Divine violence, an idea set out in Walter Benjamin’s early essay “Critique of Violence,” is violence undertaken by a sovereign individual, a strike at power, an attempt at the dissolution of the law in favor of justice, a decision that reaffirms the sovereignty of the self against the coercive violence of the law. In order to understand the category of “divine violence,” it is critical to understand the other kinds of violence that Benjamin discusses in the essay.

This article argues for a much more profound interconnection between philosophical romanticism and Walter Benjamin’s theses "On The Concept of History" than has been acknowledged up to now. It particularly reveals a number of parallels between Benjamin’s historical approach and the philosophy of history of the two principal thinkers of Early German Romanticism, Friedrich Schlegel and Novalis, who had already formed the object of Benjamin’s doctoral thesis. It examines Benjamin’s final philosophical work in the light (...) of three central topics inherited from Early German Romanticism, which have been less explored in romanticism studies and Benjamin scholarship, yet are decisive for helping clarify what is at stake in Benjamin’s text: the relation to prophecy; the question of messianism; and the heliotropism of the past. -/- _____________ Cet article défend l’idée d’un lien entre la philosophie romantique et les thèses de Walter Benjamin Sur le concept d’histoire bien plus profond qu’on ne l’a admis jusqu’à présent. Il met plus particulièrement en lumière des parallèles entre la démarche historique de Benjamin et la philosophie de l’histoire des deux principaux penseurs du premier romantisme allemand, Friedrich Schlegel et Novalis, auxquels Benjamin avait déjà consacré sa thèse de doctorat. L’article examine le dernier écrit majeur de Benjamin à la lumière de trois thématiques centrales héritées du romantisme, qui ont été peu approfondies tant dans les études romantiques que dans le commentaire benjaminien et qui sont pourtant décisives pour éclaircir ce qui est en jeu dans ce texte : le rapport à la prophétie ; la question du messianisme ; et l’héliotropisme du passé. (shrink)

This essay critically examines the implications of digital technology on philosophy, applying Walter Benjamin's analysis of art in the mechanical age to the digital reproduction of philosophical texts. It identifies three core transformations: enhanced accessibility, global dissemination, and facilitated scholarly collaboration, brought forth by the advent of digital humanities. The discussion extends to the challenges digital mediums pose to the traditional "aura" of texts, the democratization of philosophical engagement, and the exacerbation of a digital divide among scholars. Through (...) a nuanced critique, the essay advocates for a balanced approach to digital scholarship in philosophy, emphasizing the need to harness digital tools judiciously while addressing the digital divide. This analysis contributes to the ongoing discourse on the digital history of philosophy, highlighting the complex interplay between technology and philosophical practice. (shrink)

Knowing that Cloud Atlas (2016) opens various analytical possibilities, this brief essay chooses to map possible relationships that the book, especially concerning stories 3, 5, and 6, can establish with Walter Benjamin's philosophy, more punctually, his Theses on the Philosophy of History. It will be briefly introduced, to this end, a summary of each of the six short stories that make up Cloud Atlas and its structural organization. After that, it will be indicated specific passages by Walter (...) Benjamin that would present similarities and resonances synchronized with the concepts that cross the literary work of David Mitchell. (shrink)

This review highlights how fascism and populism qua, popular culture feeds each other. Hannah Arendt's introduction too is commented upon.

Vardoulakis examines the connection between the political and aesthetic commitments of the philosophies of Martin Heidegger and Walter Benjamin. He compares "The Origin of the Work of Art" to "The Work of Art in the Age of Technological Reproducibility.".

