This paper is a reconstruction of Walter Benjamin's philosophy of language, especially as it expressed in 1916's “On Language as Such and the Language of Man”. I read Benjamin's theory as a contribution to what Charles Taylor has called the “expressivist” tradition that includes eighteenth century thinkers like J.G. Herder and J.G. Hamann. Hamann's work and his interpretation of the theological concept of condescension are of particular importance. Although Benjamin's views are often regarded as impenetrable or mystical, they are relevant (...) to and, in part, motivated by concerns of more mainstream twentieth century philosophy of language, in particular Russell's paradox. His “metaphysics of language” understands reference or designation, central to analytic theories of meaning, as derived from a more fundamental, aesthetic meaning. (shrink)

This paper investigates the unique educational relevancy of Walter Benjamin’s radio broadcasts. While much has been written about Benjamin’s approach to both children’s literature and children’s theatre, his own pedagogical practice as a radio pedagogue remains largely marginalized in these discussions. In order to address this gap in the literature, I focus on the implications of shifting from the largely visual world of children to the auditory world of radio. Through a careful reading of the radio scripts, I argue that (...) a perceptual alteration unique to the sonic medium of radio jumpstarts historical thinking in children. The following pedagogical principles which I extract from the radio broadcasts support and enhance this mode of historical materialist education. In conclusion, the article argues for the ongoing relevancy of Benjamin for thinking through the pedagogical implications of new information technologies within a postmodern era such as podcasts. (shrink)

This article examines an experimental genre of philosophical writing known as the Denkbild (‘thought-image’) practiced by members of the Frankfurt School to show how it is resurrected in the Augmented Reality installation of the artist-scholar Caitlin Fisher. It argues that Circle (2012) renews the Frankfurt School’s project of reaching to art to find a way for critical theory to bring about ‘a transformation of consciousness that could become a transformation of reality’. However, as a material and virtual artifact that produces (...) a unique circuit of exchange, the digital artwork is able to provide a sharper picture of that reality, positing community as the context and goal of philosophical thinking. Through a complex sculpting of its form, content, and image of its own thoughts, Fisher’s Denkbild strives to create a fluid, ‘disconnected and non-binding’ form capable of building what Adorno described as a ‘shared philosophy from the standpoint of subjective experience’. (shrink)

The flâneur has remained little more than a hazy, nostalgic figure since first described in detail by Baudelaire in 19th-century Paris. Here, the work of Walter Benjamin, who did more than any other to advance the notion of flânerie post-Baudelaire, is considered alongside that of his friend and critic Theodor Adorno, in an attempt to conceive of a modern-day version of the type. The many critical exchanges between Adorno and Benjamin are envisioned as a moving dialectic: a constant interplay between (...) anticipation and suspicion. What results is a concept of flânerie that mingles a tentatively optimistic Benjamin with a perpetually sceptical Adorno, in order to conjure up an image of the individual strolling and wandering about the margins of contemporary urbanity, balanced on the cusp of hope and hopelessness. (shrink)

Between 1910 and 1917, Walter Benjamin composed a range of philosophical works and fragmented texts all of which touch upon the concept of youth and its intersection with issues of modernity and theology, faith and political action, religion and secularization, God, and the world. Yet, while scholars have rather extensively discussed Benjamin’s early works on language, literature, and esthetics, less attention has been given to his work on youth. This paper focuses on Benjamin’s writings on youth from these early years. (...) Its aim is to demonstrate how these writings were intended as contributions to the composition of a comprehensive theory of youth, which itself was to combine philosophical discussion with theological imagination. More concretely, by using the example of Meister Eckhart, who is rarely discussed in connection to Benjamin’s thought, the paper shows how Benjamin draws on Christian mystical notions of time, transcendence, and divinity, albeit in a secularized and therefore transformed guise, and how Benjamin’s intellectual endeavor can hence be labeled a modern-mystical theory of youth. (shrink)

Where Benjamin attempts an account of social and attention practices surrounding the artwork, Adorno accuses him of not being dialectical enough and of inadequately theorizing the artwork's autonomy.2 Adorno makes the same accusation in those places where Benjamin attempts to disrupt historicism with the "dialectical image." Although Adorno appears to offer the same criticism in both instances, I maintain that Adorno's blanket prescription for more dialectics covers over a chiastic relationship between his reactions in each case. That is, the worries (...) that inform Adorno's reaction to Benjamin's portrayal of the artwork are quite the opposite of the worries that inform his reaction to Benjamin's portrayal of the .. (shrink)

This essay argues for the philosophical standing of Walter Benjamin’s early work and posits a deeper continuity between this early work as a philosopher and the subsequent development of his work as a writer. When these fragments are read in proper relation to each other, they reveal for the first time many of the key innovations of Benjamin as a philosopher, as well as his points of influence on Horkheimer and Adorno. His early ‘Program’ critiques the Enlightenment conception of experience (...) as a means for gaining empirical knowledge, and announces the need for a new concept of experience. Benjamin follows through on this program with a method of philosophical enquiry that is by turns fragmentary and constellational, developing a series of provisional notions of experience, which form a constellation with one another: perception, mimesis, language as a medium of experience, observation and memory. (shrink)

