Drawing on an array of sources, from Deleuze and Guattari’s philosophy through to non-philosophy, this paper concerns itself with the manifestation of the concepts of hope and despair in utopian thought and continental philosophy and the experience of hopelessness, despair and exhaustion in the contemporary moment. I aim to demonstrate such pressing concerns through a comparison of Japanese philosopher Kojin Karatani and Japanese fiction writer Ryū Murakami with the American science fiction-thriller film directed by Michael Bay, The Island. What is (...) explored in these works is the dialectic of exhaustion and possibility. The focus of the paper is on the fecund moment inhering in the incapacity of thought to think the possibility of utopia. In terms of the philosophy of education, this hones in on the perceived lack of vision of such a possibility among youth and the failure of the university qua institution to proffer an alternative world to its cohort. To demon... (shrink)

In the South Korean film, The Parasite, the underling family, in an act of desperation, uses deceptive means to infiltrate the rich family. The term parasite refers nominally to the underling family, and their efforts to befriend and inhabit the class territory and social hierarchy of the rich family. How can this be of use for education? To answer this, we ask: what can we learn from Parasite to inform contemporary philosophy of education? Primarily, this experimental piece written from different (...) philosophical viewpoints, suggests that the images, narrative, and social context of the film cannot be read stereotypically. Using a blend of Deleuze and Stiegler ‘cinema-theory’, we present a heuristic perspective on the Parasite from three viewpoints: (1) South Korean society, and how a pedagogy of the parasite helps to understand the dynamics of contemporary philosophy of education in a global context. South Korea is uniquely placed at the cusp and threshold of deterritorializing Western capitalism, given its position next to the only in-tact communist state system; (2) The film shows how theorizing an exceptional notion of time contributes to the overall pedagogy of the parasite. Here, being a parasite is about waiting to attach oneself to a host, yet this waiting is an anxious, perceptive, adherent time, a reciprocal time, and one internally interconnected to that of the host; (3) The ethics of the parasite. The parasite chooses a host from a certain viewpoint before attaching itself and trying to be absorbed into the host. The pedagogy of the parasite suggests a unique ethical treatment of these assimilative processes and allows us to consider cinema as a parasitic means to shake the passive audience out of its stupor when bearing witness to the violence in the film and its own collusion in the trauma and reality of contemporary capitalism. (shrink)