"I have a tree, which grows here in my close, / That mine own use invites me to cut down, / And shortly I must fell it" (Shakespeare 2001, 168)—Timon's lament, which in Shakespeare's rendition occurs shortly before its utterer's demise "upon the beached verge of the salt flood" (2001, 168) beyond the perimeter of Athens, is an indictment of the nature that Timon finds unable to escape. Having given away his wealth in misguided generosity to a host of parasitic (...) sycophants, Timon turns misanthropic when his "friends" reject his requests for help in kind to repay his debts, eventually exiling himself from the city with the intent of sustaining himself on nothing but water and roots. Yet he soon finds that removing .. (shrink)

ABSTRACT This article focuses on the role that the concept of “presence of mind” (Geistesgegenwart) plays in Walter Benjamin’s thought, deepening lines of interpretation that are connected to other relevant concepts such as “attention” (Aufmerksamkeit) and “now-time” (Jetztzeit). It examines elements of Benjamin’s work that develop the philosophical importance of presence of mind, emphasizing its corporeal dimension and its aesthetic and critical relevance. The analysis covers fve lines of interpretation that intersect in different ways: (i) presence of (...) mind is a form of thought/action that should be cultivated as a way of dealing with the experience of shock; (ii) having presence of mind is an attitude that can be exercised; (iii) “seizing the day” involves the body and presupposes an experience of intensive time; (iv) the conceptual framework of presence of mind integrates elements related to play; and (v) by valuing the present, presence of mind implies a relationship between danger and a critical gesture – in Benjamin’s historical and political reflection, this gesture intertwines the individual and the collective dimensions. (shrink)

Benjamin's The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media .

In attempting to determine why the Enlightenment project had derailed and how this failure might be remedied, Walter Benjamin and Theodor Adorno both turned to canonical literary narratives. The resultant works, Benjamin’s major essay on Goethe’s Elective Affinities and Adorno’s meditation on the Odyssey in Dialectic of Enlightenment, are centrally concerned with the very act of narration. The Saving Line reconstructs a hitherto unnoticed, wide-ranging dialogue between these foundational texts of the Frankfurt School. At the heart of (...) Dornbach’s argument is a critical model that Benjamin built around the concept of caesura, which Adorno subsequently reworked. Countering an obscurantism that would become complicit in the rise of fascism, the two theorists aligned moments of arrest in narratives mired in unreason. The Saving Line throws fresh light on the intellectual exchange and disagreements between Benjamin and Adorno, the problematic conjunction of secular reason and negative theology in their thinking, and the philosophical significance of literary narration. (See PDF file below for a more detailed précis). (shrink)

Current and recent philosophy of history contemplates a deep change in fundamental notions of the presence of the past. This is called breaking up time. The chief value for this change is enhancing the moral reach of historical research and writing. However, the materialist view of reality that most historians hold cannot support this approach. The origin of the notion in the thought of Walter Benjamin is suggested. I propose a neo-idealist approach called perennialism, centered on recurrent moral (...) dilemmas and choices. This suggests a view of the relations of moral thought and ontology placed in the diachronic context that historians study. (shrink)

This paper discusses two thinkers who locate the possibility of revolutionary historical change in political projects oriented toward the formation of subjects and cultivation of sensibility. I begin by considering the relationship between historical violence and education in the works of Walter Benjamin. After introducing the provocative association of education with divine violence found in “Toward the Critique of Violence,” I expand on Benjamin’s conception of pedagogical force. Highlighting the centrality of education in Benjamin’s early work, (...) I argue that his account of learning does not depend on the mastery of students by teachers, nor more generally on the mastery of objective reality by a sovereign subject, but on the mastery of the educational relationship by tradition. Drawing on W.E.B. Du Bois’ discussion of the abolition of slavery, I close by describing the revolutionary cultivation of sensibility as a dynamic and collectively achieved mode of historical learning. (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)

Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork is (...) in fact antagonistic to fetishism, and that 2) his criticism of Benjamin’s optimism toward “reception in distraction” is nevertheless justified. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline. (shrink)

