Langeweile wird in dieser Anthologie als Signatur der Moderne lesbar: Sie durchdringt die gegenwärtige Kultur, wird aber nach wie vor weggeschoben, ja tabuisiert. Der Band bietet eine Textauswahl von klassischen Denkern sowie von Autorinnen und Autoren des modernen Diskurses bis heute und stellt den Zusammenhang mit verwandten Phänomenen der Sinnleere und Erschöpfung her. Als zunehmendes Massenphänomen in saturierten Gesellschaften entwickelt die Langeweile eine pathologische Dynamik, wenn ihr nicht ein eigener Raum gelassen wird. Ein Plädoyer für die Anerkennung dieses unvermeidlichen Gefühls. (...) Mit Texten von Blaise Pascal, Immanuel Kant, Arthur Schopenhauer, Søren Kierkegaard, Charles Baudelaire, Friedrich Nietzsche, Georg Simmel, Walter Benjamin, Bertrand Russell, Iwan Gontscharow, Siegfried Kracauer, Emil Cioran, Giacomo Leopardi, Wolf Lepenies, Elizabeth S. Goodstein, Peter Toohey, Martin Doehlemann, Françoise Wemelsfelder und anderen. (shrink)

Humean Supervenience is a metaphysical model of the world according to which all truths hold in virtue of nothing but the total spatiotemporal distribution of perfectly natural, intrinsic properties. David Lewis and others have worked out many aspects of HS in great detail. A larger motivational question, however, remains unanswered: As Lewis admits, there is strong evidence from fundamental physics that HS is false. What then is the purpose of defending HS? In this paper, we argue that the philosophical merit (...) of HS is largely independent of whether it correctly represents the world’s fundamental structure. In particular, we show that insofar as HS is an apt model of the world’s higher-level structure, it thereby provides a powerful argument for reductive physicalism and explains otherwise opaque inferential relations. Recent criticism of HS on the grounds that it misrepresents fundamental physical reality is, therefore, beside the point. (shrink)

Software piracy is older than the PC and has been the subject of several studies, which have found it to be a widespread phenomenon in general, and among university students in particular. An earlier study by Cohen and Cornwell from a decade ago is replicated, adding questions about downloading music from the Internet. The survey includes responses from 224 students in entry-level courses at two schools, a nondenominational suburban university and a Catholic urban college with similar student profiles. The study (...) found that there has been few if any changes in student opinions regarding the unauthorized duplication of copy- righted materials. Students generally felt that copying commercial software and downloading music from the Internet was acceptable and found that there was no significant correlation between student attitudes and their school’s religious affiliation or lack thereof. Additionally, the study found that a small but significant percentage of respondents considered the other questionable behaviors as ethically acceptable. Finally, the reasons for these attitudes are discussed as well as what colleges can do to correct the situation. (shrink)

Humean reductionism about laws of nature appears to leave a central aspect of scientific practice unmotivated: If the world’s fundamental structure is exhausted by the actual distribution of non-modal properties and the laws of nature are merely efficient summaries of this distribution, then why does science posit laws that cover a wide range of non-actual circumstances? In this paper, we develop a new version of the Humean best systems account of laws based on the idea that laws need to organize (...) information in a way that maximizes their cognitive usefulness for creature like us. We argue that this account motivates scientific practice because the laws’ applicability to non-actual circumstances falls right out of their cognitive usefulness. (shrink)

A central question in the philosophy of science is: What is a law of nature? Different answers to this question define an important schism: Humeans, in the wake of David Hume, hold that the laws of nature are nothing over and above what actually happens and reject irreducible facts about natural modality (Lewis, 1983, 1994; cf. Miller, 2015). According to Non-Humeans, by contrast, the laws are metaphysically fundamental (Maudlin, 2007) or grounded in primitive modal structures, such as dispositional essences of (...) powerful properties (Bird, 2007), necessitation relations (Armstrong, 1983), or primitive subjunctive facts (Lange, 2009). This volume focuses on recent developments in the discussion of Humeanism, specifically on pragmatic versions of the view that put the needs of limited agents like us front and center. (shrink)

Humean reductionism about laws of nature is the view that the laws reduce to the total distribution of non-modal or categorical properties in spacetime. A worry about Humean reductionism is that it cannot motivate the characteristic modal resilience of laws under counterfactual suppositions and that it thus generates wrong verdicts about certain nested counterfactuals. In this paper, we defend Humean reductionism by motivating an account of the modal resilience of Humean laws that gets nested counterfactuals right.

The Humean best systems account identifies laws of nature with the regularities in a system of truths that, as a whole, best conforms to scientific standards for theory-choice. A principled problem for the BSA is that it returns the wrong verdicts about laws in cases where multiple systems, containing different regularities, satisfy these standards equally well. This problem affects every version of the BSA because it arises regardless of which standards for theory-choice Humeans adopt. In this paper, we propose a (...) Humean response to the problem. We invoke pragmatic aspects of Humean laws to show that the BSA, despite violating some of our intuitive judgements, can capture everything that is relevant for scientific practice. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the (...) term “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

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)

Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for (...) new media conditions, as cinema is no longer emblematic of our cultural climate. As Giorgio Agamben wrote in 1992, “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema…human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere." Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. (shrink)