Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...) the faux-snuff film’s singular focus lays bare the killer-self. The killer’s identity is principally constituted by the murders they commit. Resultantly, faux-snuff’s victims necessarily affirm the killer qua killer in the moment of murder. However, homicide eradicates the victim. Victims thus vanish in the moment they become the killer’s counter-identity. Consequently, the mock-snuff film centralises not only killing, but also the killer’s self-abnegation. Simulated-snuff’s repeated murders are a compulsive process of becoming in which the killer-self is both reified and erased. Despite presenting events through the killer’s eyes then, the simulated-snuff film can never provide access to the killer. The killer is an absent-presence that also acts as a constant reminder that the viewer is profoundly distanced from the action depicted, despite its apparent immediacy. In sum, faux-snuff commonly combines first-person form with relentless violent content. That melding leads me to scrutinize the apparently absolute binary oppositions at the heart of self-conception. By nature of their approach, these films routinely expose the tipping points between victim/killer, self/other, and life/death. In doing so, simulated-snuff catalyses questions about the self in general, and about our own selves in particular,. (shrink)

Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective, and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that the (...) faux-snuff film’s singular focus lays bare the killer-self. The killer’s identity is principally constituted by the murders they commit. Resultantly, faux-snuff’s victims necessarily affirm the killer qua killer in the moment of murder. However, homicide eradicates the victim. Victims thus vanish in the moment they become the killer’s counter-identity. Consequently, the mock-snuff film centralises not only killing, but also the killer’s self-abnegation. Simulated-snuff’s repeated murders are a compulsive process of becoming in which the killer-self is both reified and erased. Despite presenting events through the killer’s eyes then, the simulated-snuff film can never provide access to the killer. The killer is an absent-presence that also acts as a constant reminder that the viewer is profoundly distanced from the action depicted, despite its apparent immediacy. In sum, faux-snuff commonly combines first-person form with relentless violent content. That melding leads me to scrutinize the apparently absolute binary oppositions at the heart of self-conception. By nature of their approach, these films routinely expose the tipping points between victim/killer, self/other, and life/death. In doing so, simulated-snuff catalyses questions about the self in general, and about our own selves in particular. (shrink)

Abstract: A self-abnegating person lacks contact with their agency. This can be against their will, in absence of their will, or voluntarily. This does not mean that they cannot provide reasons for or a narrative about their actions. It’s just that the reasons or narrative are someone else’s. People abnegate parts of their agency regularly; for example, within hierarchical institutions. In other cases, the self-abnegation is all-encompassing; for example, a victim of brainwashing. An agent in such a position can completely (...) fail to understand themselves or be understood by others as having a self. I focus on two problems related to self-abnegation. The first is whether there is a conception of a self that can reliably discriminate between strong selves and abnegated selves. The second is whether a person with an abnegated self should be treated as a person with a strong self. I conclude that the good of respecting derived or instrumental agency comes in putting that person in a position to agentially flourish and in maintaining the structural conditions and expectations of agency. (shrink)

Virtues can be considered to play a causal role in the production of behaviour and so too can our self-narratives. We identify a point of connection between the two cases and draw a parallel between them. But, those folk psychological notions, virtues and self-narratives, fail to reduce smoothly to the underlying human physiology. As a first step towards handling that failure to connect with the scientific framework that is the familiar grounding for our understanding of causation, we consider the causal (...) theory of action, a leading theory of action, which shows how reasons, understood as an appropriate pair of beliefs and desires, can be treated as causes of action. Davidson’s picture is based on cause as a relation between events, which can have both a description in scientific terms and in folk psychological terms. The character of both virtues and self-narratives is not that of events, even extended ones, so we need to refer to examples of scientific explanation that incorporate structural properties of objects. While we retain the spirit of the causal theory, we wish to guard against any unwarranted optimism that an explicitly scientific explanation for human action lies in our future, drawing on Chomsky’s view that a causal explanation of human actions is likely to remain beyond human science forming capacities. We take a mild-realist view of virtues and self-narratives, in the style of Dennett. We argue that, in spite of that limited form of realism, underlined by Chomsky’s mysterian position in this domain, we still need to frame our explanations of behaviour based on virtues and self-narratives in causal terms. (shrink)

1. The current political scene in many countries is populated by polarised groups with sharply contrasting loyalties and beliefs implying that there are fundamental schisms between opposing groups....

In this paper I seek to clarify the role of narrative in personal unity. Examining the narrative self-constitution view developed by Marya Schechtman, I use a case of radical personal change to identify a tension in the account. The tension arises because a narrative can be regarded either to capture a continuing agent with a loosely coherent, consistent self-conception – or to unify over change and inconsistency. Two possible ways of responding, by distinguishing senses of identity or distinguishing identity and (...) autonomy, are examined, but I argue that neither precisely maps this tension. I then develop a distinction between two ways in which narrative can unify: through “bottom-up” processes related to the connection between agency and self-conception; and “top-down” processes related to self-interpretative activity. The account provides ways to resolve some criticisms of narrative theories of identity, in particular in better accounting for the role of repudiated characteristics in narrative identity. (shrink)

This paper attempts to make more explicit the relationship between narrativity and feminist care ethics. The central concern is the way in which narrativity carries the semantic load that some accounts of feminist care ethics imply but leave hanging. In so doing, some feminist theorists of care-based ethics then undervalue the major contribution that narrativity provides to care ethics: it carries the semantic load that is essential to the best care. In this article, I defend the narrative as the central (...) medium though which we make sense of and communicate our lives and their attendant hopes and cares. More than just working with the narrative of the cared-for, caring is about investing in the narrative of the cared-for in order to meet the needs of this cared-for and how this narrative might turn out. I will further demonstrate how the attitude of caring or investing in a narrative would amount to what Gabriel Marcel has described as the attitude of disponibilité. (shrink)