This paper argues that the principle of continuity that underlies Benjamin’s understanding of what makes the reality of a thing thinkable, which in the Kantian context implies a process of “filling time” with an anticipatory structure oriented to the subject, is of a different order than that of infinitesimal calculus—and that a “discontinuity” constitutive of the continuity of experience and (merely) counterposed to the image of actuality as an infinite gradation of ultimately thetic acts cannot be the principle on (...) which Benjamin bases the structure of becoming. Tracking the transformation of the process of “filling time” from its logical to its historical iteration, or from what Cohen called the “fundamental acts of time” in Logik der reinen Erkenntnis to Benjamin’s image of a language of language (qua language touching itself), the paper will suggest that for Benjamin, moving from 0 to 1 is anything but paradoxical, and instead relies on the possibility for a mathematical function to capture the nature of historical occurrence beyond paradoxes of language or phenomenality. (shrink)

The paper suggests that Samuel Taylor Coleridge’s arguments against sympathy after the French Revolution, Walter Benjamin’s claims against empathy following the traumatic shock of Modernity and the First World War, and Hannah Arendt’s critical take on compassion. after the Holocaust are similar responses to singular historical crises. Reconsidering Arendt’s On Revolution (1963) and its evocation of Hermann Melville’s novella Billy Budd (1891), I show first that the novella bears the traces of an essay by Samuel Taylor Coleridge, “The (...) Appeal to Law” (1809). Then, drawing on Walter Benjamin’s writings on trauma in Illuminations (1968, edited by Arendt), I discuss the political importance Arendt attaches to the proper way of telling a story, at a time when “the communicability of experience is decreasing” (Benjamin, Illuminations, 86). Through the analysis of Benjamin’s “The Storyteller” and Arendt’s “heartless” report on the Eichmann trial (1963), I equally show that, according to Arendt, testimonies must be narrated, or rather performed, in a dispassionate, dry, and compact manner so that they can be historically and politically relevant. (shrink)

This article interrogates a certain philosophical scene – one which constitutes itself through the position of what Jacques Derrida calls “the ethical instance of violence.” This scene supposes a certain “style” of writing or doing philosophy, and perhaps even a certain philosophical “genre” or “subgenre”: the philosophical discourse on violence. In the course of the essay, I analyze this quasi-juridical scene through readings of Aristotle, Walter Benjamin, Giorgio Agamben, Judith Butler, Slavoj Žižek, Werner Hamacher, Rodolphe Gasché, and Martin (...) Hägglund among others. The scene, built on texts on texts on violence, demands a logic of purity; it is wary of contaminations and equivocations. And yet it thrives on them. In analyzing the implications of text, writing, and trace for the philosophical discourse on violence, I follow Derrida “just to see” what could make the scene tremble. (shrink)

This paper studies the relationship between consciousness and social existence in Georg Lukács’ early Marxist works through a consideration of his concept of reification. Understanding reification as the process underlying capitalist society’s immediate form of objectivity, I designate dereification as the cultivation of a mediated form of consciousness. In order to better understand the experiential aspects of this cultivation, I supplement my reading of Lukács’ theory of reification with attention to Walter Benjamin’s treatment of experience in capitalist society. (...) I argue that Benjamin’s distinction between experience as the shock of isolated events [Erlebnis] and experience as a long-term practice [Erfahrung] helpfully illuminates Lukács’ conception of dereification, allowing us to see the latter as a long process of cultivation. This account ultimately leads to a consideration of the formal role played by the party—as the facilitator of the working class’s self-education—in Lukács’ philosophy of social praxis. (shrink)

With catastrophic events of «nature» like global warming, arguments emerge that insinuate an equivalence of vulnerability, responsibility or being affected by these catastrophes. Such an alleged equivalence when facing climate catastrophe is already visible, for example, in the notion of the «Anthropocene» itself, which obscures both causes and various vulnerabilities in a homogenized as well as universalized concept of humanity (anthropos). Taking such narratives as a starting point, the paper explores questions about the connection between catastrophe, temporality, and history, following (...) mainly Walter Benjamin, Dipesh Chakrabarty and Jean-Luc Nancy with the goal to provide (1) a critique of the concept «Anthropocene» on the basis of nonequivalence while retaining its key features to still grasp the catastrophic present, (2) an analysis of anthropocenic time and the chronical structure of catastrophe, (3) philosophical considerations on the intersection of catastrophe and history. (shrink)