Vilém Flusser's Vampyroteuthis Infernalis reenacts and actualizes the time-honored tradition of a mental experiment that purports to efface the boundaries between man and animal. This ancient conceptual device, known in Baroque times as physica naturalis, seeks to illuminate the world of culture by means of its approximation with the world of nature. Instead of opposing poles, nature and culture become reflecting mirrors where man can acknowledge his ties to nature and the animal kingdom. More than just a rhetorical trope, the (...) so-called allegory of natural history comprises what could be defined as a "philosophy of animality," espoused by thinkers such as Walter Benjamin, Gilbert Simondon and Jacques Derrida. In Vampyroteuthis, Flusser resorts to a strange marine creature in order to elaborate a sophisticated meditation on human existence and our relationship with the technological apparatuses we incessantly devise. The goal of this paper is to examine the recent history of the allegory, tracing its developments in the works of contemporary scholars, such as Siegfried Zielinski, Manuel de Landa and Vilém Flusser himself. Moreover, it investigates the applicability of the "philosophy of animality" within the field of film theory, suggesting an approach to filmic experience that focuses on the "material" aspects of cinema and regards the spectator's body as a site for the translation of images into affect and sensation. (shrink)

The paper develops a conceptual framework for understanding the work of ethical remembrance in the classroom. Using David Hansen’s recent example of using Sebald’s novels in his classroom to do the work or remembrance, the paper argues that the effect of Sebald’s novels is best understood using Walter Benjamin’s figure of the angel of history. That figure indicates a view of history that goes beyond the progression of everyday time, to one called remembrance. The paper suggests that the work of (...) mourning effects such remembrance, but simultaneously points to hope through the emergence of weak messianic power. (shrink)

In this paper we discuss the definitional problems of altered states of consciousness and their potential relevance in phenomenological investigation. We suggest that visionary states or visionary phantasy working induced by psychedelics, as extraordinary types of altered states, are appropriate subjects for phenomenological analysis. Naturally, visionary states are not quite ordinary workings of the human mind, however certain cognitive psychological and evolutionary epistemological investigations show that they can give new insights into the nature of consciousness. Furthermore, we suggest that contemporary (...) inquiries concerning altered states in consciousness studies give an opportunity to complete the contemporary phenomenological investigations of phantasy with the notion of visionary phantasy. Here we propose that the similarities and differences between Dieter Lohmar’s weak phantasy and Benny Shanon’s concept of vision are precisely discernible, and, consequently, it may be possible that weak phantasy and visionary phantasy are situated on the two outermost poles of the colorful spectrum of phantasy activity. (shrink)

Why has compulsive hoarding recently captured the American imagination? To what extent is hoarding a subtype of OCD or a discrete "disorder" in its own right? Can a cultural-studies and philosophical assessment of hoarding complement the medical model that has recently been offered by clinicians and the DSM IV? This essay tracks these and related questions in order to offer a theory of compulsive hoarding that pays particular attention to the sometimes distorted representation of hoarding in literature and the mainstream (...) media. (shrink)

This study began with a fascination for the enigma of American artist Andy Warhol (1928-1987). I began to collect his words. I had been intrigued by German philosopher, literary critic, and essayist Walter Benjamin’s (1892-1940) philosophical snapshots and with the notion of an aura that could be pealed from objects by photography. And I was taken by French philosopher, professor of law, and theologian Jacques Ellul’s (1912-1994) claim that religion, philosophy, and aesthetics were mere ornaments that had gone the way (...) of the ruffled sunshade on McCormick’s first reaper. Benjamin’s epistemological understanding of aura, the capacity of the object to look back and to direct the viewer in search for origins, fleshed out Ellul’s claim. The symbol had lost its symbolic dimension in the technical process where words became images and images became concepts; clichés were the nature of this productivity, which became more than tired expressions. The cliché is the machine in its new suit. This insight informed my reading of Warhol and Benjamin with Ellul. And, of course, my reading of Ellul has influenced my reading of Warhol and Benjamin. (shrink)

‘Tragedy’ is one of those curiously elastic words reserved for life's saddest spheres and events, irrespective of the forms in which they appear. Even though a vast body of genre studies has emerged, however, only a handful of studies have drawn cross-historical comparisons between tragic forms. This essay demonstrates how Walter Benjamin’s reflections on Attic tragedy may contribute to such a line of thought, focusing both on tragedies’ subversive potential and on the social-historical constellations in which they first emerged. In (...) the first part, Benjamin’s conception of the Attic tragedies is explored by focusing on his The Origin of German Tragic Drama and the theoretical roots of his earlier work. According to Benjamin, Attic tragedies offered a messianic, dialectical critique on the social-historical constellation in which they appeared. The second part of the article discusses the relevance of these reflections for the analysis of contemporary tragic forms, thereby identifying the heirs of Attic tragedy outside the strict boundaries of ‘drama’. (shrink)