense as something opposed to activity. Likewise, passive noise does not refer to background noise. Instead, passive noise will be described as the interiority of excess that manifests as a breach in the closure of active noise. This breach will be shown to be consistent with Blanchot’s view of the inexhaustibility of art and will be described, specifically in the context of Japanoise, as the intimacy of excess that is the lifeblood of maximalist forms of noise-making. This will also amount to a reconsideration of the idea of transgression by reframing Japanoise in terms of inertia. (shrink)

In this article I examine what happens to the “I” when the other disappears. I elucidate the relationship between ontic – relational ties to specific others – and ontological relationality – the fundamental relationality that facilitates the very existence of the “I.” The loss of an ontic relationality, I contend, ensures that the “I” can never be the same as it was prior to the loss. But the disappearance of an ontic relationality also accentuates that the “I” cannot disavow its (...) ontological relationality, despite the pain and suffering brought about by the loss of a specific other. I argue that exposure to this ontological relationality, through the deprivation of an ontic one, offers us the opportunity to re-think habituated and potentially damaging forms of relationality, particularly in an age when neoliberal rationality encourages us to turn away from the other and to seek shelter in the self. To explicate the chiastic relationship between ontic and ontological relationality, I draw on Maurice Merleau-Ponty’s concept of the “hinge,” Judith Butler’s work on grief and mourning, and Emmanuel Levinas’s notion of the “face.” By looking specifically at remembrance campaigns for victims of forced disappearance – particularly in Guatemala and Argentina – I show how faces of the disappeared continue to haunt the political present in ways that refuse the fantasy of a return to a former order. In doing so, these campaigns keep exposing us to the ontological relationality that underpins all human life, encouraging us to find new ways of relating that transcend our habituated and repetitive relational behaviours. This exposure, I argue, illustrates that no amount of self-sufficiency allows us to escape the ontological necessity of relationality. The disappearance of the other, any other, discloses the fraudulent anti-relationality of the neoliberal era by revealing the ties that connect beings together. This disclosure, I conclude, constitutes the importance of the relationality of disappearance. (shrink)

For Levinas, the moment of real meaning is in the relation sustained with alterity. This relation is difficult or impossible to characterize philosophically, however, because to render it in comprehensive or objective terms would reduce the relation to one of comprehension and make it commensurate with the ego. Thus philosophy has an ambivalent status with respect to transcendence and ethics; but Levinas is convinced of the essentially transcendent or ethical meaning of Judaic practice: Talmudic exegesis, but also Jewish ritual and (...) the keeping of the sabbath; and these elements are included within a conception of Jewish educational practices. Thus to what extent transcendent meaning can be discussed in philosophical terms and evinced in philosophical work —or rather, to what extent transcendent meaning is possible at all—may be clarified by a sketch of Levinas’ broad approach to Jewish practice, particularly in terms of education. This essay shows how Jewish education is essential for transcendence and ethics for Levinas. Reference is made to several untranslated texts that Levinas published for intellectual but nonacademic French-Jewish journals, in which he explains his own pedagogical vocation. This offers an invaluable perspective on his philosophical and Judaic writings; and above all it gives an indication of his vision of the quotidian and life-long educational practices through which ethics and the transcendent relation between human beings are possible. Finally it raises the question of whether a secular or philosophical education could offer this as well. (shrink)