This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and (...) Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

The essay aims to offer a critical theory of psychosocial processes of regressive and depressive type. The Author starts by discussing the determining influence attributed to social suffering in the framework of the moral grammar of social struggle outlined by Axel Honneth, then he offers an analysis of the regressive reactions activate by disrespect experiences. The Author discusses some important points of Walter Benjamin’s philosophy of history, in particularly Benjamin’s critique of traditional concept of progress, and the (...) determining role attributed to suffering; points that are translated and moved in the framework of the analysis of regressive processes. Lastly, the Author shows how a critical theory that aims to reactivate the emancipatory potential immanent in the social suffering today frustrated may find an incisive and productive approach in a critical analysis of regressions. -/- Il saggio mira ad offrire una teoria critica dei processi psicosociali di taglio regressivo e depressivo. L’autore muove dalla centralità attribuita alla sofferenza sociale nel quadro della grammatica morale delle lotte sociali delineato da Axel Honneth, concentrandosi poi sulle reazioni di carattere regressivo indotte dalle esperienze di spregio. Segue la ripresa di alcuni punti fondamentali della filosofia della storia di Walter Benjamin, in particolare della sua critica alla concezione tradizionale di progresso, e la sua peculiare valorizzazione della sofferenza; spunti tradotti e traslati nell’ambito dell’analisi dei processi regressivi. Infine, l’autore mostra come una teoria critica che voglia riattivare i potenziali emancipatori immanenti alla sofferenza sociale oggi frustrati possa trovare un approccio incisivo e fecondo in una analisi critica delle regressioni. (shrink)

This article defends the thesis that there are multiple points of exchange between the categories of “word” and “image” in Walter Benjamin’s Arcades Project. Benjamin describes the truth of the articulate wish of the past as “graphically perceptible” and the image as “readable.” In this respect the vocabulary of “word” and “image” that Benjamin’s early work had opposed are not just deployed in concert, but specific features of the vocabulary of “word” and “image” become exchangeable. The (...) distinctive features of this exchange can be used to expound on Benjamin’s peculiar understanding of revolutionary experience and the significance of the break that it marks with his early way of opposing the word and the image. In particular, the exchange of features between word and image can explain the mechanics and intended effect of his idea that the meaning of history can be perceived in an image. The study of this exchange also shows that although the framework of “graphic perception” entails an experience of motivating meaning that is epistemologically grounded, the citation model of history is unable to secure the extension of the sought after legibility of the nineteenth century to a recipient. (shrink)

Theodor W. Adorno’s letter correspondence with Walter Benjamin throughout the decade of the 1930’s entertains the central question concerning the possibility of philosophy in their intellectual milieu. The fate of this possibility for Adorno hinges on Benjamin’s work-in-progress Das Passagen-Werk—a fate that is catastrophically blocked by an uncritical tendency convicted repeatedly by the former as “undialectical.” And yet Adorno obstinately persists in clinging to the canon of a philosophically overdetermined demand he endearingly calls “my Arcades orthodoxy.” The (...) threatening destruction of the aura of this orthodoxy reaches a crisis in Adorno’s ruthless metacritique of Benjamin’s alleged undialectical treatment of aesthetic autonomy in a draft of the Kunstwerk essay, marking a critical wound in the correspondence which the following exposition tracks in the enigmatic changeover in the philosophical exigency of the said orthodoxy from prima philosophia to ultima philosophia. The lingering wound is registered in Adorno’s late philosophical work. (shrink)

