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)

If modernity involves a view through which it is possible to read the uninterrupted historical continuity of social utopia and the harmony of class and the progress of the 19th century, it is fundamental to explore what is the other face of this fantasy of progress that places the individual in modernity in a situation of depression and debt, inasmuch as those promises are never fully fulfilled. Walter Benjamin builds his idea of history rethinking this legacy. He imagines the way (...) in which the materialist historian must act, that is, the one who will articulate justice and redemption of the past as it is proposed on the thesis of On the concept of history, a text of 1940 on which he worked until the end of his life. In this text, we can find what Michael Löwy called a critical constellation, which links the past with the present. Regarding these considerations, we pursue two main objectives: on the one hand, to delineate what a theory of modernity could mean in the frame of Benjamin's work; on the other, to examine the relationship between the experience of modernity, linked to melancholy and loss, and the aesthetic experience, understood as a privileged device to make thinkable the human doing. (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)

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)

The main purpose of this article is to provide an in-depth review of Andrew Feenberg’s Technosystem: The Social Life of Reason. To this end, the anal...

‘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)

El presente artículo analiza de forma comparativa dos debates estéticos fundamentales del siglo XX, la reproductibilidad técnica y el kitsch. Ambos debates se desarrollaron a lo largo de las décadas 20 y 30, y tuvieron como protagonistas, entro otros, a Adorno y Benjamin. El artículo defiende que existen numerosos elementos comunes en ambos debates, que dan buena cuenta de la controversia filosófica que tuvieron los dos filósofos. Pese a que la discusión entre ellos estalla a partir de la cuestión de (...) la reproductibilidad técnica, en sus textos del kitsch ya se pueden observar muchos elementos que apuntan hacia esa discordancia. (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)

This paper explores Walter Benjamin’s relationship with French Surrealism from sources rarely studied or practically unknown until now. First, I will set out the direct link between the theses on “profane illumination” and the “organization of pessimism” in Der Sürrealismus. Die letzte Momentaufnahme der europäischen Intelligenz, and various texts by Pierre Naville, one of the most active figures in the Surrealist movement between 1925 and 1929. Second, I will consider Benjamin’s commentaries in Pariser Passagen and convolute “S” of the Passagen-Werk (...) about Surrealist writings and Martin Heidegger’s Sein und Zeit, flagging up the implications of this confrontation for Benjamin’s ideas of secularization of mysticism and messianism. Lastly, I will seek to refine the meaning of Benjamin’s “anthropological materialism” and its relevance to those sections of the Passagenarbeit that are dedicated to the evolution of social movements since the French Revolution. (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)

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)

Examines the role of experience within Adorno’s philosophy of language and epistemology.

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)