This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – (...) Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections. (shrink)

Inner speech represents the activity of talking to oneself in silence. It can be assessed with questionnaires, sampling methods, and electromyographic recordings of articulatory movements. Inner speech has been linked to thought processes and self-awareness. Private speech (speech-for-self emitted aloud by children) serves an important self-regulatory function. The frequency of private speech follows an inverted-U relation with age, peaking at 3-4 years of age and disappearing at age 10. Social and inner speech share a common neurological basis: Broca’s area. (...) Dysfunctional self-talk is known to mediate many pathological conditions; negative selfverbalizations have a more significant debilitating impact than positive ones. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 417-418 [Access article in PDF] Heidi M. Ravven and Lenn E. Goodman, editors. Jewish Themes in Spinoza's Philosophy. Albany: The State University of New York Press, 2002. Pp. ix + 290. Cloth, $78.50. Paper, $26.95.The current anthology presents an important contribution to the study of Spinoza's relation to Jewish philosophy as well as to contemporary scholarship of Spinoza's metaphysics and political (...) theory.In the opening essay, Lenn Goodman takes upon himself the ambitious task of evaluating Spinoza's positions as to several central disputes throughout the history of philosophy. In this rich and extensive essay Goodman argues that Spinoza's radical rationalism makes him pursue syntheses between traditionally opposed poles. Lee Rice's article, "Love of God in Spinoza," carefully analyzes Spinoza's concept of love and suggests the existence of three kinds of love parallel to the three kinds of knowledge. Warren Montag addresses the unresolved issue of Spinoza's relation to the Kabbalah. Montag sides with Deleuze against the association of Spinozism with the Neo-Platonic theory of emanation, arguing that unlike the Neo-Platonists and Kabbalists, Spinoza's view of God rules out any hierarchy, and does not assume a descent from primal simplicity into complexity. Edwin Curley contributes a beautiful reading of the story of Job and of Maimonides' interpretation of the story. Curley follows Maimonides' discussion of the various positions regarding the question of divine providence and his attempt to identify the speeches of the characters of the book of Job with each of these positions. Following a sensitive consideration of various attempts to [End Page 417] recover Maimonides' own rather concealed view about providence, Curley concludes that "[W]hatever you think Maimonides' final word on Job is, our examination of him certainly supports [Spinoza's] claim that [Maimonides] reads Scripture in terms of Platonic or Aristotelian speculations" (170).Warren Zev Harvey's essay addresses Spinoza's most neglected work, the Compendium of the Grammar of the Hebrew Language. Apart from providing an outline of Spinoza's work as a Hebrew grammarian ("a noun-intoxicated grammarian") and pointing out some of Spinoza's more eccentric views about the nature of the Hebrew language, Harvey makes a compelling case for the importance of the book for the study of Spinoza's metaphysics. He points out a fascinating analogy which Spinoza draws between the parts of speech: (proper) noun, adjectives, and participles, and Spinoza's key metaphysical terms: substance, attributes, and modes. (Think about the weighty implications of this analogy for Curley's interpretation of the substance-mode relation.) According to Harvey, Spinoza's claim that all Hebrew words are derived from nouns is a linguistic parallel to Spinoza's pivotal metaphysical doctrine which makes all things be in the substance (or God). Kenneth Seeskin's article discusses the views of Maimonides and Spinoza on the question of creation and God's relation to the world. Seeskin reconstructs an interesting critical dialogue between these two philosophers. According to Seeskin, both philosophers held that an effect must be similar to its cause. Maimonides' commitment to Negative Theology and to the denial of any common measure between God and finite things forced him to deny causal or explanatory relation between God and the world. What Maimonides can suggest instead is rather to prove that the emergence of the world ex nihilo and according to the divine will, is possible, and even likely given certain astronomical facts of medieval science. Thus, Maimonides would hold that "although we have grounds for believing that creation occurred, we will never be in a position to say how" (120). For Spinoza, such a view constitutes nothing but a "sanctuary of ignorance." Thus, according to Seeskin, Spinoza affirms a clear causal relation between God and the world of finite things insofar as God is said to explain the world. While I tend to agree with most aspects of this analysis, it is important to note that Spinoza also claims that "between the finite and infinite there is no relation" (Letter 54). This... (shrink)