تُعلمنا الفلسفة كيف نُفكر»، عبارةٌ تتردد كثيرًا على ألسنة أساتذة الفلسفة أمام طلابهم الجُدد، وربما في حواراتهم وحلقاتهم البحثية التي لا تعكس قطعًا نمط حياتهم اليومية. قد تصيبك العبارة بالدهشة، ليس فقط لأن مجرد حضورك لدرسٍ فلسفي يُعد دليلاً كافيًا على أنك تعرف كيف تفكر! بل ولأنك قد تتساءل ساخرًا: حتى إن لم أكن أعرف كيف أفكر، فماذا أفعل بالتفكير في مكانٍ وزمانٍ يُعد فيه التفكير جريمة تودي بمقترفها إلى الهلاك، وتُلقي به في غيابة الحُزن والفقر والمعاناة والنبذ المجتمعي؟! لكنك (...) ستُدرك بعد حين مدى قوة وصواب العبارة؛ فالفلسفة تُعلمنا حقًا كيف نُفكر في العالم بطرقٍ جديدة، وكيف نرى أنفسنا وواقعنا بأعينٍ كُشفت عنها حُجب الإدراك، لاسيما في لحظاتنا الحياتية الفارقة، وكيف نخلع المعنى على وجودنا البائس، وكيف نصنع التاريخ ونُعيد توجيه مسيرته: علمًا وفنًا وثقافة. (shrink)

La obra de arte en la época de su reproductibilidad técnica es, sin dudas, la más emblemática aportación de Walter Benjamin a la estética y la teoría del arte. Un aspecto problemático que aflora en su lectura es el del impacto axiológico que el teórico marxista judío-alemán le atribuía a la nueva época. Es significativo el hecho de que, mientras para unos, este texto alberga una crítica negativa a la reproductibilidad técnica y una mirada nostálgica al pasado, para (...) otros, la obra entraña una asunción de la tecnología reproductiva cargada de optimismo y confianza en un futuro emancipador a ella asociado. ¿Son en realidad excluyentes ambas interpretaciones? El presente trabajo reflexiona sobre los fundamentos sociales y epistemológicos de esta ambivalencia interpretativa. (shrink)

This article aims to critically examine three approaches to reflexivity in philosophical texts, specifically the case when the textuality becomes its own topic. The first approach is when there is no reflexivity at all. It is just describing how – according to the author – things are. As an example of this approach I take German media philosophy. This tradition is specific because reflexivity is supposed to be its very topic. However, the media philosophers succeeded in touching the indefinability of (...) mediality itself. Another method is to question one’s own and possibly also the reader’s position. I have chosen Annemarie Mol’s empirical philosophy as the example here. The problem is that despite following the “ontological turn”, the author remains (probably inevitably) also to a large extent trapped in the fact that he/she describes the world, that is, in subject/object dichotomy and therefore, in epistemology. The third way to write aims to make readers feel what the author tells. My example here is the varied work of Walter Benjamin whom I for the purpose of this article consider more as a prophet rather than the precise thinker who he (also) by all means was. While using the second approach myself, I discuss advantages and challenges of the three and find their points of touch. (shrink)

The article discusses the image of the disruptive entrance of a philosophical stranger into a house related to theatre, as introduced in Plato's Symposium, Bertolt Brecht's dialogues of Der Messingkauf, and Walter Benjamin's essays on Brecht's theater. In each of these cases, the interruption caused by the entrance sets the stage for a performance of philosophy within the arena of theatre. The fact that all three cases are scenes introduced in philosophical texts that address the art of theatre (...) shows how philosophy appropriates the discursive practices of theatre to shed light on the gap between the two disciplines. (shrink)

Ce texte explore les possibilités générées par le changement de perspective suscité par l'intrusion de la vision écologique dans la visibilité philosophique. Si la philosophie est liée dès ses origines à une forme spécifique de visibilité qui vise à montrer le monde en tant que splendeur de ce qui est caché, avec l’émergence d’échelles et de perspectives qui n'ont pas de précédent dans leurs références, elle est poussée à se confronter à de nouvelles perceptions, nées de contacts avec des terres (...) qu'elle n’a jamais explorées. (shrink)

