In this paper I consider contemporary expressions of what Freud called the primal crime and collapse of paternal law through an exploration of the cinema of the Danish-American Director Nicolas Winding Refn. Introducing the paper I outline Freud’s theory of the law, crime, and civilization, where social order and its transgression become caught in an endless cycle, before moving on to explore Winding Refn’s cinema. Following this work, where I centrally show how Freud founds the law upon structures of the (...) family and criminality, I consider Winding Refn’s early Danish films, specifically the Pusher trilogy and Bleeder, in order to show how he imagines the collapse of law and order into crime and violence through stories of the ruined family. Moving on, I explore the consequences of this situation through reference to Winding Refn’s middle period films, Bronson and Valhalla Rising, where first crime completely dominates the law, and second this situation conjures the idea of escape from the dystopia of violence and crime into some other utopian space. Finally, I explore Winding Refn’s later works, Drive, Only God Forgives, and The Neon Demon. In these films Winding Refn imagines the ruins of the family and the oedipal law of the father who is no longer on the scene and tells the story of the desperate orphaned child who grows up without the socio-symbolic structures in place in tell them how to live. At this point Winding Refn’s crime system is more or less entirely normalised with the result that it generates the idea of utopian possibility in order to imagine potential escape from the nihilistic horror of an asocial system where exchange is everything. (shrink)

Education for Sustainable Development is a broad and varied field of study replete with compelling advocacies for a more humane world. Across a majority of its instances however, ESD might yet be seen to labour in stealth fidelity to a mode of political economy and model of human-nature relations complicit with planetary ecocide. This essay draws largely from the thinking of Jean Baudrillard in an effort to identify the implications of ESD’s mainstay commitments, particularly as expressed in the field’s lingering (...) fidelities to anthropocentric production and modes of protagonistic optimism. Such alliances are contrasted by the immanence of inhuman planetary difference as it might habilitate more eco-centric approaches and attitudes for thinking the very possibility of sustainable development in the present era of rapid ecological transformation. (shrink)

Devoted to the late Paul Virilio (1932–2018) and in the advent of debates surrounding the Anthropocene and in light of corresponding changes to conceptions of scale and image, this paper attempts to extrapolate a Virilian pedagogy of the image. It is Virilio’s work which remains timely and singularly fecund in this area and it is for this reason that it may help to shape a new pedagogy of scale and image. This may allow us to better grasp the decentring of (...) human conceptions of time and space as we come to better understand the vastness of cosmological space and time. To demonstrate this, his work is read in tandem with Félix Guattari’s work on ecosophy and Bernard Stiegler’s work on negentropy to show how Virilio’s critique of the diminishment of perspective diverges from their respective approaches to forge an arresting pedagogy of the image vis-à-vis geographical and ecological conceptions of Earthly spatial and temporal scale. The perceived poverty of Earthly perspective is read in the light of a scalar perspectivism which understands the enormity of the universe and humanity’s microscopic place within it. As Virilio is concerned with the changes in scale which manifest with the onset of globalization, the question arises as to how an applied dromology (that is the philosophy of speed) may work alongside both Guattari’s schizoanalytic and ecosophical research and Stiegler's pharmacology of the image in a way that mounts a robust and unique critique of the mental pollution of the image as such. Here the pedagogical implications are significant as the diminishment of world perspective for Virilio – a consequence of the singular global time of capital – devastates our understanding of the cosmos. This understanding of the poverty of scale and perspective is contrasted with a multiscalar approach to the world, which is itself searching for a philosophical and pedagogical response to the reduction of the world to nothing. (shrink)