The present review of literature surveys two main issues related to self-referential processes: (1) Where in the brain are these processes located, and do they correlate with brain areas uniquely specialized in self-processing? (2) What are the empirical and theoretical links between inner speech and self-awareness? Although initial neuroimaging attempts tended to favor a right hemispheric view of selfawareness, more recent work shows that the brain areas which support self-related processes are located in both hemispheres and are not uniquely activated (...) during self-reflective tasks. Furthermore, self-awareness at least partially relies on internal speech. An activation of Broca's area (which is known to sustain inner speech) is observed in a significant number of brain-imaging studies of self-reflection. Loss of inner speech following brain damage produces self-awareness deficits. Inner speech most likely can internally reproduce social mechanisms leading to self-awareness. Also, the process of self-reflection can be seen as being a problem-solving task, and self-talk as being a cognitive tool the individual uses to effectively work on the task. It is noted that although a large body of knowledge already exists on self-awareness, little is known about individual differences in dispositional self-focus and types of self-attention (e.g., rumination vs. self-reflection). (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. New (...) types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...) consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

Une mise en lumière de la spécificité du cinéma en trois parties : le cinéma et l'image, le cinéma et le langage, le cinéma et le montage. Deux textes de G. Deleuze et N. Burch complètent l'ensemble.

Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...) those who ground art in some conception of verisimilitude. Those worried by the former argument, emphasize editing and montage effects as the essential aspects of cinema, the idea being that the less representational veracity a film presented, the more it could be classified as art. On the other hand, for those who equate the art of film with verisimilitude, it is argued that the realism of film is superior to the realism of the other representational arts due to film’s retrieval of images as opposed to merely representing them. (shrink)

(CONTENIDO: LA FILOSOFÍA DE ALTHUSSER A 50 AÑOS DE LIRE LE CAPITAL Pedro Karczmarczyk, 3; DISCURSO Y DECRETO: SPINOZA ALTHUSSER Y PÊCHEUX Warren Montag 11; ALTHUSSER LECTOR DE GRAMSCI Vittorio Morfino 43 LAS ABSTRACCIONES, ENTRE LA IDEOLOGÍA Y LA CIENCIA João Quartim de Moraes 67 ELOGIO DEL TEORICISMO. PRÁCTICA TEÓRICA E INCONSCIENTE FILOSÓFICO EN LA PROBLEMÁTICA ALTHUSSERIANA, Natalia Romé 85 MARXISMO Y FEMINISMO: EL RECOMIENZO DE UNA PROBLEMÁTICA1 115 Luisina Bolla* / Pedro Karczmarczyk* 115 RRESEÑAS El materialismo de Althusser. Más (...) allá del telos y del Eschaton de Vittorio Morfino, por Valentín Huarte 153; El sujeto en cuestión, Pedro Karczmarczyk (ed.) por Constanza Storani; 159 La posición materialista. El pensamiento de L. Althusser entre la práctica teórica y la práctica política, de Natalia Romé, por Ingrid Sarchman y Carolina Collazo 164. (shrink)

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be compared (...) to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

Tarkovsky s’est opposé au montage et a considéré que la base de l’art cinématographique (l’art du film) est le rythme interne des images. Il a considèré le cinéma comme une représentation des courants distinctifs ou des ondes de temps, transmis dans le film par son rythme interne. Le rythme est au cœur du « film poétique ». Un rythme comme un mouvement dans le cadre (« la sculpture dans le temps »), pas comme une séquence d'images dans le temps. Le (...) temps passé dans le cadre exprime quelque chose de significatif et de vrai, qui dépasse les événements eux-mêmes et est reçu différemment par chaque spectateur. DOI: 10.13140/RG.2.2.30568.62727. (shrink)

l'occasion de son passage à Lisbonne, à la Fondation Calouste Gulbenkian, pour la conférence "Peuples Exposés", intégrée dans le cycle de conférences A Républica por vir – arte, política e pensamento para o século XXI 1 (La République à venir – art, politique et pensée pour le XXIème siècle), nous avons rencontré Georges Didi-Huberman pour l'entretien qui suit, autour de son livre Remontages du temps Subi. L'oeil de l'histoire, 2 (Éditions de Minuit, 2010).