This book attempts to advance Donald Griffin's vision of the "final, crowning chapter of the Darwinian revolution" by developing a philosophy for the science of animal consciousness. It advocates a Darwinian bottom-up approach that treats consciousness as a complex, evolved, and multidimensional phenomenon in nature rather than a mysterious all-or-nothing property immune to the tools of science and restricted to a single species. -/- The so-called emergence of a science of consciousness in the 1990s has at best been a science (...) of human consciousness. This book aims to advance a true Darwinian science of consciousness in which its evolutionary origin, function, and phylogenetic diversity are moved from the field’s periphery to its very centre, thus enabling us to integrate consciousness into an evolutionary view of life. Accordingly, this book has two objectives: (i) to argue for the need and possibility of an evolutionary bottom-up approach that addresses the problem of consciousness in terms of the evolutionary origins of a new ecological lifestyle that made consciousness worth having and (ii) to articulate a thesis and beginnings of a theory of the place of consciousness as a complex evolved phenomenon in nature that can help us to answer the question of what it is like to be a bat, an octopus, or a crow. -/- A Philosophy for the Science of Animal Consciousness will appeal to researchers and advanced students interested in advancing our understanding of animal minds as well as anyone with a keen interest in how we can develop a science of animal consciousness. (shrink)

If one had to identify the biggest change within the philosophical tradition in the twenty-first century, it would certainly be the rapid rise of experimental philosophy to address differences in intuitions about concepts. It is, therefore, surprising that the philosophy of medicine has so far not drawn on the tools of experimental philosophy in the context of a particular conceptual debate that has overshadowed all others in the field: the long-standing dispute between so-called naturalists and normativists about the concepts of (...) health and disease. In this paper, I defend and advocate the use of empirical methods to inform and advance this and other debates within the philosophy of medicine. (shrink)

Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture (...) in boxing. The second section discusses Husserl’s thinking on image consciousness and his surprising reference to a “photograph” of a boxer, which reveals the relevance of his phenomenological approach when it comes to defining the aesthetic properties of gesture-images. The third section examines the principles of Flusser’s philosophy of gestures, focusing on the semantic field of attunement and its connection with various elements related to photography, gesture, moods and affects. The question of gesture in photography—both the gestures of the photographed and those of the photographer—can be articulated with the notions of attunement and atmosphere, which go beyond semiological, psychological and communicational approaches and are important for our understanding of aesthetic and artistic experiences. Finally, if photography is a privileged way of studying atmospheres and gestures (as suggested by the Benjaminian notion of optical unconscious) and their connection with the inner life of the subject, in relation to urban space this study often acquires an intersubjective, social and political dimension, as in Jeff Wall’s Mimic. (shrink)

This essay offers some reflections on Samir Okasha’s new monograph Agents and Goals in Evolution, his style of doing philosophy, and the broader philosophy of nature project of trying to make sense of agency and rationality as natural phenomena.

What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...) uncovered or "deconstructed". This is more than necessary for them, because media, be it pictures or language, in truth convey values that are culturally and socially significant. They ‘iterate’ these values subliminally, because what shows up are only placeholders and thus mere forms (“structures of graphematic”) that are superficially realised as facts (“stereotypes”). In this way, according to Barthes, we all accept without question the values hidden behind them, so that they can gain a normative power that unconsciously guides our thinking, our decisions and our actions. Afterwards, it is Judith Butler who critically asked: How can we ever escape from this? Given the power of the subliminal dominant discourses, she saw the only effective solution “im Umdeuten” (in reinterpretation) of their subliminal values. In order to finally escape this “parasitic existence at the ritual”, the media philosopher Walter Benjamin already suggested to trigger "Chockwirkungen” (shock effects) in the viewer. It is the German painter Karin Kneffel, so it shall be shown, who has realized this with her series Fruits and Interiors in the most beautiful photorealistic strategy. (shrink)

The literary genesis of Einbahnstraße by Walter Benjamin represents a very special case of the use of the procedures of surrealism in the philosophical-literary production of the author. The process of evolution of thinking that ended up in the writing of this piece is unveiled throughout the present analysis. This is a sign of both waiver and restart; the opening for a new productive dimension in the career of one of the most important —and misunderstood— philosophers of the (...) 20th century. More than enlightening a small master piece of philosophy from a literary perspective, or analyzing a small master piece of literature from the philosophy, what is being problematized here is the division, cultivated or figured throughout the years, between both disciplines. This work is intended to recover what is insoluble from the philosophical-literary labor of Walter Benjamin, besides tracing a possible reconfiguration for an interdisciplinary field of work to come up and contribute in the understanding of the problem called The Retreat of Metaphor by Jacques Derrida. (shrink)

Collected essays consider points of affinity and friction between Walter Benjamin and Martin Heidegger. Despite being contemporaries, Walter Benjamin and Martin Heidegger never directly engaged with one another. Yet, Hannah Arendt, who knew both men, pointed out common ground between the two. Both were concerned with the destruction of metaphysics, the development of a new way of reading and understanding literature and art, and the formulation of radical theories about time and history. On the other hand, (...) their life trajectories and political commitments were radically different. In a 1930 letter, Benjamin told a friend that he had been reading Heidegger and that if the two were to engage with one another, “sparks will fly.” Acknowledging both their affinities and points of conflict, this volume stages that confrontation, focusing in particular on temporality, Romanticism, and politics in their work. (shrink)

This book places Benjamin’s writing on revolution in the context of his conception of historical knowledge. The fundamental problem that faces any analysis of Benjamin’s approach to revolution is that he deploys notions that belong to the domain of individual experience. His theory of modernity with its emphasis on the disintegration of collective experience further aggravates the problem. Benjamin himself understood the problem of revolution to be primarily that of the conceptualization of collective experience (its possibility and (...) sites) under the conditions of modern bourgeois society. The novelty of his approach to revolution lies in the fact that he directly connects it with historical experience. Benjamin’s conception of revolution thus constitutes an integral part of his distinctive theory of historical knowledge, which is also essentially a theory of experience. Through a detailed study of Benjamin’s writings on the topics of the child and the dream, and an analysis of his ideas of history, the fulfilled wish, similitude and communist society, this book shows how the conceptual analysis of his corpus can get to the heart of Benjamin’s conception of revolutionary experience and distil its difficulties and mechanisms. (shrink)

In his 2009 monograph, Darwinian Populations and Natural Selection, Peter Godfrey-Smith accuses biologists of demonstrating ‘Darwinian Paranoia’ when they engage in what he dubs ‘agential thinking’. But as Daniel Dennett points out, he offers neither an illuminating set of examples nor an extended argument for this assertion, deeming it to be a brilliant propaganda stroke against what is actually a useful way of thinking. Compared to the dangers of teleological thinking in biology, the dangers of agential thinking have unfortunately rarely (...) been discussed. Drawing on recent work by Samir Okasha, I attempt to remedy this omission, through analyzing the nature of agential thinking, and providing a philosophical treatment of the unexamined dangers in this peculiar, yet tempting way of thinking. (shrink)

Jacob Taubes (1923-1987), sociologue, philosophe et théologien, est un des grands spécialistes de l’œuvre de Walter Benjamin et en particulier du messianisme de ce dernier. Peu avant sa mort, dans une conférence en 1987, Taubes revient sur ce concept benjaminien en l’opposant à ce qu’il appelle le « messianisme esthétisé » de Theodor W. Adorno. Notre article, après avoir présenté certains traits théologiques de la pensée de Taubes, se concentre sur l’analyse de cette conférence. Nous explorons la conception (...) du messianisme benjaminien propre à Taubes, la critique d’Adorno par Taubes ainsi que quelques éléments de la philosophie de l’histoire d’Adorno. Fort de ces acquis, nous jugeons de manière critique de la valeur de l’argument de Taubes contre Adorno, pour voir finalement que ce dernier est peut-être plus proche du messianisme de Benjamin que Taubes ne veut le reconnaître. (shrink)

There is a particular ressonance between the thinking of Walter Benjamin and that of the German jurist Carl Schmitt, including the fact that both analyse the 16th and 17th centuries in order to understand the 20th. Regarding this fact, the article attempts to clarify some themes that lead Schmitt’s work, i.e that of State of Exception, that of theologization of politics, the critique of parliamentarism as support of the Modern State, the tension between democracy and dictatorship, to explain (...) how the dialog between the two thinkers occurs, seeking thus for a better understanding of key works of Benjamin, specially The Origin of German Tragic Drama. (shrink)

Since Boorse [Philos Sci 44(4):542–573, 1977] published his paper “Health as a theoretical concept” one of the most lively debates within philosophy of medicine has been on the question of whether health and disease are in some sense ‘objective’ and ‘value-free’ or ‘subjective’ and ‘value-laden’. Due to the apparent ‘failure’ of pure naturalist, constructivist, or normativist accounts, much in the recent literature has appealed to more conciliatory approaches or so-called ‘hybrid accounts’ of health and disease. A recent paper by Matthewson (...) and Griffiths [J Med Philos 42(4):447–466, 2017], however, may bear the seeds for the revival of purely naturalist approach to health and disease. In this paper, I defend their idea of Biological Normativity against recent criticism by Schwartz [J Med Philos Forum Bioethics Philos Med 42(4):485–502, 2017] and hope to help it flower into a revival of naturalist approaches in the philosophy of medicine. (shrink)

The present narrative describes and problematizes one year of Educational and philosophical work with illiterate adults in contexts of urban poverty in the Public School Joaquim da Silva Peçanha, city of Duque de Caxias, suburbs of the State of Rio de Janeiro during 2008. The project, “Em Caxias a Filosofia En-caixa?!”, consists of a teacher education program in which public school teachers study and practice the art of composing philosophical experiences with their students, and the realization of actual experiences of (...) philosophy in classrooms with children and students in an adult literacy class. This narrative is concerned with the latter aspect of the project, more specifically experiences working with adult students practicing philosophy. The thirty students and three teachers involved in the course do not study the history of philosophy, nor do they create philosophical systems or theories. Rather they participate in a philosophical experience that might best be able to understand by examining Pierre Hadot’s concept of philosophy “as a way of living”. (shrink)

The goal of this programmatic paper is to highlight a close connection between the core problem in the philosophy of medicine, i.e. the concept of health, and the core problem of the philosophy of mind, i.e. the concept of consciousness. I show when we look at these phenomena together, taking the evolutionary perspective of modern state-based behavioural and life-history theory used as the teleonomic tool to Darwinize the agent- and subject-side of organisms, we will be in a better position to (...) make sense of them both as natural phenomena. (shrink)

What is it like to be a bat? What is it like to be sick? These two questions are much closer to one another than has hitherto been acknowledged. Indeed, both raise a number of related, albeit very complex, philosophical problems. In recent years, the phenomenology of health and disease has become a major topic in bioethics and the philosophy of medicine, owing much to the work of Havi Carel (2007, 2011, 2018). Surprisingly little attention, however, has been given to (...) the phenomenology of animal health and suffering. This omission shall be remedied here, laying the groundwork for the phenomenological evaluation of animal health and suffering. (shrink)

This paper introduces and defends an account of model-based science that I dub model pluralism. I argue that despite a growing awareness in the philosophy of science literature of the multiplicity, diversity, and richness of models and modeling practices, more radical conclusions follow from this recognition than have previously been inferred. Going against the tendency within the literature to generalize from single models, I explicate and defend the following two core theses: any successful analysis of models must target sets of (...) models, their multiplicity of functions within science, and their scientific context and history and for almost any aspect x of phenomenon y, scientists require multiple models to achieve scientific goal z. (shrink)